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AEGIS European Conference on African Studies
11 - 14 July 2007
African Studies Centre, Leiden, The Netherlands
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"Tumulte Noir" and its representation in contemporary art:
| Panel |
33. Visualizing Africa, from there to here, between now and then.
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| Paper ID | 29 |
| Author(s) |
Lintig, Bettina Von
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| Paper |
No paper submitted
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| Abstract | This paper wants to demonstrate how the so called Tumulte Noir
during the first decades of the 20th century has blended
(immingled) European "myth" about Africa and real African
culture in the field of art and entertainment, and how there
happened to be in some areas of art in the long run an afro-european syncretism. "Tumulte noir" occured in Paris in avantgarde studios and galleries, that is to say in the art world, as well as in popular nightclubs and dance halls. From completely different sources forthcoming surrealism, Dada,
entertainment and Harlem Renaissance have gradually merged. The subversion of European middle class values under the influence of the "Primitive" has fascinated the African diaspora only slightly, because during the same timeperiod black intellectuals questioned the `primitive´ associations of Blackness; they propagated a black humanism.
In a second step the paper introduces some contemporary artists
(such as Bili Bidjocka, Ransome Stanley, Hassan Musa, Miguel
Barcelo) that can be associated with this Tumulte Noir directly or allusively. It turns up in their works as a citation or in a broader sense as a reflection of a certain image of Africa. Some of these positions are of a(n) (art)historical reminiscence or propose an ironic brickbat on stereotypes about Africa; in any case they laminate historical and contemporary shemes and themes of the African in Europe.
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