Inside Africa's thriving art scene | Touria El Glaoui

47,804 views ・ 2018-01-29

TED


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Let's talk about how the narrative of Africa is being told,
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and who is doing the telling.
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I want to share with you the selection of work
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by contemporary artists from Africa and its diaspora.
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I love this art.
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I find it beautiful and inspiring and thrilling,
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and I really hope I am able to pique your interest.
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I want to share something about myself and why art matters to me.
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I'm the daughter of an artist, so that means that growing up,
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I had the chance to see my father do artwork in his studio.
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My home was surrounded by art,
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and I had an early art education,
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being dragged to museums and exhibitions over the summer holidays.
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What I did not understand, really, at the time,
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is that this also gave me an early understanding
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about why art is important,
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how to look at it,
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how to understand it, but also how to love it.
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So art matters to me on a personal level,
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and not only because it's beautiful and inspiring and thrilling,
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but because art tells powerful stories.
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All these artists have stories to tell you about what it means to be African,
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stories that tell you and touches about our African identity,
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but also stories that tell us about who we are as Africans,
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but also stories that tell us about our complex history.
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So how can art tell you powerful stories?
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I want to share with you this series
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by Senegalese artist Omar Victor Diop.
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This is a series of self-portraits,
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and the artist in this particular series
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is focusing on the representation of Africans in art history
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between the 15th to the 19th century.
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I want to show you how, with one image,
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Diop is able to touch on our African identity,
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on the politics of representation,
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but also on our social value system.
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In this particular self-portrait,
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Diop is actually referencing another portrait by Anne-Louis Girodet.
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This picture is doing a portrait of Jean-Baptiste Belley.
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Jean-Baptiste Belley was a native of Senegal,
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a former slave of Haiti,
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but during his lifetime, he also was elected to represent the colony
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at the third government of the French Revolution,
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and he advocated strongly for the abolition of slavery.
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What is very smart and clever about Diop here
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is that he's going back to history.
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He's reclaiming this figure
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by restaging this beautiful royal blue uniform,
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where he is restaging also the pose,
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and he's doing that to actually underline the issues
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that are still impacting individuals of color today.
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There was nothing special
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about this very typical political portrait of the time,
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except that for the first time,
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an individual of color, in that case, Jean-Baptiste Belley,
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was actually named and acknowledged in a painting.
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What Diop is adding to this picture is this crucial element,
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which is the football under his arm,
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and by doing that,
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Diop is actually touching at our hero worship culture
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of African football stars,
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who unfortunately, despite their fame,
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their immense talent, and their royalty status,
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they are still invisible.
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Diop is asking us to dig deeper,
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to go beyond history and what has been written,
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and, basically, see how it still influences and impacts us in the present.
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I want to share this other beautiful series
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called "Kesh Angels," by artist Hassan Hajjaj.
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So in this particular series,
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the artist is really pushing on the boundaries
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of stereotype and cliché.
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Hassan Hajjaj is a friend,
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and honestly, I admire him dearly,
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but this particular series is talking to me directly as a Muslim woman.
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I experience this all the time,
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where, you know, people have a lot of expectations,
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religious ones and cultural ones,
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but what I love about this artist is that he's putting all this on its head.
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He's actually challenging every representation
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of Muslim, Arabic women that there is.
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Hassan Hajjaj is a child of the diaspora.
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He grew up in Morocco amongst bright logo goods,
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you know, counterfeit originals being sold at the souks.
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So to see those symbols representing in his work
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a celebration of the global culture, a critic of the global urban culture,
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is no surprise,
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but really at the heart of his work is his desire of a nuanced representation.
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He wants us to interrupt ourselves
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and all the perception that we might have
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on people, on a culture, and on environment.
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And for example,
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this particular picture, your common association would be,
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you know, certain street brand for a certain Western distinctive consumer.
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Well, he mashes it all up,
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where he is daring to imagine a female biker culture
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where actually Chanel or Louis Vuitton is designing the djellaba,
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and Nike, the babouche,
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and this is actually the standard uniform.
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What I love about the women in "Kesh Angels"
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is that they are able to hold your gaze.
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We are completely participating in the image,
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but they are the one inviting us in, and on their own terms.
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Hassan Hajjaj's "Kesh Angels" or "Project Diaspora" by Omar Victor Diop
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offer me two strong examples why art is so instrumental.
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It is instrumental as it really inspires us to ask questions,
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but it is also instrumental because it ignites change.
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Seeing diversity in race and ethnicity in contemporary art
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is the only way that we'll see changes in the art industry,
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but also for the relations between Africa and the Western canon.
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How we will participate in all this is really up to us.
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There's a lot of progress to be made,
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and honestly, we still need to support stronger voices,
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as they are the ones shaking things up and bringing new perspective.
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I want to share this beautiful old painting
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by younger emerging artist Kudzanai-Violet Hwami.
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For me, when I see her work, it really represents freedom.
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Hwami has fantastic takes on what it means to be an African
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and an African life.
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She has lived in three different countries:
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Zimbabwe, South Africa and Britain,
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and therefore has been influenced by a multitude of layers
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of communities and cultures,
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from LGBT to eco to Xhosa to emo to British cultures.
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And as she says herself, the beauty of being a child of the diaspora
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is really being able to reinvent ourselves
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and what it means to be African.
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I want to leave you with this powerful piece
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by South African artist Lawrence Lemaoana.
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Lawrence Lemaoana also criticized
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the influence of the media on our moral consciousness,
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and he's doing that by using those fabrics like banners in political demonstrations,
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where he's asking us to reclaim our voices.
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I believe in the transformative power of art,
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as it is our only way to paint a nuanced image of Africa,
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but also its diaspora,
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one that will be painted by its artists and its cultural producers
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with their radical but also very unique view of seeing the world
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and their place in it.
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It is really through art that we can regain
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our sense of agency and empowerment.
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It is through art that we can really tell our own story.
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So like Lawrence Lemaoana says, the power is ours.
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Thank you.
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(Applause)
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