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3A short article reflecting on working with archives as an artist in a post-colonial setting.
DOCUMENT
Het wetenschappelijke tijdschrift Art Bulletin heeft verschillendene kunsthistorici uitgenodigd schriftelijk te reageren op de vraag ‘Whither Art History?’. Deze vraag kan vrij vertaald worden als ‘Kan kunstgeschiedenis blijven bestaan?’, ‘Is dit het einde van kunstgeschiedenis?’ of ‘Hoe zal kunstgeschiedenis zich verder ontwikkelen?’. De Braziliaanse kunsthistoricus Claudia Mattos merkt op dat meer en meer nadruk is ontstaan op globalisering en inclusiviteit in het werkveld van kunsthistorici (2014). Volgens haar zit er niets anders op dan de theorie en methodes van kunstgeschiedenis aan te passen, wil men deze meer inclusief maken (Mattos, 2014). In het boek World Art Studies zijn verschillende visies over een nieuwe wereldkunstgeschiedenis gebundeld. Het is tien jaar geleden uitgebracht onder redactie van Prof. dr. Kitty Zijlmans en Dr. Wilfried van Damme. In een interview in Metropolis M is Zijlmans van mening dat de huidige manier van periodisering in kunstgeschiedenis is blijven steken in die van de 19e eeuw. Zij pleit voor een andere blik en aanpak waarin de complexiteit van de wereld meer ruimte krijgt (Van Tuijn, 2008). Nieuwe vragen ontstaan als reactie op dit internationale discours. De zoektocht naar een mondiale canon wordt ook bekritiseerd door sommige kunsthistorici. Met het artikel ‘Whose global art (history)?’ reageert Colburn (2016) op de veelheid aan publicaties door zich af te vragen wie nou eigenlijk mag bepalen hoe een nieuwe wereld kunstgeschiedenis vorm gaat krijgen. In dit onderzoek zal ingegaan worden op het ontstaan en de ontwikkeling van kunstgeschiedenis en op het huidige debat rondom inclusiviteit en globalisering. Dit alles met het oog op de onderzoeksvraag: ‘Welke internationale discussie wordt er gevoerd binnen het vakgebied van kunstgeschiedenis met betrekking tot inclusiviteit en culturele diversiteit?’
DOCUMENT
This first book in the Ebifananyi series that is part of the output of PhD research presents the legacy of Ugandan photographer Deo Kyakulagira (1940-2000) in an effort to diversify the hegemonic image of 'African Photographers' resulting from success stories like those of the late Malick Sidibé and Seydou Keita (both from Mali).
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For the ‘Rotterdam Project’, a large amount of historical data on patrons of Rotterdam’s main theatres during the ‘long’ 19th century (1773–1914)was collected, digitally registered and statistically analysed. The data was gathered from the theatre archives of the city of Rotterdam and included data on such specifics as ticket sales, repertoire and featured performers. The database holds prosopography information on over 16,000 patrons and almost 15,000registered ticket sales to these patrons. This dataset (https:// doi.org/doi:10.21943/auas.7381127) can be used to make comparisons to the datasets of similarly sized cities in other countries during the same period and for broader re- search on 19th-century cultural history. So far, the data has been mainly applied to empirically test the master narrative of theatre historiography on the social composi- tion of theatre audiences. The analyses based on the data show that this narrative must, for the most part, be rejected.
DOCUMENT
Ebifananyi II – People Poses Places Andrea Stultiens.
People Poses Places is the second part of Ebifananyi, a book series that visualises historical Ugandan photo collections. In People Poses Places we delve into the archive of the photographer Musa Katuramu. In the mid 1930s, teacher and carpenter Musa Katuramu went around his neighbourhood with a simple camera to make portraits of family and friends. His portraits are remarkably intimate and revealing. This is unusual for the time and region where the images were produced. Most camera-owners were outsiders such as missionaries or colonists. Katuramu was an amateur photographer that constructed studios on site. The technology of his camera was limited but he maintained one basic rule that worked; never point your camera towards the sun. Katuramu’s archive was carefully stored by his son Jerry Bagonza. The archive consists of roughly 1500 negatives and 750 prints that have never been shown before. The book is composed of archival images that alternate with contemporary photographs made by Andrea Stultiens and her colleague Rumazi Canon, who grew up in the same region. People Poses Places is the second publication from a series of at least eight books, which present themselves as small intimate publications with an open spine and the local word for photographs printed on it, that literally translates into likenesses.
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Twenty Ugandan artists made their interpretation of the first photograph made of a Buganda monarch. The picture, made in 1875 by Henry Morton Stanley has been (mis)interpreted by engravers. Even though the pictures that are known in Uganda of Kabaka (King) Muteesa are based on Stanley’s photograph, the original was barely known. The Ugandan artists all responded to the formal qualities, or the historical and political realities it relates to. Together they provide a deep reading of the photograph, and give it what I consider to be important and rightful exposure in present day Uganda.
Artists participating in the exhibition: Canon Griffin, Daudi Karungi, Eria (Sane) Nsubuga, Eva Ddembe, Fred Kato Mutebi, Fred Ndaula, Henry Mzili Mujunga, Ian Mwesiga, Margaret Nagawa, Martha Namutosi, Matt Kayem, Migisha Boyd (b40deep), Nathan Omiel, Odama Jacob, Papa Shabani, Piloya Irene, Ronex Ahimbisbwe, Odama Jacob, Sanaa Gateja, Timothy Erau, Violet Nantume, Wasswa Donald. My role was that of initiator, curator (with Kazungu Martha, Canon Griffin and Robinah Nansubuga), and artist.
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‘Staying Alive’ is the title of an exhibition and of the 7th book in the Ebifananyi series and two exhibitions. One of the exhibitions took place at Afriart Gallery, the other one on the balcony of the new six story inpatient building of the Uganda Cancer Institute. Books and exhibitions present photographic documentation from the late 1960s and early 1970s and from more recent pasts, and reflections in words on the photographs and the history of the institute by Marissa Mika and I.
The Uganda Cancer Institute was the first major cancer research and treatment facility in the Great Lakes region. It celebrates its 50th anniversary this year. While part of the reputation of the institute was/is that it is a place where people (are sent to) die, the aim is of course to keep them alive and develop knowledge about the disease that caught them.
LINK
Many, many comparisons have been drawn in recent years between the current rise of (right-wing) populism and the financial crisis of 2008 that shook and continues to shake Europe to its core, and the tumultuous and horrifying events of the 1930s, which in the end resulted in the Second World War. A number of recent studies which (partially) focus on this decade carry ominous titles like To Hell and Back, The Age of Catastrophe and The Triumph of the Dark. Referred to by some historians as the second Thirty Years’ War, the period from the First World War to the end of the Second still continues to draw much academic and indeed public attention. In many cases, Germany deservedly plays a central role in the analysis, either in the form of the Kaiserreich or the ill-fated Weimar Republic and, of course, Nazi Germany. The five books under review here discuss European history between 1914 and 1950 in general, and that of Germany in particular, in this period. What do these books tell us about Europe’s and Germany’s path in the first half of the twentieth century, and what new insights do they provide? https://doi.org/10.1177/0265691418777981 LinkedIn: https://www.linkedin.com/in/martijn-lak-71793013/
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This chapter addresses some of the questions involved in the historiography of the jazz diaspora in Europe. The understanding of jazz in Europe tends to be shaped in dialogue with American jazz histories. But what does it mean to call a practice such as jazz European or American? How do we ascribe cultural ownership, and what problems emerge as a consequence? Can we speak of European jazz? The vast majority of jazz texts still focus on the music’s history in the US, which all too often invites a US-centric perspective. Recent overviews that deal with jazz in Europe run the risk of working from a similar essentialist vantage point, yielding equally EU-centric texts replete with local chauvinisms. One of the persistent criticisms that European jazz studies face is that the focus on individual countries obliterates jazz’s (presumed) universality. This chapter argues that while transnational perspectives are valuable and needed, many commentators underestimate how culturally diverse Europe is, and any reception history that ignores that diversity risks overlooking crucial points.
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The sixth book in the Ebifananyi series is based on the photo collections of St. Mary’s College Kisubi, and the archive of the Brothers of Christian Instruction, who ran the school, that was founded by the White Fathers in 1906 in 1926. The title of the book Duc in Altum
The book tries to invoke thoughts and discussion about both the good and the questionable sides of the formal educational system in Uganda that was set up by various missionaries.
Ebifananyi 6 was launched first at the school it is about, then with an exhibition at the Uganda Museum in Kampala. An extra large book was made in an edition of one as part the continuing research and for the European launch that will take place in Biel on September 10th. Another part of the things still going on in relation to this book, initiated by one of the editors of the school magazine remakes will be made of some of the historical photographs in this book.
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