I
can't remember the exact year, but I know I was quite young and I was
not allowed to stay up late. But on this occasion I had somehow
slipped through the dragnet of home discipline and found myself
watching TV late at night. Alone.
Though
this seemed like a treat, this was the 70's and way before all night
television had been sanctioned by the milk snatcher, Thatcher.
There
was the testcard. That strange surreal image of a young girl with
some form of a puppet in her hand. If you fell asleep there was a
piercing sound that was suppose to wake you up.
Or there was, late
nights on BBC2, and as I swept the...dial around, to change channels,
I found the Open University. Wow, exciting I thought.
It
was not quite the contra band that I was looking for. The last time I
had escaped the sleep shackles I had watched 'The Invisible Shrinking
Man' in black and white. It had scared the life out of me.
The giant
spider hunting the slowly diminishing character left a particular
impression.
I
may as well go to bed I though as the novelty of being up late had
worn off.
Then a programme started.
In black and white, but
immediately I was captured by an image that may well have changed my
life.
It was a bronze head with striated lines incised into it, lines
that rolled down the contours of the cheeks.
It was a dark colour and
had overall shape that was different. Made of metal.
It was a Benin
bronze bust.
I was transfixed as the black and white screen seemed as
if by magic to turn to technicolour as my imagination tripped in on
what I was seeing.
Or
what seemed to be seeing me. Staring back at me from the tiny
monochrome screen.
The
glare from the wonder with those scarifications woke me up. I was
going nowhere.
The filmaker had the camera pan around this wonderous
object, while the narrator told the story in that typical colonial
BBC plum in mouth language. Stating that “When they were 'found'
it. It was thought that a ancient greek civilisation had been
discovered”.
Well what they were trying to say is that the people
of Africa were not clever enough to make objects that scrap up to
western art.
But
I saw something more. I felt a power that was not like the ornementation around me. Those strange
Capi demonte style porcelain things in peoples houses that I saw on
sideboards.
I
did not know why, at this early morning time. Nor did I understand
how these images described, as if they were “lost castings by
Donatello” the great Florentine Renaissance scupltor. But they hooked me in.
The admiratation through gritted teeth, was taken away
by the overarching slur that at the time they were found, that no
African was capable of producing, or understanding the lost wax
process.
How
the BBC loved to demean. David Attenborough just about got away with it.
In the bush, finding pygmies, to make himself look and sound clever with his BBC
speak.
But
I saw something else from the spot on the floor, in front of that box
of images. That night, that changed my life. I did not understand
then, just what it was that pulled me out of my armchair. Whether it
was the story of the intrepid explorers who had “found” them.
Or
how they made a measured encroachment into my soul as if they were
talking to me.
I was looking at the image of a past being who wanted
to engage my stare.
The
Oba, of whose face this was a lifelike cast.
This ancient ruler of Ife would have no idea that I would be
peering through the medium of the 20th
century.
Through that box in the living room, that transported you to
places in the past.
To distant lands.
And
at this point in my life I hardly ever saw a black person. My mind
was full of stereotypical juxtapositions. Of Black and White
Minstrels. Of natives in grass skirts, Micheal Caine and Stanley
Baker taking on the Zulus.
This
would be decades before I discovered the genius of Louis Armstrong
and The Duke of Ellington.
But
those images stayed with me as I sometimes caught sight of them
again.
Over the years they became familiar to me.
I
would eventually see some of them in the British museum. Where I
would not be impressed with all. But several of the busts would help
me understand that art is emotion and most of the icons of the 20th
century were directly or maybe indirectly inspired by 'primitive
work' such as these bronzes. More than I had first thought.
Greek art, above Roman would be created, to attempt to capture the
spirit of a being, rather than just the likeness.
Felix
von Luschan, a curator at the Berlin Ethnographic Museum, explained
to an audience more familiar with European art, famously comparing
them to the work of celebrated Italian Renaissance sculptor, stating,
‘Benvenuto Cellini could not have made a better cast himself, and
no one has before or since, even to the present day. These bronzes
stand even at the summit of what can be technically achieved.’ he
added.
Well
there you go!
We
say bronzes but more accuratly they were cast from brass, copper and
sometimes bronze.
The tradition began
in Benin before the 13th century, and large-scale artworks were first
commissioned under Oba Ewuare I (1440-70s). Commemorative heads made
for royal altars date back to the 16th century, maybe earlier. From
the 18th century onwards, artists carved scenes into the ivory tusks
that had always surmounted the bronze heads, providing even greater
visual reference to the memory of the life’s work of the honoured
Oba. Craftsmen also cast sculptures of messengers, vanquished foe,
and foreign allies to celebrate the lives of past kings through
tableaux for the altar.
In
the Edo language, the verb sa-e-y-ama
means
‘to remember’, but its literal translation is ‘to cast a motif
in bronze’.
At the courts of Benin, art in bronze perpetuates
memory; and the first commissions of every Benin king were, and are
sculptures, in bronze and ivory, for his father’s altar. To
remember him.
Benin bronzes went into some of the most prestigous European
collections.
After the British occupation of Benin City in 1897,
during the reign of Oba Ovonramwen (1888–97). By August 1898, most
of the ivory and bronze artworks seized by the British from the royal
treasury had been sold in large public auctions.
This
was the age when colonials thought they could go round looting the
heritage of ancient civilisations.
By
the early 1900's, nearly all of the bronzes were in public and
private collections in the United Kingdom, Germany and Austria. The
Obas of Benin have been asking for their return for decades.
National
Museum of Nigeria and Lagos houses the collection of Ife art.
Ile Ife as it is known was a city in Nigeria and was ruled by The
Oba.
Yoruba,
the ethnic group in the region describe Ife as their spiritual
capital. The current inhabitants have decided that it is where the
civilisation came from. And all will return for re-incarnation.
Ife
sculptures have a unparalled realism.
Crowns of glass beads encrusted the sculptures.
Usually you would not see the face of the Oni and there are holes that hold beads which cover the face. They may have been worn.
Yoruba polyrythyms would mix
with Portuguese as early as the 16th century and become european music.
Fandango's and the like, played in some of the most prestigious courts. Syncopated by african drums.
Several
more sculptures were found in 1938 when builders were remodelling a
house.
Leo
Frobenius a German archeologist took pictures of them and the
villages from where they came. He contacted the New York Times and
declared that they came from the lost city of Atlantis.
Claiming he had found a lost colony of Greeks.
It
would be during the search for modern art that this looted 'tribal
art' from ancient worlds would shape the 20th
century. Picasso and others would help it along.
I
know how it shaped my understanding of art and I will never forget my
introduction into the captured majesty of those ancient Oba
sculptures that now mean more to me than the slush of Victoriana I
see in most collections.
I
sincerely hope, that I now can begin to understand the imagery of
Polynesian art and some of the beautiful First Nation American work.
The often overlooked art that my good friend and fellow specialist Ronnie Archer Morgan has
brought into the living rooms of those watching the Antiques Roadshow
on a Sunday evening.
I
so admire how he has slowly introduced art lovers to the history of
modern art through cultures past. I love how he explains the
figurative meanings within, simple art that has a complicated past.
I
hope I may now understand a little more about those geometric
patterns associated with modernity that were often looted from
kingdoms past, in Africa. And in ancient Egypt.
When
Tutenkhamun was discovered the world went crazy for those geometric
hieroglyphs and these images that were sewn into society along with
ancient rythmic syncopations from deep dark and distant worlds that
originated not far from the River Niger. From the Yoruba. Jazz was
created in Congo square, and is the biggest cultural contribution
that America has contributed to the world.
But
it came from Africa. Where the Oba ruled. Ife. In the
delta that shaped the world.
That took Vodun across a ocean.
From
Dahomey.
Though
its only recently that we paid it due, to acknowledge the debt in an
honest and constructive manner.
I
studied for my pottery sculpture.
I decided decades later, without thinking and subconsiously that I
would burnish hand thrown pots with the tone of 'skin'. And I would decorate them with markings from where I did not know. http://www.classicartdeco.co.uk/my-own-work.php
I do now.
Modern
art, for me, started when the Oba stared back at me one dark night
when my eyes met his ancient face.
When I was young.
I
have never forgotten that face.
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