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Middlesex University Research Repository: an Open Access Repository of Middlesex University Research View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Middlesex University Research Repository Middlesex University Research Repository: an open access repository of Middlesex University research Nicodemus, Everlyn, 2012. African modern art and black cultural trauma. Available from Middlesex University’s Research Repository. Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this thesis/research project are retained by the author and/or other copyright owners. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Any use of the thesis/research project for private study or research must be properly acknowledged with reference to the work’s full bibliographic details. This thesis/research project may not be reproduced in any format or medium, or extensive quotations taken from it, or its content changed in any way, without first obtaining permission in writing from the copyright holder(s). If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated. AFRICAN MODERN ART AND BLACK CULTURAL TRAUMA Everlyn Nicodemus School of Arts & Education Middlesex University January 2011 2 ACKNOWLEDGEMENTS For theoretical and practical support during the years covered by this research I thank, in chronological order, Jorgen and Karen Rald, George Lauwo, Fakhra Salimi, Nita Kapoor, Anne Wilson-Schaef, Sudhi Pradan, Balai Sen, Meera Muckherjee, Ratnabali Chatterjee, Catherine de Zegher, Janet Stanley, Antoon Van den Braembussche, Luk Lambrecht, Rasheed Araeen, Gilane Tawadros, Elsebeth Court, John Picton, Iba N’Diaye, Uche Okeke, Bruce Onobrakpeya, Gani Odutokun, Obiora Udechukwu, Chika Okeke, Sylvester Okwunodu Ogbechie, Elza Miles, Elizabeth Rankin, David Koloane, Leslie Spiro, Marilyn Martin, Cecil Skotnes, E.J.de Jager, Ptikka Ntuli, Colin Richards, Kevin Power, Jon Thompson, Ine Gevers, Ernst van Alphen, Partha Mitter, Elaine O’Brien and John Peffer. Special thanks to my supervisors Professor Jean Fisher and Professor Jon Bird, to Kristian Romare for encouragement and support and for creating a comprehensive photo-archive of my art practice and to Afe Adogame for assisting me with the final computerization of the thesis. 3 TABLE OF CONTENTS ABSTRACT. .8 PART 1: Context Statement . 10 Introduction . ….... .10 Chapter 1: Towards a Notion on Trauma . ….... .18 Chapter 2: Listening to Silence, Speaking through Images: ‘Woman in the World’ as Counter-discourse . ……………….. .29 Chapter 3: Until the Lid is Blown Off: Modern Art in Africa . …… . 42 Chapter 4: Extending Trauma Studies and Visual Art Practice . ……69 Chapter 5: Black African Trauma and African Modern Art . ….... 90 Conclusion . ……. 113 Bibliography . .... 125 PART 2 PUBLISHED WORKS SUBMITTED AND DOCUMENTATION TABLE OF CONTENTS A. Submitted Essays (N.B. In the Context Statement referred to as ‘Submitted Essay No 1 etc,) 1. ‘Konst fran soder om Sahara’, (Art from South of Sahara), Konstperspektiv 3/92, Sweden, 1992. Co-author Kristian Romare. English rush translation from 1992. For illustrations see the pages from Konstperspektiv. 2. ‘Meeting Carl Einstein’, Third Text no 23, 1993, Africa Special Issue, 31-38. 3. ‘The Centre of Otherness’, J.Fisher (ed.) Global Visions towards a new Internationalism in visual arts, Kala Press 1994, 91-104. 5 4. ‘Carrying the sun on our backs’, Kanaal Art Foundation catalogue Andrea Robbins & Max Becher, Kortrijk, Belgium, 1994. Republished as an online monograph with the University of African Art Press, 2008. 5. ‘Shift!, presented as a paper at the ACASA Tenth triennial symposium on African art, New York University, 1995, reworked and published as an online monograph with the University of African Press in 2008. 6. ‘Bourdieu out of Europe?’ Third Text no 30, 1995, 3-12. Reprinted in O.Enwezor and O.Oguibe (eds), Reading the Contemporary. African Art from Theory to Market place, Iniva, London, and MIT 1999, and in Third Text Africa reframed, Vol.1 No.2 2009. 7. ‘Inside.Outside’. In catalogue Seven Stories about Modern Art in Africa, Whitechapel Art Gallery, London 1995, 29-36. 8. ‘Art and Art from Africa. The Two Sides of the Gap’. Third Text No 33, 1995-96, 31- 40, republished in Item no 5, Rio de Janeiro, Brazil, 2002. 9. ‘Africa, Art Criticism and the Big Commentary’, Third Text no 41, 1997-98, Co- author Kristian Romare, 53-65. 10. ‘Out of Invisibility. Problems of writing on contemporary African art’, Africa e Mediterraneo no 2/3, Bologna, Italy 1999, English text version 80-81. 11. ‘From Independence to Independence’, Independent Practices: Representation, Location and History in Contemporary Visual Art, Bluecoat Arts Centre, Liverpool, John Moores University 2001, 14-29. 12. ‘Representing African Art. A challenge by the Exhibition Seven Stories about Modern Art in Africa’. Paper presented at Symposium Africa in Osaka, Japan, 2001, published in the report Representing African Art and Culture, National Museum of Ethnology, Osaka 2005, 107-121. 13. ‘Beware of Africanism!’, Arco contemporary art no 33, Madrid 2004, 23-26. 14. ‘The Black Atlantic and the Paradigm Shift to Modern Art in Africa’. Critical Interventions. Journal of African art history and visual culture, no 3-4, 2009. Aachron, California, USA. 15. ‘Modernity as a Mad Dog: On Art and Trauma’, in.G.Mosquera & J.Fisher (eds.), Over Here. International Perspectives on Art and Culture, New Museum of Contemporary Art, New York, and MIT 2004. 16. ‘The Work that has Begun’, Atlantica no 43. Las Palmas de Gran Canaria, 2006, 3- 19. 17. ‘History, Trauma, Visual Art’. Arco contemporary art, no 39 Madrid 2006, 14-18. 18. ‘Guantanamo Blues. Knickers as Instruments of Torture’. Wasafiri no 51. Special Issue Cultures of Terror, 2007, 24-33. 6 19. ‘The Ethics of the Wound’, in Van den Braembussche et al (eds), Art and World Views: Towards an intercultural aesthetics, Springer Science 2008, 191-203. B. Art Practice-based Projects (N.B. Documenting photo copies referred to as plate 1 - 65) 1. Woman in the World Supporting Documentation: Catalogue from Skive with reproductions in colour and black and white and poems. Attached documentation. Catalogues from Dar es Salaam, Calcutta and Oslo, originally produced as folded photo copies, Attached documentation. Press cuttings from Skive, Dar es Salaam, Oslo and Calcutta Photo copies of individual art works by Everlyn Nicodemus and from the field talks and exhibitions in Denmark, Tanzania and W. Bengal, plate 1 – 31 2. Ethics of the Wound Supporting Documentation: Photo copies of visual works by Everlyn Nicodemus functioning as testimonies to trauma and from the following one woman exhibitions, plate 32-65: Crossing the Void, C.C, Strombeek, Brussels, Belgium 2004, a sixty works installation Trauma and Art – The Hidden Scars, 198 Gallery, Brixton, London, 2006 Bystander on Probation, Women’s International Arts Festival, The Brewery Arts Centre, Kendal, 2007 Symposia: The Limits of Representation – On Trauma and Visual Art at C.C.Strombeek, Brussels 2004 7 Dispossession and the Poetic Imagination - Trauma and Art – The Social Realities, a symposium at Iniva, London 2006 in connection with the Brixton exhibition Press cuttings and connected text materials Attached documentation Turning Pages Photocopies of the catalogue La Femme (Woman in the World I) Photocopies of the catalogues Woman in the World II and III and the catalogue from the Woman in the World exhibition in Oslo Photocopies of the catalogue Vessels of Silence in Kortrijk, Belgium Film and video documentation Woman in the World in Paintings and Poems, a documentary film 1986 for Indian television by filmmaker Balai Sen (on DVD). Turning Pages, the artist presents Black Book 3, video (on DVD). Beyond Depiction, a video about PTSD 2004 (on DVD). Digital animation of the texts of the Reference Scroll on Genocide, 2006 (on dvd). Identikitten, video on stop and search produced for workshops with youths at 198 Gallery, Brixton.2006 (on DVD). 8 ABSTRACT The thesis is an inquiry into modern art in sub-Saharan Africa, its genesis and initial stages during colonial rule and the early phase of independence, and into the impact on its trajectory of a black cultural trauma mainly caused by colonial oppression. The submitted documentation includes writings on 20th century African modernism published 1992-2009 in conjunction with two extensive, partly art practice-based projects, ‘Woman in the World’, 1984-86, and ‘Ethics of the Wound’, 2001-09 ‘Woman in the World’ was an in-residence project carried out in Denmark, Tanzania and India, which presented an open-ended form of research built upon listening to testimonies and on interaction between oral and visual communication. In this sense it laid the ground for a more academic investigation of psychiatric literature on trauma and post-traumatic stress disorder as well as of the cultural studies literature on trauma and cultural production, which had predominantly focused on trauma symptoms in literature and film. This research, culminating in ‘Ethics of the Wound’, was supported by observations derived from the author’s own trauma experience as an African-born woman artist
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