Artist Theoretical Art Practice Framework by Joseph Ijoyemi
Part of my current practice as a Swedish Nigerian artist involves analysing and reframing Black history to share a different perspective, starting from a contemporary African viewpoint. As Cheikh Anta Diop reminds us, it is essential to ‘dig out our own past, a task that no one person can do for another, because of passions, national pride, and racial prejudices resulting from an education distorted from the ground up.’ (Diop, 1988). In other words, Anta Diop calls for a conscious and deliberate effort to reclaim and understand African history from an African perspective. He believes that this is a task that Africans themselves must undertake, as others – due to their own biases, whether emotional, nationalistic, or racial – cannot do it for them. The current distorted view of history, rooted in a flawed education system, needs to be corrected to achieve a true and comprehensive understanding of Africa’s past. This process is essential for Africans to reclaim their identity, heritage and place in the world.
Anta Diop’s words pushed me to reframe history in my own practice as a Black Artist. How will I reframe African history? I will do so through a combination of facts and creative fiction, with the intention of reclaiming African history in a new light and with the use of imagination. Through my work I try to also re-shape how Africa has often been viewed – primitive, uncivilised – from the Eurocentric lens. A lens that ignores how Africa has been able to contribute on an intellectual level. V.Y. Mudimbe advocates for recognising the depth and complexity of African knowledge systems, which are frequently overlooked. As Mudimbe, I want to focus on these traditional knowledge systems, or “gnosis”, challenging the Western-centric perspective whilst promoting a more inclusive and horizontal understanding of African history and culture. “Gnosis” refers to the unique ways African people understand their world – including their costumes, philosophies, religions and cultural practices. In these terms, within my artwork at the National Maritime Museum I seek to recreate my own gnosis.
“Sovereign Strength”
Description: this artwork highlights the African Queens Nzinga of Matamba and Amina of Zaria, focusing on their resilience and leadership. Both queens were formidable leaders who resisted oppression during the pre-colonial era, challenging stereotypes of female leadership during pre colonial Africa . Their legacies underscore the potential for women to shape the destinies of their communities.
Queen Amina of Zaria
Known as the ‘Warrior Queen,’ Queen Amina of Zaria was the first woman to ascend to the position of Sarauniya (queen) in a male-dominated society. Amina of Zaria played a pivotal role in expanding the territory of the Hausa people in North Africa to its largest extent in recorded history. Amina of Zaria was a figure whose legacy is deeply rooted in both history and legend. Much of what we know about her comes from the Kano Chronicles and oral traditions passed down through generations in Nigeria. Her story has transcended time, cementing her as an iconic symbol of strength and leadership in Hausaland and beyond. Amina was born in 1533 in Zaria (Nigeria) into the royal family of Bakwa of Turunku, rulers of Zazzau, a key city-state within the seven original states of Hausaland. Her early life was marked by a dedication to mastering military skills, a path less travelled by women of her time. After her father’s death in 1566, the throne passed to her younger brother, Karama. However, Amina’s prowess in battle and leadership in the Zazzau cavalry soon positioned her as a powerful and respected figure. Upon Karama’s death, Amina ascended to the throne, becoming the ruler of Zazzau. During her reign, Queen Amina led her armies in expanding her kingdom’s territory, amassing wealth and forging strategic alliances. Her leadership came at a time when women in power were not seen as unusual; authority in pre-colonial Nigeria was often determined by merit, age and kinship rather than gender. This societal structure allowed women like Amina to rise to prominence and even depose men who failed in their duties. In modern Nigeria, Queen Amina’s legacy is celebrated with a statue in Lagos, depicting her atop a horse, spear in hand—a fitting tribute to a queen whose influence and legend continue to inspire.
Queen Nzinga of Matamba
Queen Nzinga Mbande of the Mbundu people, who ruled the Kingdom of Ndongo (now Angola), was a formidable leader renowned for her resistance against Portuguese colonisation and the expanding slave trade in Central Africa. Born in 1581 in Kabasa, she became a celebrated warrior queen, leading four decades of warfare against the Portuguese from the 1620s to the 1660s. Nzinga’s legacy is complex; she was a proto-nationalist, a devout Christian, and a skilled, though ruthless, politician, with controversial involvement in the slave trade (African Feminist Forum, 2016). Despite these contradictions, her tactical prowess and diplomatic acumen were pivotal in resisting Portuguese encroachment. Notably, during a peace conference in 1622, Nzinga famously asserted her status by having an assistant serve as her chair, establishing her equality with the Portuguese representatives (Smith, 2005). Her strategic alliances, including with the Dutch, and her relentless military campaigns significantly challenged Portuguese dominance, shaping the resistance that would eventually contribute to Angola’s independence in 1975 (Black Past). Nzinga’s role as a warrior and leader exemplifies the resilience and strategic adaptability of African women in the face of colonial aggression and is a key element of African nationalism (Collelo, 1999).
“Ancestral Thrones”
Description:
“Ancestral Thrones” is an artwork that takes us back to the vibrant and diverse kingdoms of pre-colonial Africa. It celebrates African rulers, showcasing the continent’s rich cultural heritage, from festivals and music to clothing, food and folktales. The artwork challenges Eurocentric views, offering a fuller picture of Africa’s grand and complex history.
Osei Kofi Tutu I and the Golden Stool
Osei Kofi Tutu I (1660–1717) was a pivotal figure in the establishment of the Ashanti Empire in West Africa, uniting the Ashanti city-states and expanding the empire through the creation of a formidable army. Central to his leadership and the empire’s identity was the Golden Stool (Sika Dwa Kofi), a sacred symbol explored in depth by J. K. Nketia in “The Golden Stool: The Ashanti King and the Culture of the Golden Stool.” Nketia highlights the stool’s significance as both a spiritual and political emblem, reflecting the unity and strength of the Ashanti Kingdom. According to Nketia, the stool, which was intimately tied to Osei Tutu I’s legitimacy, represents the divine essence and authority of the Ashanti king. It is revered through ceremonial practices that ensure its sacred status, demanding that it never touch the ground and is always placed on a special platform. This reverence underscores the stool’s crucial role not only as a symbol of Ashanti unity and authority but also as a vital element in the cultural and political identity of the Ashanti people, illustrating the profound connection between the monarchy and its spiritual traditions.
African Map of Ancestral Thrones
This map reimagines Africa’s kingdoms before colonisation, highlighting the thrones of its rulers. It reminds us that Africa had its own thriving societies and rich histories long before European influence.
Dahomey Amazon Warriors
The annals of West African history are vividly marked by the legendary exploits of Dahomey’s formidable women warriors, whose indomitable spirit and martial prowess have left a lasting legacy. Known as mino, meaning “our mothers,” or ahosi, “wives of the king,” these women exemplified exceptional strength and resilience in the face of adversity. Their story is intricately linked to the rise and fall of the historic kingdom of Dahomey, located in present-day Benin. The origins of these famed warriors are the subject of much scholarly debate; some suggest their military tradition began under King Houegbadja in the 17th century, while others credit Queen Hangbe, who ascended to power in the early 1700s, with formalising their role. Under King Ghezo’s reign, the women’s military corps expanded significantly, becoming a formidable force with distinct regiments such as the Gbeto (elephant hunters), Gulohento (riflewomen) and Nyekplohento (reapers). They played pivotal roles in numerous battles, including significant conflicts against French colonial forces in the late 19th century. Their presence in a deeply patriarchal society challenged traditional gender roles, offering them unprecedented status and privileges. The warriors, housed in the king’s palaces and provided with various rewards, embodied a striking departure from conventional gender expectations. Despite the eventual disbandment of their corps as Dahomey faced European encroachment and internal strife, the legacy of these women warriors endures, illustrating their remarkable contributions and resilience. The accounts of their origins and achievements reflect not only their military capabilities but also their role in transforming societal norms, making their story a profound testament to the strength of women throughout African history.
African Dancer and Drummers
This piece captures the essence of African dance and music, showcasing a dancer and drummer during a festival. Many African dances have been passed down unchanged for centuries, reflecting the deep cultural traditions that continue to influence music and dance today, both in Africa and across the diaspora.
Yoruba Shrine Head (12th to 14th Century)
The Shrine Head, dating from the 12th to 14th centuries, is a remarkable example of ancient Yoruba – one of the largest and most culturally significant ethnic groups in West Africa, primarily located in southwestern Nigeria – artwork that offers profound insights into the artistic and cultural practices of the Yoruba people. This sculptural piece, typically crafted from terracotta or bronze, represents a distinctive aesthetic style characterised by its intricate detailing and symbolic significance. The Shrine Head was often used in religious and ceremonial contexts, serving as a focal point in rituals dedicated to deities or ancestral spirits. Its detailed features, including elaborate coiffures and expressive facial features, reflect the Yoruba’s rich spiritual traditions and social hierarchies. This artwork not only showcases the skill and creativity of Yoruba artisans but also highlights the importance of ancestral veneration and the role of art in religious and cultural life during this period. The Shrine Head remains a significant artefact, offering valuable insights into the historical and cultural landscape of pre-colonial West Africa.
Suggested resources
Akyeampong, E. & Fofack, H., 2012. The contribution of African women to economic growth and development: Historical perspectives and policy implications. Policy Research Working Papers, pp.1–39. Available at: https://doi.org/10.1596/1813-9450-6051.
Berger, I., 2003. African women’s history: Themes and perspectives. Journal of Colonialism and Colonial History, 4(1).
Collelo, T., 1991. Angola: A Country Study. Washington, D.C.: Federal Research Division, Library of Congress.
Diop, C. A., 1987. Precolonial Black Africa. Westport, CT: Lawrence Hill Books.
Diop, C. A., 1974. The African Origin of Civilization: Myth or Reality. Westport, CT: Lawrence Hill Books.
Diop, C. A., 1978. The cultural unity of black Africa. Chicago: Third World Press.
Law, R., 1993. The ‘Amazons’ of Dahomey. Paideuma: Mitteilungen zur Kulturkunde, Bd. 39, pp. 245-260. Available at: https://www.jstor.org/stable/40341664?seq=3 [Accessed 2 September 2024].
Mudimbe, V. Y., 1988. The Invention of Africa: Gnosis, Philosophy, and the Order of Knowledge. Bloomington: Indiana University Press.
Mudimbe, V. Y., 1997. Nations, Identities, Cultures. Durham, NC: Duke University Press.
Nketia, J. K., 1957. The Golden Stool: The Ashanti King and the Culture of the Golden Stool. Accra: Government Printer.
Palmberg, M., 1999. National Identity and Democracy in Africa. Pretoria: Human Sciences Research Council.
Smith, C. A., 2005. Market women: Black women entrepreneur—past, present, and future. Westport, CT: Praeger Publishers.
Unknown, 2024. Queen Nzinga Angola. Available at: https://www.africanfeministforum.com/queen-nzinga-angola/[Accessed 2 September 2024].
Unknown, 2024. Shrine head, Ancient Yoruba. Available at: https://collections.artsmia.org/art/4866/shrine-head-ancient-yoruba [Accessed 2 September 2024].