Bamum Royal Throne

Which artifact was the most challenging to obtain and why?
The majority of the pieces in the current collection were collected over a period of 40 years by a passionate collector of African art named Mr John Wessels, and of course each piece has its own unique history and related story set of stories to tell. During the course of our research we were fortunate enough to get assistance from various great sources, one of whom was Mr Njutapmvuli Mouliom Hamidou, who is a very knowledgeable African art dealer. This was extremely helpful to us as Mr Hamidou’s family have been in the African art business for something like five generations – I believe his father and even grandfather were instrumental in acquiring some of the larger items and he explained that of all the objects in the collection it was the Royal Thrones that were probably the most difficult and expensive items to acquire.

What made the thrones the most challenging to retrieve?
For one thing, the fact that they are royal thrones makes them particularly significant objects – they are often decorated with what represented the wealth of the people (in the form of glass trade beads or cowries) as a visual sign of their opulence and importance and, being created for the use of only a select few individuals on special occasions, they are also quite rare objects. Despite their considerable bulk, many are rather ornately carved or elaborately finished with delicate glass beads and/or cowry shells, all of which requires highly experienced and well- equipped individuals to transport them from their places of origin. More often than not they had to be transported from some of the more remote regions of Africa where the terrain can be extremely challenging for any sort of vehicular transport.

Bamileke Royal Thrones King & Queen

What’s the next step after the piece has been retrieved?
Once a piece has successfully been retrieved from such an area it still has to be shipped or air freighted to its final destination, and so has to be subjected to all the usual issues of customs, quarantine, handling damage and so on before finally being exposed to a Methyl Bromide for 12 hours in order to kill any passengers that may have come along for the ride.

This, however, is only half of the story and only happens once the object has been successfully located, its sale or trade successfully negotiated and the necessary ceremonies performed in order to ‘dis-imbue’ the object so that it can be released, often involving scores of individuals and is not always a simple case of money for goods. It was essential to have a reliable and experienced team of professionals to get the job done. They also needed to be properly funded in advance in order to successfully complete the whole trip.

These expenses could easily run into hundreds of thousands, sometimes even millions of rands, all paid for up front with no guarantees that you will even receive the object.

Bamileke Throne & Bamum King’s Throne

Where did the inspiration for the project begin?
I was always amazed that there was no African art museum in South Africa and that African art was always relinquished to sidewalk or flea market-type sales. I thought that a book would be the first step in introducing people to the magnificent variety and richness of art available on the African continent.

The story behind Oju Ona started in the ’90s when Mr John Wessels aka ‘Pappa Cameroon’ (as he was known to the local African art dealers) asked me to assist him in negotiating with the Museum of Primitive Art in Paris (The Musée du quai Branly). Mr Wessels was hoping to have his collection placed in the museum and needed a fluent French speaker to assist him in the negotiations. At the time I felt that I had insufficient knowledge of African art to be of any assistance and declined the opportunity.

Seventeen years later I was approached by an auctioneer friend regarding a collection of African art that was up for sale. I then made an offer that was accepted by the estate without knowing to whom the estate had belonged. That same night I had a dream in which I had a vivid recollection of John Wessels and his collection, which I had last seen nearly two decades previously. After the dream I felt the urge to keep this unique body of work intact and so I decided to try and preserve and exhibit it for the sake of future generations for as long as possible.

Despite the not inconsiderable difficulties that this decision has presented, I still feel that it was the right thing to do as this project is long overdue in Africa.

After all, art is at the centre of culture and identity. If we want to see African art and culture elevated and celebrated on our terms then it is it is essential that we take the lead in proudly displaying our art to the world and preserving our heritage for the generations yet to come.

I think it would be a terrible loss to the country and the continent for this wonderful collection to go the way of so many others before it and sold off piecemeal to foreign collectors.

Bamileke Royal Throne

The press release claims this museum will rival the Louvre, 1) in what way/s will it pose as a rival and 2) what has been the response to this goal from the general public?
I am the promoter of the concept and registered the name of ‘The South African Museum of African Art’ (PTY) LTD. I identified Park Halt Station as an ideal location and approached Transnet, who are the owners and Johannesburg Development Agency (JDA), who are the lease-holders, with the proposal.

The brief for this concept is to create a building that embodies the future of the country and the continent in scale, style and ambition and which will vie with other world class museums, such as the Louvre in Paris, in capacity.

To visualise this ambitious brief I engaged the expertise of two young architects – a move that I believe has really paid off as their fresh and contemporary approach to building’s design is exactly in line with our requirements. I sincerely believe that their design could be an icon for the city in an area that I think could become the ‘Times Square’ or ‘Piccadilly Circus’ of Johannesburg.

So far, I think that everyone we have spoken to recognise the desperate need, in Johannesburg especially, for properly planned and maintained public spaces that integrate cultural and artistic institutions as well as entertainment and commerce and so on and as a result the responses we have gotten have for the most part been extremely enthusiastic.

Bamenda Tikar Power Figure

The book focuses on a small portion of the entire collection, how did you pick and choose which artefacts to put in the book?
It wasn’t easy, I can tell you. All in all, from concept to final product, we spent three years in the production of Oju Ona. The process began with photographing and cataloguing the entire collection and then using the catalogue we had created we began the long and difficult task of selecting a broad range of pieces, within a set of categories, representing each and every country in the collection. This was done with the museum in mind as the book’s purpose is simply to be a broad overview of the collection that provides a brief introduction to the subject in a South African context. In fact we spent quite a bit of time on the problem of how to group so many pieces from so many places and peoples.

Essentially, our goal was to devise a set of novel yet sufficiently broad categories that maintained a sense of continuity from group to group so we spent quite a bit of time on the problem of how to group so many pieces from so many places and peoples. This was done with the museum in mind as the book’s purpose is simply to be a broad overview of the collection that provides a brief introduction to the subject in a South African context.

Taking the art and placing it in one central location in South Africa makes it difficult for people in different countries to view the art, why one huge museum instead of a series of smaller ones in multiple countries?

The goal of the South African Museum of African Art is to germinate a new vision for the arts in South Africa, which not only celebrates our cultural diversity but also proudly proclaims our role as custodians of an important heritage that belongs to everyone.

In doing so we believe we can inspire the next generation of historians, archaeologists, writers, architects, engineers and academics of every specialty, hue and background. One very important way to do this is to take the lead in shifting the focus of academic research towards the vast and little-understood history of Africa, from an African point of view, by establishing a centre for study and academic discourse that we hope will lead the way in future research and free African art from the shackles of the art/artefact dichotomy.

The museum aims to be the most representative collection of African art – showcasing work from every country in Africa, something that has never really been attempted before and which requires a large central and secure location to house and properly display it. However this is not the whole story – it has always been our intention to tour various elements of the collection around Africa and indeed, the world so that all who are interested can be inspired by it. This will also serve to create the sort of academic focus and interest that we believe will be of great benefit to the country and to the continent.

Bamum Queen’s Throne

Will the museum focus on lost history and artefacts or will it highlight contemporary art and the forward-moving spirit of Africa?
The larger, long-term goal of this museum is to create and foster a broader interest in the cultural heritage and history of the continent of Africa so as to a local appreciation for the art of and artefacts of the continent so that they might be involved in the on-going dialogue on the topic of what separates art and artefact.

We believe that it would be a healthy distinction to make from a local standpoint rather that have the perspectives of Europe and America as the only voices that count when it comes to the topic of what the likes of Sotheby’s and others have branded ‘primitive art’. In fact we feel that once the distinction between what actually constitutes an invaluable and utterly unique piece of cultural and historical heritage fit only for public display for the benefit of all and what is a valuable piece of art, regardless of what form it takes, then we will have taken an important step

… A step towards taking control of our heritage and promoting the talented artists of the continent fostering local and regional appreciation and active participation in both the generation of new forms of art as well as preserving and celebrating cultural heritage.

Click HERE for Part 2 of the interview.

Purchase Oju Ona, here!

Hemba Caryatid Stool

interview by Sydney Chesnut, edited by Chanel Carstens

Bamum Travelling Stool

You describe the book and this whole movement as a call to action, were you anticipating the results you have come by?
We have had some very positive and encouraging dialogues with Transnet, JDA (Johannesburg Development Agency) and various government officials who are all very enthused about the possibilities raised by a project of this sort and want to be a part of the effort to promote and preserve African art, culture and heritage as well as encourage South Africans to take a greater part in the on-going academic research and debate on the subject.

There will inevitably always be one or two detractors, usually with vested interests in the status quo or cynically warped and anachronistic attitudes that are better suited to by-gone eras but those voices are very much in the minority as far as the feedback we have received is concerned. Besides, we have not gotten to where we are now by paying attention to such myopic negativity.

Instead we prefer to focus on explaining and spreading the dream as far and wide as we can by getting as many champions for the cause on board as possible. We are very grateful and honoured to have the continuing support of several notable individuals who have offered advice, support and assistance in making this dream a reality.

Igbo Mmwo Helmet Mask Kongo Mangaaka Nkisi Nkonde

What separates your book from other collections of African art?
Oju Ona is an introduction and overview of a much larger collection and was conceived as the first in a series of books that will further expand on the collection and the museum. With Oju Ona we tried to avoid simply putting together a catalogue with basic descriptions and actually produce something that would give a bit of background and depth to the objects and their intended use, purpose and significance without going too far the other way and coming off as though we were trying to pass ourselves off as experts in the field producing a definitive handbook on African art.

Essentially we wanted to convey the sense of newly discovered wonder and appreciation that we had as laypeople investigating a subject that we were astonished to find was so obscured, exploited and misrepresented and yet was so utterly fascinating and revealing nonetheless.

This is why in parts of Oju Ona we allowed ourselves to take a few detours to tell some of the back-stories, histories and mythologies of some of the more influential cultures and individuals so as to try to ‘place’ the artwork on the page within a human narrative instead of divorcing it entirely from all context as seems to happen all too often in the African art industry.

Djenne Terracotta Figurine

Street artists and handmade crafts are a huge part of the African culture and are the stereotypical idea of African art; will street artefacts be featured in the museum as well?
One of the goals of the South African Museum of African Art project is to provide the right environment for a meaningful dialogue on the problems facing African art and the distinctions separating art from artefact. These are important discussions that are central to an understanding of African identity and vital if we wish to take ownership of the subjects that have a very real impact on us as a country and as individuals as well.

To create a developed and progressive society that is sustainable we have to step up to our responsibility as custodians of our own heritage.

We can only effectively do this by encouraging learning, facilitating academic research, providing a central hub for progressive dialogue and communicating this information and to the people of South Africa and the rest of the World. This is an important question and one that we touch on in the book only briefly as it is one that requires a lot of unpacking and deserves a much larger forum.

For our own part, we feel that without a broader awareness and support from all sectors of society it will be extremely difficult indeed to create the sort of vibrant and dynamic art industry that other developed nations enjoy. The exploitation of Africa’s collective cultural heritage has been as rampant as that of its natural resources but in South Africa this has seemingly been largely ignored – arguably in favour of more pressing matters associated with South Africa’s transition to a free and democratic society.

We feel that it is time that these issues got the attention they deserve and we believe that the time is right for us as a nation to exert ourselves as the responsible custodians and defenders of the heritage that in fact belongs to us all.

Bamileke Royal Throne Cameroon

Many popular museums feature Egypt separately from the rest of Africa in exhibits and contain many more Egyptian items of art, how are you going to make sure that all countries in Africa are fairly represented?
What is amazing to me is that if one goes to the Metropolitan Museum in New York the display on one side is of Egyptian art and on the other side of the hall are displayed the artworks of the major civilisations of the rest of the African continent.

We feel that one of the biggest problems we face is that much of the art that is available is not supported by contextual studies, as is evidenced in the example of the Metropolitan Museum, where the objects in the Egyptian half are accompanied by elaborate descriptions that give context to the work, whereas the art from the rest of the continent is furnished with only the most basic of descriptions and provides very little background.

The rest of Africa has received far less academic attention, which just goes to show how much ground we still have to cover. It is sad that many people today are not aware of any of the other great empires that once existed in Africa apart from those in Egypt – it’s not that they didn’t exist but simply that they don’t get as much academic or media attention.

To read Part 1, click HERE!

Purchase Oju Ona, here!

Bamileke Kwifon Masks Cameroon

interview by Sydney Chesnut, edited by Chanel Carstens

images: Babatunde

From what began as a 5-hat and 5-cap design experiment, by Babatunde’s creator Gareth Cowden, the brand has moved into a space of creative optimism and confidence with new exciting products taking Babatunde to adolescence. With the target of becoming a worldwide brand, Babatunde amalgamates African colours and prints with Western shapes. The prints represent the individuality of each human being, whilst the colours symbolize the affluence.

images: Babatunde

This season’s collection Capulana Fever embraces the spirited heat of the African summer and pushes the boundaries of bold colour and print, as shown in the campaign shot by photographer Ross Garrett and styled by Gareth Cowden.

images: Babatunde

Babatunde stands for strong African values, and the progression of Africa through Afrocentrism. Each product is distinctive due to fabric cuts, as well as limited prints. Babatunde stands for all that is truly African and promoting strong family values. Babatunde urges the father figures to return to Africa. It is up to us as Africans to lift the continent, to respect each other and those around us, and to make decisions that benefit Africa. All products are proudly handmade in South Africa from African fabrics, and all the manufacturing takes place in South Africa with various manufacturers based in Durban, Johannesburg and Cape Town.

images: Babatunde

images: Babatunde

images: Babatunde

images: Babatunde

images: Babatunde

Photographs by Ross Garrett
Styling by Gareth Cowden
images courtesy of: Babatunde
source: Styling Concepts

image : namsaleuba.com

image : namsaleuba.com

Some of the subjects resemble voodoo dolls covered in ritualistic artifacts, common to the cosmology of the Guineans. Explicit scenes of exorcism, twisted bodily figures and animal slaughter is strikingly captured in a dusty African setting. According to Leuba the ritualistic series is part of a whole “symbolic order” and is meant to fit into the aesthetic of Westerners’ taste.

image : namsaleuba.com

image : namsaleuba.com

The Western gaze that focuses on Eurocentric points of view upon an African society is controversially apparent in these images, which make them even more shocking, not only for the Guineans who were said to be afraid and felt exploited by Leuba’s “practices” but also Europeans who might interpret the images as savage. In one of the photographs a tribal costume is mockingly made from American flags.

image : namsaleuba.com

image : namsaleuba.com

In a globalised and technology driven world that is characteristically Western, there tends to be in a constant battle with the forgotten and traditional cultures that still manage to survive in underdeveloped places like Guinea. For us who might be blissfully unaware of these cultural divides can appreciate Leuba’s attempt in creating something that is raw and thought provoking.With “YaKalaBen” Leuba invite us behind her lens to give us a glimpse of the ancient and fascinating traditions of a strange and colourful Guinean tribe.

Words: Talita Calitz

Sources: namsaleuba.com, lostateminor.com

images: namsaleuba.com

Rob Boffard (alias Rob One) is one such person, an avid hip-hop fan who has written about the culture in a vast array of publications, favouring finesse over cheesy journalism in the process. He has added flesh to a sometimes-misunderstood activity (The mixtape culture in Y-Mag), provided impetus to a scene which really needs to grow wings (South African hip-hop in The Guardian), and offered readers an insight into the functioning of rap heavyweights (interviews with Sean Price, Pharoahe Monch, etc. on Okayplayer). Not only that, but he is quite the ardent listener and lover of all things hip-hop; his 20/20 podcast, now in its 150^th episode, stands as testament. Of late, his twitter rants (see here and here) should – in an ideal world – be elevated to legendary status, trending for weeks on end!

Based in the UK, this South African-born emcee studied Journalism at Rhodes University. It was after graduating that he packed his bags and went to the land of warm beer and gray weather – apparently – to find his way around life. He does however seem to possess the superhero ability to keep track of what is happening in the land of his birth. A die-hard Jo’burger, Rob One has recently released his debut LP, African, and I caught up with him to discuss the evolution of its artwork, and whether it in any way encapsulates the contents of the album.

What are your favourite album covers of all time (non-genre-specific)?

Okay, I’ve got one very specific one. My favourite album cover of all time is probably Mos Def and Talib Kweli’s Mos Def and Talib are Blackstar. The Blackstar album has a wood effect like it’s on a… I don’t know, like an old crate somewhere or something, and just then you go ‘this is gonna’ be fly.’ Then you flip over, it’s got that same effect on the back. You pull it out, and they’ve just expanded it into still what I think are the best liner notes of all time. It’s super-detailed, breaking down every single track. So Blackstar’s up there. Um, I think I’ve [also] gotta’ give it up to [Nas’] Illmatic; it’s predictable, but it’s gotta’ be up there just purely because you haven’t…  there’s no other album cover out there that’s established such a trend for a rapper. I really like Brother Ali’s album cover of Us. I don’t know why, it’s not a particularly striking image; it doesn’t stand out on the shelf. But I look at it and something just goes ‘that makes me feel good.’ I don’t know what it is.

Who worked on the album cover?

Er, that is an interesting story. I’d originally hired a South African artist to do it, a guy who I was a fan of named Silas. I hired him and he quoted me a very reasonable price, and his stuff is WILD, it’s out there, it’s crazy! I just thought this is the guy who’s got the imagination to make this happen. But as things turned out, he couldn’t stick to deadlines and couldn’t communicate on e-mail. After a while, I just got gatvol with him and went somewhere else. And I went hunting around for artists; it was that situation where I had a budget, I had to stick to the budget. There was a Singaporean artist called Stanley Lau who… literally his art just took my breath away; I e-mailed him and he quoted me the equivalent of R20, 000!

[Then I] came across this website by a woman named Sandra Lanz [who] lives in Rhode Island in the States. I don’t think she’s ever left the States – she’s certainly never been to South Africa. So I got in touch with her, and she quoted me a really good price. I thought okay, her art’s not quite a hundred percent what I’d been looking for previously, but let’s give it a shot. [For] someone who’d never been to Jo’burg, she just nailed the look of the city! I was talking to her about it; she just went out and got as many reference photos as possible and just sketched until she had it right, and she was an absolute pleasure to deal with. The whole idea behind the concept art thing (available with the digital download of his album) was well, I’ve now got all these really awesome sketches that she sent me; to show how this thing developed, let’s make this as a funky little bonus thing.

Is there a theme to the album?

Um, in the sense that the theme is telling African stories that aren’t traditionally considered African. All the storytelling is sci-fi, it’s got government agents, it’s got alien themes…all those [things] you don’t necessarily associate with Africa and South Africa, and Jo’burg in particular – although District Nine kinda beat me to the punch a little bit. But that’s the over-arching theme of the album, to tell those particular stories. The cover itself directly relates to the very first track, ‘The sky’, which is about suddenly gaining the super-human power of flight. What I asked Sandra to capture was the moment where the character suddenly gains control of his ability to fly. He’s not just flailing around and going ‘oh shit, I’m actually flying’, he goes ‘okay, I got this, I can actually move now’.

What inspired the colour scheme?

Although what I originally wanted was a very gritty, dark kind of, you know, hardcore comic book-style cover, after some thought I realized the album is not a massively gritty album, it’s not super-dark. So, let’s have a compromise; let’s have very thick black ink used to draw the buildings and to get the outlines, but let’s combine it with a colour scheme that shows off the kind of positive power of this album, and shows off what the location is like. So that’s why you get that beautiful, brilliant blue sky. I specifically said ‘listen; make sure that that is an African sky, that it’s something you see over Jo’burg’. Ja, I don’t know why but she’s…she’s got a real gift for colour, that’s here biggest gift. And she nailed it! Ironically, she made the hoodie bright red – I think just as a contrast – but I have a hoodie that exact same shade.

How easy/difficult was it to realise your vision for the album cover to its completion?

Um, working with Sandra was the easiest thing in the entire process. I’ve never worked with somebody who [was] just so eager to get it right. I said ‘okay, how long do you need for this?’ and she’d say ‘right, gimme a week and I’ll come back to you next week with some sketches’, and she did!

Do you feel that the artwork accurately reflects the contents of the album?

I do, and I say this knowing full and well that I made the damn thing! But if I was not familiar with [the artist] and I was buying this album, a few things would immediately spring up from the cover – I’m assuming for the moment that I actually know it’s a hip-hop album. Okay, I’m seeing comic book artwork, [so it’s] probably gonna be an indie emcee; there’s something interesting happening here; this guy’s floating over the city. It looks like a massively bright album with gorgeous colours jumping out at me; that city looks like a place I’d like to explore; I wanna find out what goes on in that city, I wanna find out what goes on in that story. [So] imagine that image as an entry point into the music, it’s a snap of a single moment of a single story in that entire album. It’s saying to the person who looks at it: this is the cover of the comic, open and flick through to see what the story’s about.

What can people expect from the album?

Uh, you can expect an album unlike any album you’ve ever heard before. Er, a lotta’ rappers would say ‘there’s something for everyone’. Well, on this, there’s not something for everyone; this is not for the Lil Wayne listener, this is not for the person who throws on 50 Cent while cruising in the whip down…I don’t know. It’s hip-hop that is enjoyed by sitting back, telling a cool story, and having a blast. So, if you go into it expecting a radio track, super-massive features or a posse cut – not that there’s anything wrong with those – but that’s not what this album is about. This album is about some cool stories and some great music.

Any last words?

Ha! I was very amused that Sandra thought I was black! That was so strange; I didn’t even think to tell her. We’d been communicating on e-mail, we hadn’t Skyped or anything. But to her credit she was like ‘uh, er, yeah, I’ll fix that for you’.

LINKS

Twitter: @robboffard

Website:http://www.robboffard.com

Bandcamp: http://robone.bandcamp.com

words by: biz-ark-human

Chic Afrique from one small seed on Vimeo.

Instead of selecting models from glossy catalogues, the brothers collaborated with Afrochique sensation Gazelle on the project, using The Season Marimba Star players as their models and frontman Xander Ferreira as their photographer.

Screenshot

Screenshot

Featuring: inoue brothers
Kiyoshi inoue
Satoru inoue

Photographer: xander Ferreira

Models: boss, vlooi, tabang,dwesa, abbygail, Amanda

Music: ‘bluez’
Hifina
‘the gaze’
afta-1

Produced: one small seed

Edited: shaun blomkamp

But then somebody put me on to Shunnoz and Tekasala – fashionistas I believe was the term he used to describe them. From a small back room nestled in the shadow of a forthcoming commercial development this designer duo and a third business partner operate a micro-emporium, creating and importing premium threads for the discerning Luandan egoist .

When I first meet Shunnoz he’s decked out in purple ankle-length polyester trousers, a skin-tight daffodil shirt and matching socks in very shiny, very pointy ostrich-skin shoes. Tekasala’s more street – an all-Andrew Mackenzie affair with custom ’Didas sneaks and Nokia bluetooth shades. Make no mistake – these guys are dapper. Dapper and fly.

Their office has orange walls, mostly obscured by rails of jackets spanning the entire colour spectrum and a massive bookshelf. Shunnoz is also an acclaimed writer and spoken-word artist and his bookshelf is a window to the depths of these intellectual pursuits: slavery, the occult, computer programming, African diaspora, Ancient Egyptians, Islam, Robert Sobukwe, tae kwon do, Encyclopaedia Britannica – interspersed on the shelves with limited-edition sneakers. A sombrero and a shocking pink racing bicycle add the final surreal touches.

Throughout the afternoon a number of city gentlemen wander in, try on imported Italian pin-striped suits or merino wool blazers from Scotland and then wander back out into the sweltering downtown dust bowl. You need to pass through a construction yard to find this place, which makes me speculate about the existence of an underground Luandan zoot-suit movement. A secret calling card, three knocks at the back door, jazz hands…

We talk about maybe doing a shoot with some of their clothes. I’ve enlisted some models from Vittoria, Luanda’s chain-smoking six-foot-two ‘Baroness of Vogue’, but Shunnoz pooh-poohs the notion with his booming bass-bin voice. ‘If we’re going to do this it has to be done our way’. They’d prefer to use morbidly ugly models, or themselves, or these amputees they enlisted for their last show at Luanda Fashion Week. Anything but these pouting mocha-skinned gods and goddesses I spent the whole day making walk in circles.

Talk about revolutionary – Luanda’s fashion industry has barely begun to toddle and these guys are ready to rip it a new arsehole. Amputees? Good grief.

In the end we settle on letting them parade their garments themselves, alongside two models I happen to be traveling with (that’s how I roll). A concept ossifies: an abandoned building at sunset – gritty and symbolic. Tekasala in a diaper, Shunnoz in rainbow checks. Perhaps even a landmine victim… no need for pants.

Later that evening I telegram the editor: I think we might have something STOP

By Dylan Culhane

Read the rest of issue 11

Part 2

Click here to view our #flashBack selection for September.