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José Bedia, Júbilo de Aponte, 2017, mixed media on mixed papers Courtesy of the artist

These Artists Re-Imagined The Artwork of an Afro-Cuban Revolutionary

'Visionary Aponte: Art and Black Freedom' is a new exhibition bringing a lost book of paintings to life.

To date, the court testimony of José Antonio Aponte, a free black man thought to be of Yoruba origin and eponym of the doomed 1812 anti-slavery rebellion in Cuba that bears his name, is the only evidence of an unusual historical artifact, a so-called libro de pinturas or "book of paintings," found hidden in his home by colonial authorities.


Though the book remains lost, the 72 images that Aponte describes, many of which depict an evocative vision of black history, continue to exist in the imagination of scholars and artists alike. Now, more than two centuries later, a group of artists have attempted to recreate Aponte's revolutionary "book of paintings," as part of a new exhibition entitled, "Visionary Aponte: Art and Black Freedom."

15 artists were invited to participate to "pay homage to the singularity of Jose Antonio Aponte's world vision," explains Édouard Duval-Carrié. The Haitian-born artist and Miami resident is one of several curators of the exhibit, as well as one of its featured artists. In fact, it was Duval-Carrié that approached fellow curator Ada Ferrer with the idea to do an exhibit after coming across her book, Freedom's Mirror: Cuba and Haiti in the Age of Revolution.

Édouard Duval-Carrié, Prester John's Emissaries, 2017, mixed media on paper in artist's frame Courtesy of the artist

"Édouard's idea, I think, also intersected with scholarly interest in broadening our understanding of Aponte as the artist behind this lost work of art," says Linda Rodriguez, an Aponte scholar and another of the exhibit's curators. She and Ferrer also helped to organize a symposium in 2015 which in turn led to a project entitled Digital Aponte, a recently launched website dedicated to the life and work of Aponte.

In a way, "Visionary Aponte: Art and Black Freedom" expands upon at least one of the aims of the symposium, which Rodriguez describes as "thinking deeply about Aponte as a creator, in addition to his role as an organizer of slave rebellions." The result is a wide-ranging exhibit of artwork by mostly Caribbean artists, as well as the more general African diaspora of the Americas, in which Aponte's book becomes what Rodriguez hopes viewers will recognize as a "living object."

"Some like Marielle Plaisir (Martinique) and myself went to great lengths to reconstruct the images (laminas) as they were interpreted in the trial's transcripts," Duval-Carrié explains. "Others such as Jose Bedia (Cuba) and Renée Stout (USA) were more interested in conveying the general spirit behind the the book itself particularly their understanding of Kongo cultures as they expressed themselves in the New World and as they understood it. While many others just had gut reactions to the story itself."

Marielle Plaisir, Lámina 23, 2017, inks, gold pigment, pencils on paper Courtesy of the artist

It certainly helps that the "book of paintings" is itself a rich source of imagery. "Aponte represented figures and scenes that spanned centuries and continents, including Greco-Roman mythological figures, scenes from Bible, personages from Ethiopian history, buildings and locations in Havana, depictions of Europe and Asia, and members of his own family," says Rodriguez. (For a full list of the book's subject matter, go here.)

Still, there is an almost inscrutable quality to Aponte's book. "Likely, colonial authorities used the word "painting" as they had no other way to succinctly describe what they were seeing," says Rodriguez. Moreover, the book was perceived to be a subversive threat. "Colonial officials believed Aponte's book to be central to his organizing and they focused a lot of their energy on trying to understand it," according to Rodríguez.

In Ferrer's opinion, "The exhibit provides a tangible example of the ways art and politics can each inform the other." "Aponte used his art to imagine other worlds, and that process of imagining other worlds was also part of his revolutionary politics," she continues.

"It resonates in a lot of ways with our contemporary debates on the politics of representation," adds Rodriguez. She cites the #OscarsSoWhite campaign by April Reign as one such example: "She [Reign] has talked about how she wanted her campaign to question the structural reasons behind the lack of inclusive storytelling. In similar ways, Aponte recognized the importance of the visual to write known and new histories at the service of an imagined and more equal future."

Among other things, Ferrer hopes that those who see the exhibit will develop "a knowledge and appreciation of Aponte as both an antislavery revolutionary and as an artist and creator." Yet it is a much broader perspective on display, as Rodriguez notes: "Aponte's vision of the African diaspora, and black history provided his viewers with a vision of belonging."

"Visionary Aponte: Art and Black Freedom" opens on December 8th at the Little Haiti Cultural Complex in Miami, FL. Afterwards, the exhibit will be on display at the NYU King Juan Carlos of Spain Center in New York from February to May 2018, before making its way to Duke University in the Fall of 2018.

Juan Roberto Diago, Tarraco, 2017 Courtesy of the artist

Music

Listen to Samthing Soweto’s Album ‘Isiphithiphithi’

Samthing Soweto's highly anticipated album is finally here.

One of the most anticipated albums of the year, Isiphithiphithi by Samthing Soweto is finally here.

The South African artist's project consists of 12 songs and features Makhafula Vilakazi, Shasha, Kabza De Small, DJ Maphorisa and Mlindo The Vocalist.

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Gallo Images/Getty Images

South African Telenovela 'The River' has Been Nominated for an International Emmy

This is the popular telenovela's first International Emmy nomination.

One of South Africa's beloved telenovelas, The River, has received its first ever International Emmy nomination in the category of "Best Telenovela", according to IOL. The River will go up against other telenovelas from Columbia, Argentina as well as Portugal. The 47th installment of the International Emmy Awards will take place on November 25th of this year and will be held at the Hilton in New York.

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Culture
Photo (c) John Liebenberg

'Stolen Moments' Uncovers the Namibian Music That Apartheid Tried to Erase

The photo exhibition, showing at the Brunei Gallery in London, highlights artists from Namibia's underground scene between 1950-1980, a time of immense musical suppression prior to its independence.

Before its independence in 1990, a whole generation of Namibians were made to believe that their county had no real musical legacy. Popular productions by Namibian artists from previous eras were systematically concealed from the masses for nearly 30 years, under the apartheid regime—which extended to the country from South Africa following German colonization—depriving many Namibians of the opportunity to connect with their own musical heritage.

"Stolen Moments: Namibian Music Untold," a new exhibit currently showing at London's Brunei Museum at SOAS University of London, seeks to revive the musical Namibian musical traditions that the apartheid regime attempted to erase.

"Imagine you had never known about the musical riches of your country," said the exhibit's curator Aino Moongo in a statement of purpose on SOAS' site. "Your ears had been used to nothing but the dull sounds of country's former occupants and the blaring church and propaganda songs that were sold to you as your country's musical legacy. Until all at once, a magnitude of unknown sounds, melodies and songs appear. This sound, that roots your culture to the musical influences of jazz, blues and pop from around the world, is unique, yet familiar. It revives memories of bygone days, recites the history of your homeland and enables you for the first time to experience the emotions, joys and pains of your ancestors."

Photo (c) Dieter Hinrichs

The 'Stolen Moments" project began in 2010 in an effort to champion Namibia's unsung musical innovators. For the collection, Moongo and Assistant Curator, Siegrun Salmanian—along with a group of international scholars, artists, photographers and filmmakers—curated a large-scale photo exhibit that also features a 120-minute video projection, focusing on the dance styles of the era, along with listening stations, a sound installation that features "100-hours of interviews with musicians and contemporary witnesses," and displays of record covers and memorabilia from the period between 1950-1980.

The musicians highlighted, produced work that spanned a number of genres—a marker of the country's vast and eclectic underground scene. Artists like the saxophonist Leyden Naftali who led a band inspired by the sounds of ragtime, and the psychedelic rock and funk of the Ugly Creatures are explored through the exhibition, which also centers bands and artists such as The Dead Wood, The Rocking Kwela Boys, Children of Pluto and more.

"There are many reasons why you've never heard this music before," Moongo continues. "It was censored, suppressed, prohibited and made almost impossible to listen to. Its creators are either long gone or have given up on music making, by reasons of adversity, death and despair. And yet this beautiful music exists with a liveliness, as if it had never stopped playing. It is still in the minds of the few who can remember, with the ones who played it, and on those rare recordings that have survived in archives and record collections scattered around the globe. Allow me to share these stolen moments with you."

Photo (c) Dieter Hinrichs


Photo (c) John Liebenberg

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"Stolen Moments" is now showing at the Brunei Gallery in London and runs through Sept 21.

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Foul Language and Depictions of Rape Spur a Book Recall Campaign in Kenya

Kenya's Top Book seller pulls a South African book for youth due to foul language.

A main book supplier in Kenya, Text Book Centre, has announced that they would not stock a book due to its "vulgar and foul language." The book, Blood Ties, was written by South African author Zimkhitha Mlanzeli. The banning comes just after a video went viral in Kenya of a school child having a verbal outburst peppered with strong language. As reported by BBC, the removal was sparked by parents showing outrage after excerpts from the book were shared on twitter. These excerpts contained use of the f-word as well as a description of a rape scene.

As per their statement, the Text Book Centre claims they believe in "upholding high moral standards and raising generations of responsible citizens who are not only educated but ethical." The Kenyan publisher, StoryMoja, has defended the book in a statement of their own. They argue that the book is part of a new series showcasing books that deal with "contemporary societal issues" and that this particular book is a fictional story that grapples with the negative repercussions of peer pressure. "In actual fact, the book guides readers on the steps to take should they find themselves in a similar situation and underscores the sensitivity with which victims of sexual abuse should be treated." The statement also highlights the fact that the publishers had listed Blood Ties for readers in high school or above.


The discrepancy is that some schools have recommended the book as a reader – meaning for younger children aged 12 or 13 – though it has not been approved by the Kenyan Institute of Curricular Development (KICD), the entity in charge of managing texts used in schools. In a tweet, the KICD claimed that the book was not approved and that some teachers may be recommending texts without ensuring they were endorsed by the KICD. The dispute is sparking debate as to what should be taught in Kenyan schools.

As of late this morning, StoryMoja is in the process of recalling all copies of the book from stores and schools across Kenya. In a tweet they claim that it is because they have determined the language used in the book is the issue and not the subject matter.

Censorship is always a contested topic, just last month we reported on Nigerian authorities censoring a music video for "threatening security." Also, Kenya's censorship tactics have been in the global eye since a refusal to screen the film Rafiki for its homosexual heroines despite being lauded at international film festivals.

Here are some reactions from Kenyans on Twitter:





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