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Art and Colonialism UCC1: New Course Transmittal Form Department Name and Number Recommended SCNS Course Identication Prex Level Course Number Lab Code Full Course Title Transcript Title (please limit to 21 characters) Eective Term and Year Rotating Topic yes no Amount of Credit Contact Hour: Base or Headcount S/U Only yes no Repeatable Credit yes no If yes, total repeatable credit allowed Variable Credit yes no If yes, minimum and maximum credits per semester Course Description (50 words or less) Prerequisites Co-requisites Degree Type (mark all that apply) Baccalaureate Graduate Professional Other Category of Instruction Introductory Intermediate Advanced Rationale and place in curriculum Department Contact Name Phone Email College Contact Name Phone Email Rev. 10/10 Art and Colonialism: France in Africa/Africa in France Spring 2013 Professor Victoria Rovine ARH 4930 (section 0859) [email protected] 392-0201 x226 Mon 8:30-10:20 (periods 2-3) Wed 8:30-9:20 (period 2), FAC room 201 Office hours: Wed 9:30-11:30, FAC 119B Course content Art provides important insights into the history and the impact of colonial rule in Africa. This class will explore both sides of the colonial relationship, examining what visual art reveals about both French and African experiences of colonial rule. We will also explore some examples of other colonial relationships, such as British and Belgian Using fine arts as well as popular arts, we will investigate how the power structure of the colonial era influenced the cultures of both France and Francophone Africa, creating relationships of inequality that were manifested in the art of the era. Along with the famous history of African art’s influence on Picasso and other European modernists, we will investigate the role of African art in the academic world of the day, and in the popular realms of fashion and entertainment. Finally, we will look for contemporary manifestations of this history in the museum worlds of France and Francophone Africa. Course Goals This course introduces students to the intertwined histories of Africa and Europe in the nineteenth and twentieth century, focusing on the role of colonialism in the relationship between France and its West African colonies. Its aim is to give students the tools to analyze how visual arts can be “read” as records of political transformations, how they are interpreted and misinterpreted by various audiences, and how art may be used as tools for resistance to colonial domination and assertion of local cultures. Course Requirements and Grades Attendance: Students are expected to attend all classes and to complete the reading and assignments for each class meeting. Up to two absences will be permitted. Any absence beyond that will adversely affect your grade. You are responsible for all of the material covered in lectures and for getting class notes from one of your fellow students if you miss a class. Class Participation: While attendance is important, participation is crucial! We will all enjoy the class more, and learn more effectively, if everyone participates. All students are expected to participate in class discussion; participation counts for 10% of your final grade. Please note: Occasionally, I will recommend lectures or films outside of class time. I understand that some of you may have conflicts, but do try to attend. Readings: This class requires a good deal of reading! You are expected to do the assigned readings for each class meeting. All of our readings will be available via the UF on-line reserves system, ARES. It is your responsibility to learn how to use the system—I will gladly help anyone who needs assistance. There are no textbooks to purchase for this course. Exams: Two exams each count for 20% of your final grade. Each exam will consist of vocabulary definitions, short answers, slide identification, and an essay. Make-up exams can be arranged under extraordinary circumstances; contact me promptly if you must miss an exam. Papers: Two papers, synthesizing information from class discussion and our readings, will give you opportunities to respond to the content of the class. Each is worth 20% of your grade. An annotated bibliography is worth 10%. Your papers will be graded for content as well as for your writing skills. You will be required to make an appointment at the Reading and Writing Center to consult with a tutor. You may hand in a draft of your papers for my comments no later than one week before the due date. Grade Scale: A A- B+ B B- C+ C C- D+ D D- E grade scale: 93-100 90-92 87-89 83-86 80-82 77-79 73-76 70-72 67-69 63-66 60-62 59-below grade points: 4.0 3.67 3.33 3.0 2.67 2.33 2.0 1.67 1.33 1.0 0.67 0 UF Grading Policy: https://catalog.ufl.edu/ugrad/current/regulations/info/grades.aspx Academic Honesty The University of Florida’s honor code requires all students to be honest in their academic work. University policies on cheating, plagiarism, and related issues are available at: http://www.dso.ufl.edu/judicial/procedures/academicguide.html Accommodations Students requesting classroom accommodation must first register with the Dean of Students Office. The Dean of Students Office will provide documentation to the student who must then provide this documentation to me when requesting accommodation. Also note: • Please do not be late for class! • Turn off cell phones during class. *************************************************************************** January 8 Course introduction, Introduction to African Art January 10 African art and social structures --La Gamma “Eternal Ancestors” in Eternal Ancestors (Metropolitan Museum of Art, 2007): 3-31. --McNaughton “The Power Associations” in Bamana: The Art of Existence in Mali (Museum for African Art, 2001): 167-183. *Special event: January 14 at 7:30, Phillips Center Premier of the film Movement (R)evolution Africa A documentary on contemporary African choreographers and dancers. Free admission. January 15 Early Exchanges between Europe and Africa: Histories in Art --Blier “Imagining Otherness in Ivory: African Portrayals of the Portuguese ca. 1492” Art Bulletin 75 #3 (1993): 375-396. January 17 Europe in Africa: Constructing the Continent (*meet at the Map Library) --Bassett “Cartography and Empire Building in 19th Century West Africa” Geographical Review 84 #3 (1994): 316-335. --Schildkrout “Gender and Sexuality in Mangbetu Art” in Unpacking Culture eds. Phillips and Steiner (U California Press, 1999): 197-213 January 22 Colonialism: Early Experience in Africa --Boahen “Imposition of the Colonial System” in African Perspectives on Colonization --Martin “Contesting Clothes in Colonial Brazzaville” Journal of African History 35 #3 (1994): 401-426. January 24 Colonialism’s Impact on African Artistic Production: Two Case Studies --Ben-Amos “Omada Art at the Crossroads of Colonialisms” in Images and Empires (Univ of California Press, 2003): 275-293. --Roberts “French Colonialism, Imported Technology, and the Handicraft Textile Industry in the Western Sudan” Journal of Economic History (June 1987): 461-472. January 29 Colonialism: Early Experience in Europe --Paper 1 due-- --Barkan “Aesthetics and Evolution: Benin Art in Europe” African Arts 30 #3 (1997): 36-41. January 31 Colonialism and Popular Art in Europe --Massing “From Greek Proverb to Soap Advert: Washing the Ethiopian” Journal of the Warburg and Courtauld Instiututes 58 (1995): 180-201. --Pieterse “Colonialism and Western Popular Culture” in White on Black (Yale University Press, 1992): 76-101, 239-240. February 5 Africans in Paris: The Colonial Expositions --Morton “National and Colonial: The Musée des Colonies at the Colonial Exposition, Paris, 1931” The Art Bulletin 80 #2 (1998): 357-377. --Celik and Kinney “Ethnography and Exhibitionism at the Expositions Universelles” Assemblage 13 (1990): 34-59. February 7 Impact of the Expositions: Fashion and Dance --Finamore “Fashioning the Colonial at the Paris Expositions, 1925 and 1931” Fashion Theory 7 3/4 (2003): 345-360. --Blake “Taking the Cake: The First Steps of Primitivism” in Le Tumulte Noir (Penn State Press, 1999): 11-36. February 12 Josephine Baker: Black Venus --Dalton and Gates “Josephine Baker and Paul Colin: African American Dance Seen through Parisian Eyes” Critical Inquiry 24 #4 (1998): 903-934. --Jules-Rosette “Dress Rehearsals” in Josephine Baker in Art and Life (University of Illinois Press, 2007): 127-154. February 14 Colonial Architecture in France --Bayoumi “Shadows and Light: Colonial Modernity and the Grande Mosquée of Paris” Yale Journal of Criticism vol 13 #2 (2000): 267-292. February 19 Case Study: Marcel Griaule and the Dogon; Exam review --Clifford The Predicament of Culture chapter 2 “Power and Dialogue in Ethnography: Marcel Griaule’s Initiation” (Harvard U Press, 1987): 55-91. --Richards “Masques Dogons in a Changing World” African Arts 38 4 (2005): 46-53, 93. February 21 Exam 1 February 26 Case Study: Bamum Kingdom --Blier “Cameroon Grassfields” in The Royal Arts of Africa (Abrams, 1998): 164-199 -- Geary “Political Dress: German-Style Military Attire and Colonial Politics in Bamum” in African Crossroads (Berghahn Books 1996) February 28 The Kongo Kingdom and the Belgian Congo --Strother “Gabama a Gingungu and the Secret History of Twentieth-Century Art.” African Arts, vol. 33, 1 (1999): 18-31. --Fromont “Dance, Image, Myth and Conversion in the Kingdom of Kongo, 1500-1800,” African Arts. Vol. 44, 4 (2011): 52-63. March 4 Interactions through Dress: Adaptations and Perceptions --Bastian “The Naked and the Nude” in Masquelier, ed. Dirt, Undress, and Difference (Indiana University Press, 2005): 34-60. --Quarcoopome “Balancing Power and Parody” in Quarcoopone, ed. Through African Eyes (Detroit Institute of Arts, 2009): 75-85. March 6 Video: Black and White in Color --Annotated Bibliography due-- -spring break- March 18 From Cameroon to Paris: Representing the Cameroon in Paris --Nelson chapter 3 “A Pineapple in Paris” March 20 The French Avant-Garde and African Art --Paudrat “From Africa” in Primitivism in 20th Century Art: Affinity of the Tribal and the Modern Rubin, ed.
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