Week 2 - Will Rea - The King’s Horseman: Portraits of Authority in Southwestern Nigeria

The King’s Horseman: Portraits of Authority in Southwestern Nigeria

Kwame Anthony Appiah's Examination of Postcolonial and Postmodern Africa

  • Book Reference: In My Father’s House

    • Examines the postcolonial and postmodern themes in Africa.

  • Featured Sculpture: Yoruba sculpture Man with a Bicycle

    • Currently housed at Newark Museum, labeled as "neo-traditional" in the Perspectives exhibition catalog.

    • Appiah critiques the term "neo" as it reflects colonial or post-colonial elements aimed at Western tourists and collectors.

  • Contrast with African Bourgeoisie:

    • Appiah suggests the African bourgeoisie prefers artworks that are genuinely traditional, instead of those modified for Western appeal.

  • The Postcolonial Versus the Postmodern:

    • Insights into how postcolonial art interacts with modern contexts.

  • Shift in Art Historical Perspectives:

    • Recent studies focus on contextuality and cultural significance rather than just aesthetics.

    • Noteworthy criticisms by Sidney Kasfir against older historiographical methodologies.

Historical Context: Colonial Practices and African Art

  • Historical Period Focus: British colonial period in Nigeria (1898–1960).

  • Limitations in Historical Data:

    • According to Herbert Cole: African art historians have limited historical data, with most extant objects dating from post-1900 era.

  • Colonial Influence on Art Production:

    • Most African art exists in a historical context heavily influenced by colonial dynamics.

    • Visual culture under colonialism frequently involved the objectification and representation of African subjects through a Western lens.

The Dynamics of Visual Power under Colonial Rule

  • Examination of Colonial Photography:

    • The photographic archive symbolizes a visual mapping of colonized subjects.

    • It reflects complex interactions between colonizers and the colonized, moving beyond a simplistic power dynamic.

  • Complicated Agency:

    • Indigenous individuals navigated and sometimes subverted colonial representation.

    • Artworks reflect negotiation of identity and power rather than mere compliance.

Analyzing the Colonial Horseman Sculpture

  • Depiction:

    • Represents a white colonial officer, characterized by colonial attire (suit, bow tie, pith helmet).

    • The ornamentation reflects Yoruba carving traditions, particularly the vibrant use of color and detailed expressions.

  • Symbolism:

    • The horseman symbolizes authority, resonating with Yoruba cultural myths around power.

    • Connection to several Yoruba traditions concerning mounted warriors and important deities such as S.ango and Es.u, emphasizing moral justice and wisdom.

  • Stylistic Observations:

    • The carving contains elements suggesting both colonial authority and local Yoruba identity, indicating a complex interplay of symbolism in representation.

    • Insights into the artist’s workshop, the Adugbologe lineage, reveal stylistic characteristics linking the piece to local traditions and broader historical narratives.

Historical Significance of Sculptures

  • Contextual Origins:

    • Collected in Lagos during the 1960s from market traders, lacking specific provenance tied to colonial events.

    • Artistic lineage traced back to prominent figures like Ojeyinde and Oniyinde from the Adugbologe workshop, reflective of collaboration with colonial authority dynamics.

  • Comparison with Other Works:

    • Similarities and differences noted when analyzing carvings by O. lo.we. and Areogun.

    • Discussion on the socio-historical context of this artwork within the traditions of Yoruba expression and colonial encounters.

Photograph of Colonial Visit: Documenting Power Dynamics

  • Historical Figure: William George Arthur Ormsby-Gore, British Undersecretary of State for the Colonies, during his 1926 visit to Abe.okuta.

  • Significant Events:

    • Representation of dual authority between Ormsby-Gore and local Emir Ademọla II, illustrating colonial power relations.

    • Description of royal attire and the cultural significance surrounding the representation in colonial documentation.

Theoretical Perspectives on Colonial Representation

  • Portraiture and Representation:

    • Discussion on the distinction in styles and intentions behind portraits in African art versus Western norms.

    • Portraiture as a tool for both personal and broader social identity in African contexts, moving beyond individual likeness.

  • Understanding Agency:

    • The interplay between local representation and colonial gaze requires nuanced understanding that transcends traditional ethnographic narratives.

Epistemology of Modernity in the Yoruba Context

  • Complex Historical Relationships:

    • Exploration of the political and social nuances surrounding Yoruba identity formation in response to colonialization and modernity.

    • Consideration of the dynamics between traditional leadership and modern political structure.

  • Material Culture:

    • Kingship iconography explored through adire cloth, illustrating how material practices encapsulate modern Yoruba identity.

Final Reflections on Authority, Identity, and Representation

  • Appraisal of Colonial Narratives:

    • Investigating the interweaving of personal narratives with colonial histories within Yoruba art.

    • Recognition that art serves as both a reflection of subjectivity and an assertion of authority in negotiations between tradition and modernity.

  • Conclusion:

    • A critical understanding of the complexities of Yoruba artistic traditions counters oversimplified views of colonial power and representation. The dynamics of authority within colonial frameworks necessitate insights into local agency and the evolution of cultural identities, particularly during periods of significant sociopolitical change.