Next week we begin our last module, "New Worlds/New Identities". Along with presentations, we will look at the work of Yinka Shonibare. From your readings this week by Guldemond and Mackert, Robert Hobbs and Manthia Diawara, answer the following:
- For Manthia Diawara, what is the significance of Shonibare’s work Cha Cha Cha (1997)?
- What does it suggest about the African independence and nationalist movements?
- From this week's reading and referring to our reading and discussion of Stuart Hall ("What is this 'Black' in Black Popular Culture?"), describe one way Shonibare challenges essentialist notions of "African" identity.
Extra Credit (2 points towards final take-home assignment)
Finally, in your own opinion, how does Shonibare's work help us think about and understand cultural hybridity in our current era of globalization? (minimum 150 words)
The significance of Shonibare’s cha cha cha for Manthia Diawara is in the context of the title and the wax fabric covering the shoes. He is interested in the meanings that are put into them by the people and the actual history that they hold. Cha Cha Cha is a tune in Africa that is associated with independence and the wax print is a sign of African authenticity. By wearing the wax fabric, the people are expressing their authenticity as an African and some coincide with a political or social movement that they may be a part of. The irony in this is that the wax fabrics sold in Africa, are made in Holland and Manchester With this, Diawara provides a good point that identities are constructed through consumption, just the wax prints and how they are labeled as African because they are the consumers. One way that Shonibare challenges essentialist notions of African Identity is expressing that it is the result of multiple influences in a post colonial time. Through the insertion of Western culture and business, their identity as an African is very arbitrary in the way that so many aspects of their life is based off of other cultures they have come in contact with.
ReplyDeleteDerek (DJ) Harris
ReplyDeleteArt 309 – Migration and Visual Art
Greene
Cha Cha Cha reminds Diawara of his childhood for one thing. He is also very interested in the history that these Dutch wax dresses give. The dresses themselves represent a mass of influential history to the African independence. By wearing these dresses, people are showing the significance of how proud they are as an African. The idea that the dresses makes Diawara think about the history of Africans where they would rather have ‘freedom in poverty than riches in slavery.’ He also states that to wear the wax was a sign of authenticity and heroism. The idea of the wax dress alone means so much to the African people. Many people would disregard them with ignorance, but a closer look at the history tells a much different and heroic story. As for one way that Shonibare challenges Hall on the definition of “African”, I would have to say that both parties view the identity completely different. Hall looks at the definition of black as something that is given to you based on skin color, location, heritage and things like that. While Shonibare isn’t totally different than that, he however takes a different route. Shonibare treats the term “African” as more of a title that someone chooses to wear. It’s not just something that is given to you, but something you have to be proud to wear as well. You have to choose to represent something, and if being African is the thing you are most proud of and desire to show it, then African you are.
The significance of Yinka Schonibare’s Cha Cha Cha is as complex as the pattern of the Dutch wax fabric that adorns the shoes. Manthia Diawara points to the face that the title references more than just a dace, often preformed in high heeled shoes. Diawara talks about how Independence Cha Cha, was the national chant and song that accompanied the independence of the Congo in 1962. According to Diawara Dutch wax has the connotation of being the symbol of embracing one’s allegiance and pride in being of the freed Congo. So the way that Schonibare put the two together unites them, but also cheapens and dates them according to Diawara. By putting the fabric in the context of shoe, he is lowering them to the level of kitche and of being unimportant in value, much the same way the Independence of the Congo became in history. Schonibare is then bringing our attention to the value of such ideas as independence, national identities and fixed associations we share of different cultures. I think Schonibare is saying that the African independence movement is still deeply entrenched in a past of being held by the monetary value of the land and people that are possessed in colonialism. The adoption of the Dutch wax by Mobutu Sese Seko as a way to show your allegiance to the nation of Zaire is also a strange parallel with this fabric and national identity. Using the same fabric to create these shoes I think in some ways even more strongly allows the viewer to question the legitimacy of such a thing as identifying ones self and national identity with fabric. A fabric produced by another country that use to hold colonial power over the nation is even stranger to me.
ReplyDeleteAccording to Hall Schonibare is challenging this idea that “high” art can only be produced in non-third world nations. Hall suggests in his discussion “What is this ‘black’ in black culture?” that the decolonization of Africa denoted the passing into a new era of late modernity.
Extra Credit:
I think is work asks us to look at things that we as viewers are not use to seeing. We are still emerging from a central European and American strong hold on the production of new art. To see old traditions of art challenged by Schonibare’s use of Dutch wax and the removal of heads of his subjects he is asking his audience to really take a look at what European imperialism did to the nations they held precedence over for so long. I think Schonibare opens up the dialogue to what happens to these countries after they gain their independence they never lose ideas, and good imported though imperialism. I think Schonibare’s work also speaks to how the histories are strange hybrids made mostly of foreign figures. I really agree with Hall’s comment on how this new era has only heightened the awareness we all have of the globalization going on and it’s impact on an international stage.
Stefanie McLaren
ReplyDeleteArt 309
Greene
Manthia Diawara pulls a quote from the book ‘Le systeme de la mode’ which is, ”the function of dress is not only to protect and to beautify, but also to communicate and exchange information with others, to comment on and advertise oneself..” I find this statement to be quite powerful and it is also a representation of how Diawara views Yinka Shonibare’s artwork. The idea that dress can be used to beautify but also relay a message is really interesting because I feel as though we kind of do that everyday when we dress ourselves. We are relaying a message of our style or who we are and what we like. For Diawara, Yinka’s piece Cha Cha Cha is a ‘commentary’ on art.
Cha Cha Cha is a pair of shoes covered with wax fabric that is placed inside a display, glass showcase. It brings about questions like ‘Why is this art’ and ‘What’s with the wax.’ It also challenges our views of African independence. It is represented as something that is from history and the past. We do not think of it anymore, just like the idea of the shoes being this kind of nostalgic thing because they are kind of kitsch and seem like a found object. Diawara also somewhat believes that it is mocking he idea of independence in a way, being that, it is both art and kitsch. I think that these ideas are intriguing, but I would like to discuss them furthermore in class to get a sense of what the piece is really about and the deeper meaning behind it, as well as Diawara’s feelings towards it and perhaps I will revise my post with further understanding.
Sara Stearns
ReplyDeleteArt 309 Greene
The significance of Shonibare’s work “Cha Cha Cha” is to represent Africa in many different ways. In one sense the title itself is a reference to the song “Independence Cha Cha”, which celebrated the independence of the Congo in 1962. From there we can focus on the piece itself. The piece itself is a pair of women’s shoes covered with wax fabric. In Diawara’s essay, it refers to the fact that the piece refers to African independence as something “somewhat dated, something that belongs to history. Africa’s independences, like shoes, are now an object of our collective memory, a source of nostalgia that only come to life in a museum or gallery space” (390) He is, in a sense, mocking the use of wax fabric as a representation of African origin. The actual origin of the wax material is from Holland and Manchester, these facts themselves lead us to criticize the authenticity of such. A main point that the author makes, is that we are what we consume. That is our identities are constructed through what we consume. Even if the wax print was not made in Africa, it becomes African through becomes African through consumption.
We see the mocking of this fabric as a representation when we look at where that African identity lies. Is it something that is specifically inherited, and that is a part of who they are? Or is it rather something that one makes an effort or a point to identify one as? This is one way that Shonibare challenges essentialist notions of the “African” identity.
The significance in Shonibare's work "Cha Cha Cha" involves both the title and the subject matter. "Cha Cha Cha" is the title given to an installation of a pair of woman's shoes. The shoes are covered in an African wax fabric and are encased in a glass box. The title of the installation is the name of a popular song that was is often associated with Africa's independence. The Cha Cha Cha song was embraced by many and was always played at celebrations and nightclubs. The wax cloth is significant because it is a fabric that also alludes to the post-independence era in Africa. Through wearing the highly decorated wax fabric people were able to define their African authenticity. The installation is a good example of a piece of art work that challenges the viewer. One way Shonibare challenges essentialist notion of the "African" identity is that he forces the viewer to make connections.
ReplyDeleteYinka Shonibare’s piece titled Cha Cha Cha, are a pair of closed toe heels that are covered in Dutch wax. The print is tribal with organic swirls and dots; the inner lining is a bright marigold yellow. There are a couple of significant things about the shoes, the first, being covered in Dutch wax which is how Africans show their authenticity and solidarity, by wearing the fabric. Along with being covered in Dutch wax, the shoes are entitled Cha Cha Cha, which alludes to a post independence idea. Celebrations of politics always had dance rituals. Ritualized dances where often done for political celebrations, now Dutch wax is worn to show the wearers politics and position. The piece is a tribute. But while it affirms African pride/culture it also a mocking gesture. Along with elections being won and parties coming out on top, there comes along personal gain, unjustness, corruption and so on. Dutch wax was originally manufactured by the Dutch, made to be cheap and imitation of Javanese batik, when the material did not sell well in Europe it was pawned off to Africa. There are variations of similar meanings within the shoe; they can be taken far and deep or seen as a tribute.
ReplyDeleteShonibares art consist of placing the Dutch wax fabric in the place of European, Victorian settings. The settings could be, rooms that are covered ceiling, floor to furniture, in vibrant, colored and printed Dutch wax. The hollowed bodiless forms, dressed to the finest attire of the classic, old Europeans dresses and suits, only the fabric is now Dutch wax. Shonibares addresses the issue of the lack “black face” in art, by covering empty places and forms in Dutch wax. He is challenging the viewer by sticking two cultures that existed in the same world at the same time, but pulling the hidden, African culture out wide into the white European dominated culture.
Extra Credit (2 points towards final take-home assignment)
There is no “pure” culture that has never borrowed ideas, methods, materials, tactics, and games and so on from another culture. Shonibare’s work helps us see this by the use of dutch wax and what the wax means to the people of Africa. Dutch wax, originally made to be cheaply bought and for the white Europeans, did not hit it off at all, instead the people of Africa took in this cloth and wear it as a symbol of independence, political support, and identity. One peoples failure another’s success. So many things, whether it be touchable, appliable or tell-able passes over oceans, borders and mouths, influencing individuals and civilizations in ways that are small to great. We are influenced by many and different things and this is shown in the clothes, era of interest, and textiles Shonibare uses. Even each of these items as an individual, can probably be traced to a specific area where the inspirations of their design and make come from.
Justin Beale
ReplyDeleteArt 309
Greene
The significance of Shonibare’s work points to the complexities of how politics and fashions intertwine with African societies in relation to their former colonial identities. The use of Dutch wax in Cha Cha Cha (1997) can be seen as a commentary on art that focuses the attention of the piece on the wax fabric covering the shoe. Dutch wax has a long history of defining the authentic African identity although the material is ironically imported from their former colonial powers. The fabrics are often seen as a visual expression of authenticity often associated with political parties and ideals. The idea that the fabrics themselves are a representation of authenticity suggests that African identity is shaped through this consumption of the fabric. The title of the piece Cha Cha Cha originates from the Independence Cha Cha tune sung throughout Africa at times of celebration which suggests that the associations with the “authentic” and often fixed African identity in relation to the fabric is something very dated. This notion of the fixed identity is challenged in Cha Cha Cha by reducing the fabric/shoes to the kitsch that speaks to the criticism of globalization and consumption in the contemporary world.
Brianna Jaeger
ReplyDeleteYinka Schonibare’s Cha Cha Cha is significant to Diawara because it reminds him of when he was growing up and seeing his mother wearing Dutch wax. There is a strong political connotation with the material, and by wearing a certain pattern you are representing power and sex appeal. The Independence Cha Cha is a song associated with the independence of Congo.
When Schonibare put the Dutch wax on shoes and displaying it in a museum makes the independence of Congo dated. According to Diawara by representing African independence by the wax covered shoes and calling it Cha Cha Cha it makes it kitsch and Afro-pessimism. Shonibare takes the Dutch wax out of Africa and brings it back to Europe, and tries to bring to cultures together.
Ismar Kulenovic
ReplyDeleteArt 309
Greene
Blog 5
The artwork Cha Cha Cha by Yinka Schonibare is a pair of shoes dipped in Dutch wax. The title Cha Cha Cha is from the song “Independence Cha Cha” which celebrated the independence of Congo in 1962. The wax symbolizes how there is a layer of new identity from a new origin in Africa itself. This is like a traditional shoe which is glazed by new identity. This can then bring the question of how authentic are these shoes, since there is African influence on a Dutch based product. However since the African people have taken this and used their influences on it, it shows their identity and that is authentic. With the world markets having access to more areas of the world, products can be sold all over, and they bring their origin cultures and influences also. The people can then take that product and influence it in their way as well. Hall says the definition of black is something that is given to you based on skin color, location, heritage, while Shonibare treats it as more of a name or title that someone chooses to wear or represent.
Kevin M. Otto
ReplyDeleteArt 309
The production of Dutch Wax was geared to be marketed to Europeans but with the rejected acceptance of Dutch Wax in the European culture the market had to migrate. Interestingly enough the Dutch Wax migrated to Africa, a land which European powers had colonized in the past shows a post colonial relationship between the colonized and colonizer. By looking at the images of the figure skaters it comments on the European influences that exist in Africa. Here is this “authentic” African style of clothing and yet it was and still is produced in Europe. So what is considered to be authentic in regards to a nation or culture? Adoption across cultures take place and in this case a fabric rejected by one culture was able to associate itself with another as a symbolic cultural representation of African authenticity. The work of Shonibare in the piece Cha Cha Cha takes this patterned Dutch wax and covers a pair of high heel shoes. It is humorous enough that by taking essentially any foreign object to a culture and by covering in this material that it can become representational of an authentic culture. Looking again into the photos of the figure skaters, the piece dressed in Dutch Wax which is such a strong identifier for African culture is absent of a head. The question is raised if this piece would be as successful if a head were placed on this figure and it would then be identified with the ethical race of the head that is placed on the figure. A more interesting discussion is raised as to what culture this figure really belongs to. Mimicking the European style is comical, with comments on the origins of an authentic African identity that raises the question as to what culture Dutch Wax represents.
Extra Credit:
Shonibare’s work helps us understand cultural hybridity in today’s context by commenting on post colonial effects. Colonialism is such a strong agent for globalization but it questions what is and is not hybridity or if it even goes unnoticed. This is Hybritiy at its peak when a culture has adopted a foreign material such as Dutch Wax and used it to identify itself. Questions are then raised as to how far this Hybrity goes and if there exists any authentic culture in today’s world or if everything have blended together. Cultures has looked at others and adopted certain characteristics, materials, or other cultural artifacts only to bring it into their own culture and deem it part of their culture. Shonibare’s work brings into discussion cross cultural migration and shows the effects of globalization over time in looking at his work that coats objects in “authentic” African material over high heel shoes or Victorian styled furniture and positions raising this discussion to a new level.
For Diawara, the significance of Shonibare's work Cha Cha Cha lies within the meaning of the title and the symbolism of the Dutch wax. The name Cha Cha Cha is derived from the Congo Independence song Independence Cha Cha. The title Cha Cha Cha represents the independence of all of Africa. Also the Dutch Wax is representative of the Independence of the continent as well. The Dutch Wax, a product of Europe, became very popular and successful in sub-Saharan Africa, during and after European colonialism. The wax, a symbol of African independence and solidarity, according to Diawara, can be analyzed as a new identity for Africans and how they had turned something foreign, something European into something African. This one way Shonibare challenges essentialist notions of "African" identity and believing that other cultures can be intertwined with the African Identity.
ReplyDeleteThe whole idea throughout the piece Cha Cha Cha is an idea of borrowing cultures or certain aspects of culture and adapting it or absorbing it as your own. Shonibare helps us think about these different ideas and aspects of cultural hybridity through his dutch wax pieces. The European style dress transformed into something that might be or could be African, however the race of the person is a mystery due to the missing head. Therefore he creates this idea of who is borrowing from who and if the person African or European, or both.
In 1962, when Congo gained Independence, a song titled Independence Cha Cha soon became a celebration song sung by the people of Congo. The fact that Yinka Shonibare made the title of one of his works Cha Cha Cha directly strikes a cord with Manthia Diawara, who grew up in the late 50's during the peak of African independence. Also the fabric, Dutch Wax, that covers the shoe has been a symbol of "authentic African-ness" for decades. In fact, people define there African authenticity by wearing wax fabric which ironically comes Holland and Great Britain. The fabric comes in many patterns and motifs there are even prints that signify certain political viewpoints. The paring of the title and the wax fabric on the shoe makes the piece kitschy and cheap. Diawara sees the shoes as something dated just like the African Independence, which is now something of the past and has been "washed off in contact with human endurance and resistance." Hall and Shonibara have very different views on what is the definition of being "African." For Shonibara you choose to be "African" you choose to call yourself that and you are proud of it and you wear it well. As for Hall, his view on the definition of "African" is that being African is something that comes with being born with a certain skin color and the location you are born in, and heritage. One views it as a choice and the other as more or less the random hand you are dealt.
ReplyDeleteYinka Schonibares' "Cha Cha Cha" is significant in a few different ways according to Manthia Diawara. The first being the title of the piece itself. The title is tied to the song that represents African independence despite its roots in Cuban culture. The shoes are covered in Dutch wax, which has history and controversy in Africa. Dutch wax is produced in European countries like Manchester and Holland. It is then shipped and sold in African countries. Groups of Africans started wearing this non traditional clothing. Over several generations the people have started to embrace this clothing as their own identity. They have become proud of their cultures and traditions as well as their independence. Africans are embracing the fact that they are prospering in poverty. One way Yinka Schonibares challenges essentialist notions of African identity is through new ideas in his work. Challenging the viewer to question what is high art? Who is the creator of fine art, and does race play a role in what is considered to be high art, or outsider art. Shonibares touches on these ideas of identity and represents two cultures into one work of art.
ReplyDelete