Contemporary Masks and Music
The influence of African masks on European modern art has more recently been recognized as significant, and it has been established that artists such as Pablo Picasso were heavily influenced by the aesthetic of these masks. Yet, for far too long, the African people who created these masks have been overlooked and their contributions have gone unrecognized. African masks have been reduced to mere aesthetic objects, stripped of their cultural context and meanings.
But, as we enter a new era, there is a growing appreciation for the role of African masks in contemporary African art and performances. African artists are using masks as a means of exploring and challenging cultural and political issues, such as the legacy of colonialism and the struggle for independence. The work of artists such as El Anatsui, Yinka Shonibare, and Wangechi Mutu, to name a few, demonstrate the innovative ways in which African masks can be used in contemporary art. These artists are not only pushing the boundaries of traditional African mask-making techniques, but also exploring the political and social implications of masks in contemporary society.
African music has long been recognized as a source of musical innovation, and its impact on the global music landscape cannot be overstated. From West African drumming to South African choral music, African music has had a profound influence on a range of musical genres. In recent years, there has been a growing recognition of the role of African musicians in shaping contemporary musical styles, from hip-hop and reggae to electronic dance music. The work of musicians such as Fela Kuti, Salif Keita, and Miriam Makeba demonstrate the impact of African music on the global music scene.
Contemporary music and masquerade festivals, such as Afrochella and FESTIMA, are important in celebrating the rich cultural traditions of Africa and providing a platform for contemporary artists and musicians to showcase their work and engage with audiences in new and innovative ways. Afrochella, for example, is a festival that celebrates the best of African music, art, and fashion, and provides a space for African artists and musicians to showcase their work to a global audience. FESTIMA, on the other hand, is an international festival of masquerade and traditional arts that takes place every two years in Dédougou, Burkina Faso. This festival provides a space for the celebration of traditional African masquerade, dance, and music, and serves as a platform for the preservation and promotion of these cultural practices. Both Afrochella and FESTIMA are a testament to the vibrancy and creativity of contemporary African culture and serve as a platform for artists and musicians to engage with audiences and challenge negative stereotypes about Africa.
In addition to artists and musicians, there is a growing body of scholarship that seeks to challenge negative stereotypes of African culture and assert the agency of African people. Scholars such as Oyewumi (1997) and Mbembe (2001) have explored the ways in which African people have historically been denied recognition for their contributions to the world. The recognition of African masks as works of art operating within complex systems of contemporary African aesthetics and performance is part of a broader effort to challenge these negative stereotypes and assert the agency of African people.
A more complex recognition and understanding of African masks is a critical component of a shift in perspective towards African culture. African artists, musicians, and scholars are increasingly using their work to challenge negative stereotypes and assert their agency as creative individuals. The recognition of African masks as not only works of art but dynamic aspects of performance and masquerade allows for a deeper understanding of the richness and diversity of African cultural traditions and their impact on the world.
References and further reading:
Grossman, Wendy. Reconfiguring an African Icon: Odes to the Mask by Modern and Contemporary Artists from Three Continents. (2012). Metropolitan Museum of Art, New York, March 8–August 21, 2011. African Arts. 45. 78-80. 1
Heimlich, Geoffroy. The Kongo Cross Across Centuries. African Arts 2016; 49 (3): 22–31.
Mbembe, A. (2001). On the Postcolony. University of California Press.
Savoy, B and and Sarr, F. (2017). The Restitution of African Cultural Heritage. Toward a New Relational Ethics. Prestel.
Sarr, F. (2018). Afrotopia. Cambridge University Press.
Wolff, Rebecca. Disguise: Masks and Global African Art. African Arts 2017; 50 (3): 86–88.
INSTRUMENTAL AVATARS
Contemporary Masks and Music
The influence of African masks on European modern art has more recently been recognized as significant, and it has been established that artists such as Pablo Picasso were heavily influenced by the aesthetic of these masks. Yet, for far too long, the African people who created these masks have been overlooked and their contributions have gone unrecognized. African masks have been reduced to mere aesthetic objects, stripped of their cultural context and meanings.
But, as we enter a new era, there is a growing appreciation for the role of African masks in contemporary African art and performances. African artists are using masks as a means of exploring and challenging cultural and political issues, such as the legacy of colonialism and the struggle for independence. The work of artists such as El Anatsui, Yinka Shonibare, and Wangechi Mutu, to name a few, demonstrate the innovative ways in which African masks can be used in contemporary art. These artists are not only pushing the boundaries of traditional African mask-making techniques, but also exploring the political and social implications of masks in contemporary society.
African music has long been recognized as a source of musical innovation, and its impact on the global music landscape cannot be overstated. From West African drumming to South African choral music, African music has had a profound influence on a range of musical genres. In recent years, there has been a growing recognition of the role of African musicians in shaping contemporary musical styles, from hip-hop and reggae to electronic dance music. The work of musicians such as Fela Kuti, Salif Keita, and Miriam Makeba demonstrate the impact of African music on the global music scene.
Contemporary music and masquerade festivals, such as Afrochella and FESTIMA, are important in celebrating the rich cultural traditions of Africa and providing a platform for contemporary artists and musicians to showcase their work and engage with audiences in new and innovative ways. Afrochella, for example, is a festival that celebrates the best of African music, art, and fashion, and provides a space for African artists and musicians to showcase their work to a global audience. FESTIMA, on the other hand, is an international festival of masquerade and traditional arts that takes place every two years in Dédougou, Burkina Faso. This festival provides a space for the celebration of traditional African masquerade, dance, and music, and serves as a platform for the preservation and promotion of these cultural practices. Both Afrochella and FESTIMA are a testament to the vibrancy and creativity of contemporary African culture and serve as a platform for artists and musicians to engage with audiences and challenge negative stereotypes about Africa.
In addition to artists and musicians, there is a growing body of scholarship that seeks to challenge negative stereotypes of African culture and assert the agency of African people. Scholars such as Oyewumi (1997) and Mbembe (2001) have explored the ways in which African people have historically been denied recognition for their contributions to the world. The recognition of African masks as works of art operating within complex systems of contemporary African aesthetics and performance is part of a broader effort to challenge these negative stereotypes and assert the agency of African people.
A more complex recognition and understanding of African masks is a critical component of a shift in perspective towards African culture. African artists, musicians, and scholars are increasingly using their work to challenge negative stereotypes and assert their agency as creative individuals. The recognition of African masks as not only works of art but dynamic aspects of performance and masquerade allows for a deeper understanding of the richness and diversity of African cultural traditions and their impact on the world.
References and further reading:
Grossman, Wendy. Reconfiguring an African Icon: Odes to the Mask by Modern and Contemporary Artists from Three Continents. (2012). Metropolitan Museum of Art, New York, March 8–August 21, 2011. African Arts. 45. 78-80. 1
Heimlich, Geoffroy. The Kongo Cross Across Centuries. African Arts 2016; 49 (3): 22–31.
Mbembe, A. (2001). On the Postcolony. University of California Press.
Savoy, B and and Sarr, F. (2017). The Restitution of African Cultural Heritage. Toward a New Relational Ethics. Prestel.
Sarr, F. (2018). Afrotopia. Cambridge University Press.
Wolff, Rebecca. Disguise: Masks and Global African Art. African Arts 2017; 50 (3): 86–88.