Paul Gilroy, The Black Atlantic as a
Counterculture of Modernity
This is the first chapter of the as yet not translated book by the
English philosopher Paul Gilroy. The proposed conception of the
Black Atlantic proved to be one of the most effective and
influential theories of recent years, dealing with post-colonialism
and the black societies of the region. Gilroy deliberated on a wide
gamut of issues spanning from the history and theory of ideas,
social and political questions, and values to problems associated
with art. According to one of his theses, developed in the book,
characteristic features of Black Atlantic cultures included the
ability to propose a synthesis of cultural phenomena.
J. Lorand Matory, The New World Surrounds an
Ocean
The text by Lorand Matory concerns the culture of the Afro-Atlantic
region and belongs to studies comprising an extensive anthology
entitled Afro-Atlantic Dialogues, published by Oxford University
Press. The presented creative polemic involves the theory propounded
by Paul Gilroy and within reflections on the Afro-Atlantic diaspora
discusses the phenomenon of the inter-cultural dialogue.
James Clifford, Diasporas
The author considers the definition of the concept of the diaspora
in a changing and globalised world. In doing so, he focuses on its
recent articulation and outlines a map of the application of the
concept itself as well as its limits in studies dealing with
diasporas, drawing particular attention to the political and
historical embroilment of diaspora-oriented discourses. Furthermore,
he examines types of experiences described as diasporic and those
which are rejected, marginalised and supplanted.
Maciej Rożalski, Xirê – Game, Greeting and
Joke in the Candomblé Cult
The author deals with Afro-Brazilian Candomblé cults and by focusing
on the ritual inaugurating the ceremony and known as xirê tackles
the question of arbitrariness. Xirê is a moment of transition, the
opening of the ritual. Interestingly, it permits uncontrolled
behaviour, unforeseen in the order of the ritual. The author asks
whether the arbitrariness of activity, the transitory nature of a
situation can be the domain of a ritual which is, after all, defined
as an innerly ordered and planned process. Seeking an answer, he
interprets the principles of Candomblé by comparing them with the
game theory in culture, and predominantly concentrates on aspects
concerning “movement and counter-movement” as well as tension
between elements of the game, constitutive for the very concept of
the latter.
Roger Bastide, Afro-American Cults
The text was written by the legendary researcher studying Candomblé
cults. Roger Bastide analysed transformations of African religions
in North and South America by applying a wide historical perspective
spanning from the slave trade to the emergence of a capitalist class
society.
Monique Augras, Candomblé of Researchers
The author considers the image of the Afro-Brazilian Candomblé cult
produced by Ph.D. dissertations and articles by researchers who for
almost a century have been dealing with Brazilian religions of
African origin. Starting with the basic texts by Roger Bastide the
author is interested in analysing the contribution made by
successive scientific publications to the emergence of an academic
image of Candomblé, at times distant from analysed reality. He is
also concerned with the preservation of the authenticity and
integrity of the analysed rituals subjected to the constant impact
of university studies.
Jocélio Teles, The Candomblé Cult in the State
of Bahia during the Twenty First Century
Jocélio Teles is the head of Centro Estudos Afro Orientais (CEAO) in
Salvador (Brazil), an institution dealing basically with research
and publications concerning anthropological studies and writings on
Afro-Brazilian culture. The presented text is an excerpt of a
publication in which researchers working for CEAO proposed the first
large-scale description of terreiros Candomblé, together with a
presentation of the types and quantitative relations of
Afro-Brazilian cults in the state of Bahia.
Livio Sansone, Sugar, Oil and the Black
Atlantic
A presentation of dependencies affecting the traditional culture of
northeast Brazil from the viewpoint of economic transformations in
the region. The author focused on sugar cane produced in the state
of Bahia and relatively recently exploited oil, analysing theway in
which those two global commodities are linked with the construction
of the identity of the black and white communities in Brazil. By
comparing two ways of life moulded by different communities, he
recalls the Gilroyan Black Atlantic theory envisaged as a method for
interpreting the circulation of the ideas of race, black identity
and emancipation between Europe, Africa and the New World. The text
intends to propose an interpretation linking the impact of the Black
Atlantic with a specific colonial style and cultural dictatorship
accompanying the global product economy.
Leszek Kolankiewicz, Grotowski in a Tangle of
Haitian Narrations
The limitations and paradoxes of an anthropological discourse are
exemplified by narrations concerning Haiti. Here, the point of
departure are assorted variants of the autobiography of Amon Frémon,
a vodou priest from the village of Cazale in Haiti, inhabited by
descendants of Polish Napoleonic-era legionaries; in 1980 he came to
Poland and took part in an undertaking of Teatr Źródeł under Jerzy
Grotowski. This is an attempt at an intercultural translation of the
meaning of Grotowski’s artistic quests into Afro-Haitian concepts,
the reader is also introduced to a third component of the
comparison: could Frémon have become a Hassidic Jew?
Józef Kwaterko, On Vodou Paintings in Haiti
The article reveals the transcultural dimension of vodou painting in
Haiti as a tangible example of the syncretism of cultures and
religions in the New World, whose beginnings go back to slavery. The
first part discusses the social origin of the titular painting
connected with the vodou cult and rites as well as its first
institutional foundation – Centre d’Art established in 1944 in
Port-au-Prince and the outright explosion of works by naive painters
inspired by Afro-Christian symbolic and references to the world of
pre-Columbian Indians. The second part shows the formal evolution
and poly-functionality of vodou painting upon the example of artists
originating from the Saint-Soleil group created in the 1970s.
Selected iconography makes it possible to capture new
thematic-formal quests, which evade purely religious imagery. More,
they demonstrate how ludic features and the subversion potential
immanent for the vodou cosmogony are translated into a painter’s
individual language decisive for his personal interpretation of the
sacrum.
Olga Stanisławska, A Year After.
Port-au-Prince, January 2011
A reportage about the situation on Haiti after the tragic earthquake
of January 2011, which levelled all symbols of power. Ministries,
tribunals, UN Armed Forces and police headquarters, two cathedrals –
all tumbled. The tragedy affected everyone. People, however, rapidly
abandoned hope that the cataclysm would be followed by a great
reshuffling of cards, a radical transformation of the prevailing
system, and that a new and better Haiti would arise out of the
rubble. On the anniversary of the earthquake, 800 000 people still
lived in tents deprived of water and electricity. Having filmed the
official ceremonies, television crews from all over the world
switched off their equipment and left.
Sławomir Sikora, Rouch’s Africa. Mimicry –
Subjectivity – Agency
Jean Rouch (d. 2004) is regarded as one of the most important
filmmakers-anthropologists active for more than half a century. His
works have become the theme of assorted thorough assessments. The
presented text attempts to refer to a part of his variegated oeuvre
and shows (also via the film) Rouch’s relations with his friends and
co-workers. From a certain perspective it can be said that owing to
the critical reaction to his first important film, Les Maîtres fous
(1956), Rouch began to develop assorted strategies of relations
involving him (filmmaker and anthropologist) and his protagonists.
He favoured their adroitness (agency) but at times symbolically (and
theoretically) went over to their side. This took place in
particular when Rouch developed the conception of various forms of
the trance (ciné-transe) shared by the filmmaker at different stages
of shooting a film. Those strategies match well the postulate of the
contemporaneity (coevalness) of the researcher and the researched
(Johannes Fabien).
Radosław Barc, The Harlem Renaissance.
Art within the Context of Racial Ideology
The 13th Amendment to the United States, enacted by Congress in
1895, crowned almost a century of efforts pursued by adherents of
the abolition of slavery. It did not, however, resolve the problems
of black Americans and successive decades brought difficult
integration in social structures, the necessity of organising life
within those structures, and winning an opportunity for education.
Only a few enjoyed a chance to study the liberal arts, literature
and the fine arts. Those who succeeded and demonstrated special
talents were to play a prominent role vis à vis the whole black
community. Their art required a deeper justification than the one
dictated by classical education.
Following the example of William Edward Burckhardt Dubois and his
Souls of Black Folk (1903) Alain Locke perceived its raison d’être
in negating the image of black people, enrooted American society, as
incapable of expressing higher values. This was the goal of Locke’s
whole organisational and publicist activity, with pride of place
going to editing The New Negro (1925), a collection of essays by
assorted authors turning New York Harlem, the seat of the artistic
avant-garde, into a centre of “Black Zionism”. For the new educated
generation, which he described as the New Negro, Locke set the
objective of “restoring the good name of the black race in the eyes
of the world”, while blaming slavery for its loss.
Jacek Jan Pawlik, Atlantic Transpositions
Representations of Divinities and Spirits inspired by Otherness
The encounter with Others has multiple consequences. One of them is
the embodiment of Otherness in different forms of cultural
representations. On both sides of the Atlantic we find the presence
of spirits representing foreigners during the cults of possession.
The paper presents three types of these representations: Yemanja –
Yoruba and New World Deity of Water, Mami Wata – worldwide known
figure of water spirit and Mama Tchamba representing the spirits of
slaves. These figures express the remembrance of encounters with
Otherness and the desires connected with them and how they have been
shaped over the centuries and continue to develop. The desire of
wealth is expressed in cults of Yemanja and Mami Wata. The cult of
Mama Tchamba calls to mind the slavery and expresses the desire for
reconciliation. In all these cults vivified is the remembrance of
the encounter with Otherness. The Atlantic transposition is
performed in two ways movement – one from Africa to America looking
for jobs, and the other from America to Africa in search for roots
of origin.
Jacek Olędzki, Lotus Flowers.
Crinkly–Celluloid Toilet Paper
The presented diary by Jacek Olędzki is a record of his journey to
Africa in 1972-73 as part of the Academic African Expedition
organised by the Club of African Studies Students at the Department
of African Studies at Warsaw University. In an introduction to the
journal Ryszard Ciarka draw attention to the unique value of the
accounts since, in his opinion, “this is not a journal ‘to be read’
by others, but rather it was intended ‘to be written’ by the author,
probably at various moments and with a different attitude towards
surrounding reality as well as closest travelling companions, with
no further consequences. This is why the reader has to maintain a
certain distance and an awareness that he is transgressing the
intimate, inner world of another person”. The journal is thus an
original document showing the researcher in the reality under
examination, as well as an interesting book in which, with the help
of brief notes and concise descriptions, Olędzki outlined an image
of Africa while drawing the reader into a discourse brimming with
digressions about art (African and European) and systems of values
(once again African and European) that henceforth was always present
in his studies and publications.
Adam Rybiński, Maciej Ząbek, Images of Africa
and Africans as Seen by European Travelers from the End of the
Nineteenth Century
The authors analyse nineteenth-century European and in particular
Polish narrations concerning the perception of Africa and its
inhabitants. Their specific feature is ambivalence in the
demonization and, at the same time, idealisation or aestheticization
of the population of this continent, as well as the contrast between
the Africans and the white “protagonist”, featured in narrative
forms typical for European culture. Polish “images” of Africa thus
do not differ significantly from their European counterparts.
Adam Rybiński, La main dans la main.
The Matter of Pursuit of Tuareg Unity
The Tuareg tribes live in a vast desert in the area of south-western
Libya, southern Algeria, northern Mali and Niger and the steppes of
Mali Sahel, Niger and Burkina Faso, and have never been able to
unite. Their historical background is mainly that of wars,
plundering and fratricide. The Tuareg people were even unable to
unite in the struggle against their mutual enemy, the French, who
were gradually conquering the lands belonging to the different
Tuareg tribes. Although very belligerent, the Tuareg people have
always been aware of their linguistic and cultural community, which
is manifested mostly in their endoethnonyms. The Tuareg people
experienced great changes in the middle of XX century. Thousands of
shepherds who lost their fortune as a result of the failure of the
Tuareg uprisings went abroad, especially to Algeria and Libya, to
look for work and create the Ishumar (“unemployed”) movement. Its
aim was to liberate the compatriots from Mali and Niger and create
an independent Tuareg State. To this day poet-musicians, so popular
among the Tuareg people, have remained followers of the Ishumar
ideas. In their songs their call for giving up quarrels and for
unity (“Without unity, there is no rescue. Without unity, nothing
will arise”). More and more frequently Ishumar poets are accompanied
by women from traditional Tuareg musician groups. In the words sung
by women from the Tartit group: „The Tuareg people should love one
another, and go hand in hand, for unity and understanding. It is
freedom that is above everything”.
Majan Garlinski, Pictures from an Exhibition
Text accompanying the exhibition À Madagascar. Photographies de
Jacques Faublée, 1938-41, presented at the Ethnographic Museum
of Geneva in 2010.
Karolina Marcinkowska, The World of “Those
with Luminescent Eyes” Seen by King Dadilahy Buta
A fragment of notes made in the course of independent on-the-spot
studies on the chumba cult in the town of Mahajanga on Madagascar.
This is an account of one of many meetings with chumba: the spirit
of the mpanyak ruler “living” in the body of a medium, as a rule, a
woman. The term chumba refers to four phenomena: a cult of the
ancestors, a ceremony comprising its core, an intermediary of the
spirit, and the spirit of the ancestor. The chumba ceremony takes
place upon the request of so-called clients and consists of an
encounter with the spirit of a given ancestor, usually a Sakalava by
origin. “Meetings” within the context of the chumba cult refer not
only to the spirits and the clients, a man (chumba) and a woman (his
medium) but also to the past and the present, daily life and the
sphere of the sacrum. The titular people with “luminescent eyes” –
grammas in the language of the chumba spirits – are the “white men”,
the “strangers” and their world of objects, behaviour, and
frequently changing fashions. Alien cultural impact, syncretism, and
the category of otherness, present in the very source of the
Sakalava culture, are based on respect for the dead, characteristic
for the Malagasy people. In reference to the chumba ceremony, the
ancestors remain the supreme instance not only in the role of those
who sustain and transfer Malagasy traditions (fomba malagasy), but
also in reference to changes and innovations introduced within its
range, the acquaintance of new, earlier unknown behaviour or props.
Łukasz Kamiński,
“Kyendi” – Who Am I?
The article deals with experiencing a performance given by Ugandan
break-dance performers from the “Break-dance Project Uganda” at the
“Brave Festival” held in Wroclaw (“The ritual starts in Africa”
edition from 2008) and the essence of the dance within its Ugandan
context. The author of the article, who is also the co-author of a
documentary film about Abramz Tekya, the founder and leader of the
project, shows the role of the dance as a tool making it possible to
act for the sake of social transformation in the marginalised urban
youth communities of Uganda. Educators apply the dance to build an
attitude of tolerance and social responsibility. An essential part
of the text is about the globalisation motif of break-dance, which
emerged in American ghettoes inhabited mainly by the successors of
African slaves upon the basis of, i.a. Central African dance motifs.
Several centuries later, Central African dances in a syncretic form
expressed via the break-dance arrived, together with their hip-hop
culture foundation, in Central Africa, and for numerous young
Africans rapidly become the basis of demystification. The text also
analyses the performance given by the Ugandan artists at the
festival, concentrating attention on the introduction of tribal
motifs into the dance and accentuating the dialogue character of the
show based on the expectations of the Polish recipient. Finally, the
author analysed the idea of the ritual and tradition in reference to
the performance of the African artists and conducted a polemic with
the vision harboured by the organisers of the festival relating to
the socio-cultural ideological framework of this theatrical-cultural
event.
Tomasz Szerszeń, “Documents”, or a
Declassification Machine: Problem of the Subtitle, The Formless
A fragment of one of the chapters of a Ph.D. thesis entitled:
Margins of ethnology and art: “Documensts” (1922-30) and Michel
Leiris’s Phantom Africa (1934). The author concentrates on the
subtitles of the periodical, which is a manifesto of sorts of its
editors, as well as the conceit of the formless (French: informe)
that today has become one of those key-words describing contemporary
art.
Marta Skwara, Witkacy’s “Savages” – a
Well-conceived Response to an Experience of the Exotic?
The essay analyses a large group of characters appearing in several
dramas by Witkacy. Known as “savages (Polish: dzicy, and in the
feminine form: dziczki, which already suggests a certain perversity
vis à vis binding linguistic and cultural forms), they
effectively shatter the image held by the so-called “civilised man”
about so-called “savages”. Following closely Witkacy’s savages –
starting with the drama Tumor Mózgowicz (1919-1920), Mr
Price, czyli bzik tropikalny (1920) and Metafizyka dwugłowego
cielęcia (1921) to the libretto to the operetta Panna
Tutli-Putli (1921), the author analyses the deconstruction of
elements of literature, culture and science conducted on the stage
by Witkacy. She tries to demonstrate the way in which the author of
the unforgettable “bloodynigger” dramatis persona – the head of the
Aparura clan – tackles the civilised (scientific but also artistic)
visions of “savagery”. This was a pioneering approach in relation to
the postcolonial discourse, considering that it took place already
in the 1920s.
Joanna Raczkowska “Towards the Light of the
South…” or the Discovery of Africa by Mirosław Żuławski
The presented text is a literary critique attempt at deciphering
Ucieczka do Afryki [Escape to Africa] by M. Żuławski, conceived
as a sui generis diary of the author’s diplomatic service in Senegal
in 1974–77. His reflections are placed within a wide context of
mutual contacts between Polish (and European) and African culture.
The author’s enthrallment with the Black Continent was accompanied
by his enormous readiness to become familiar with it and understand
it. This experience resulted in a need for a re-definition of
himself by insertion in his home town of Dobromil. The text is
composed of several chapters dealing with the following issues:
primitive art, the image of Africa in Polish and European
literature, the motif of the hunt, and the role performed by music
and light. The background is the myth of old Africa, whose quest
compelled Żuławski to leave the European Continent.
Małgorzata Kitowska-Łysiak, Light-Sensitivity.
Could Xięga bałwochwalcza by Bruno Schulz Have Been Written Without
cliché verre?
In about 1920 Bruno Schulz executed a series of etchings, which he
entitled: Xięga bałwochwalcza. Today, it produces increasing
interest among researchers mainly due to the “book” structure of the
predominantly erotic motifs, and its place within the oeuvre of this
artist. It still remains a puzzle when and how did Schulz become
acquainted with the rarely applied cliché verre technique.
The article pertains both to the Schulzian series and the nature and
history of the titular technique. One of its descriptions says:
“Take a glass plate or a pane and execute a drawing not in a
darkroom but by hand, making use of all the possibilities created by
the properties of glass – its transparency and non-transparency,
analogously to the photographic negative; then the picture is copied
on light sensitive paper in the same way as an ordinary plate”.
Schulz used cliché verre, i.a. to achieve a conceptual effect of
stimmung, resulting from the need to depict closed spaces, which
constitute sui generis locations for the intimate scenes involving
men and women. He was probably less interested in the status of the
technique; much more important was the fact that it assisted the
language of vision and was highly effective – it made it possible to
produce images.
Irena Kossowska, Aporia: Multiplied
Depictions, Paraphrased Images
The author reflects on a domain of the visual arts that is part of
the domain of aporia, and that intrigues with its semantic
brilliance, evades binding interpretations, and provokes ever new
ways of deciphering while at the same time situating itself on the
borderline of the canonical, the recognised and the known in art.
The author shows the evocative potential of a little-known graphic
self-portrait by the forgotten Polish graphic artist Wanda
Komorowska (1873-1946), its susceptibility to interpretation and
inclination towards assorted research contexts as well as resistance
vis à vis methodical discourse closed with an ultimate conclusion.
The point of reference in the discourse are mirror reflections in
the art of Whistler and Japanese woodcuts, double (Stanisław
Wyspiański) and multiple (Stanisław Ignacy Witkiewicz) portraits
with symbolic connotations as well as simultaneous photographic
portraits from the Bauhaus range (Moholy-Nagy) and multiplied
self-portraits by Warhol. The author’s argumentation shows that it
is impossible to resolve definitely whether Komorowska’s
Self-portrait is situated at the beginning of this development line
in the art of the portrait, which leads to the stance represented by
Duchamps and Warhol, re-evaluating cultural tradition, or whether it
is part of a formula of the portrait disclosing the dualism of the
human ego, its rational and unconscious dimension (Surrealists). The
patrons of the interpretation proposed by the author are Barthes
(the conception of the punctum in photography) and Baudrilllard (the
simulacrum). The register of different formulas of the multiplied
image contains also the “tableau” as art of the photographic frame
paraphrasing the traditional conventions of depiction (Man Ray),
which enhances reflection on the ontological character of the
photograph as a medium. The dialogue with art of the past questions
the purely mimetic nature of depiction and makes us aware of the
creative power of art stemming from surrounding reality –
provincial, common and prosaic (Krzywobłocki, Schulz, Sielska). The
perspective of Derridaean associations, accepted by the author,
leads invariably towards the sphere of irresolvable interpretations.
Dariusz Czaja, Dark Night. Nihilology and
Faith
What is the meaning of the metaphor of the dark night, fundamental
for the teachings of St. John, and how should it be understood? What
sort of anthropological meanings emerged from the dark night of
Auschwitz? For contemporary reflection this dark night of the
Holocaust and atheism may turn out to be a promise or an obstacle.
In a situation when the naive, pre-critical languages of the faith
lost their explanatory might, the nihilology of the night might be
some sort of a chance for resolving the intellectual impasse…
Krzysztof Lipka, Bird Universe (Artistically
Warbling Birds)
This article is a continuation of the Audial image series
published in “Konteksty”.
Andrzej Pieńkos, The Retreat of the Romantic
Poet. Lamartine amidst Vineyards
A successive part of the series on the homes of artists – especially
those from the nineteenth century. This time the protagonist is
Lamartine and his chateau-retreat Monceau. This residence is
particularly interesting in contrast with the poet’s other homes as
an alternative seat or at least to a considerable extent deprived of
the elementary functions of a home because it was created probably
for the purpose of a single function – meditation and creation.
Antoni Ziemba,
Naples and Luca Giordano
Naples is a legendary town-myth, and Baroque Naples is a town of two
extremities, pious myths and proud aristocrats, the site of ascesis
and mystical experiences, as well as fun and ceremonies. The most
prominent impulse for the development of Neapolitan painting, of
consequence for several generations of artists, was the arrival of
Caravaggio (1606). Despite a lifestyle full of scandals and
evasions, his stay turned out to be a time of lively and bountiful
activity with a far-reaching and long-lasting impact upon the milieu
of Neapolitan masters – the adherents of tenebrism, either brutal
and rough or lyrical, created by Giovanni Battista Capriccioso,
Artemisia Genteileschi, Jusepe de Ribera, Bernardo Cavallino, Andrea
Vaccaro and the young Luca Giordano. The great plague of 1656
produced drastic transformations. A whole generation of artists
enrooted in the old formula of art died out and was replaced by the
young, inclined to pursue a new trend, lavish decorativeness and
Baroque opulence. They included Luca Giordano, who at the time of
his journey to Rome (1652-53) became familiar with the paintings of
Rubens and borrowed the latter’s manner, full of unhampered vigour
and glibness, which proved to be a source of great success and a
brilliant career. Giordano executed altar paintings and started to
paint frescoes; the summit of his international career was his
departure for Spain (1692), painting the ceiling of the Imperial
Staircase at the Escorial and, subsequently, an appointment to the
post of the court painter of King Charles II of Spain. Giordano
painted in a workshop manner and made drawings, sketches and
bozettos, thus attaining extraordinary adroitness. In the manner of
all painters-authors of frescoes he ran a workshop with numerous
assistants who partly executed his works or their fragments.
Bogusław (Sławomir) Bobula, On Painting by
Luca Giordano and the Collection of Stanisław Wydżga
Bieta Ficowska, The Birth of a Poet
Krzysztof Czyżewski, Look Straight into the
Eyes. On the Portrait of Jerzy Ficowski
“Amulets and Definition, or a Sketch to a
Portrait of Jerzy Ficowski”. Fragments of Dialogues from the film by
Paweł Woldan
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