TMA 05 The Art of Benin‚ Part 1‚ Option A Look closely at Plate 3.1.16 which shows a figure of a Portuguese man holding a manilla. What can this work of art tell us about cross cultural encounters? Cross cultural encounters happen every day‚ in business‚ people holidaying abroad‚ even in schooling and banking. These encounters can take many forms‚ the way we deal with other ethnicities problems‚ the way we greet people from other cultures‚ the different clothes worn by different cultures‚
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location of Benin art remains a controversy over whether it should be returned to its place of origin. It is vital to observe the “encounter” between (Woods‚ 2008‚ ‘THE ART OF BENIN’‚ p.7) Europe and the kingdom of Benin‚ when the Benin artefacts were initially plundered and confiscated in the “‘punitive expedition’” (Mackie‚ 2008‚ ‘1897: the ‘punitive expedition’‚ p.23). The British opinion of the Benin people as a “savage and brutal” (Loftus‚ 2008‚ The British Museum and the Benin ‘antiquities’
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MUSEUMS AND THEIR VOICES A CONTEMPORARY STUDY OF THE BENIN BRONZES WRITTEN BY Charlotta Dohlvik SUPERVISORS Staffan Lundén and Peter Davis Master’s Dissertation‚ May 2006 International Museum Studies‚ Museion‚ Göteborg University 1 ABSTRACT........................................................................................................................................................... 4 1. BACKGROUND ...........................................................................
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Read carefully Reading 2.6‚ ‘Works of Art from Benin City’‚ in Book 3 Chapter 2 and look closely at Plate 3.2.27‚ Plate showing four sixteenth century brass plaques from Benin’‚ in the illustration book. With close attention to both‚ discuss reasons why the ownership and location of the art of Benin have been controversial and continue to be so. The Places which home the artwork of Benin have and continue to cause controversy. They did not always as they did in the late nineteenth century languish
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1904). Plate 3.2.25: The display of Benin bronzes at the Horniman Museum is viewed now as works of art instead of pieces of anthropology as they were in 1903 a ‘war booty’. Bronze commemorative heads representing ancient sovereigns‚ ceremonial costumes‚ insignias and royal personal objects which marked the Oba’s position‚ naturally figure at the heart of the exhibition in Paris. The national museum in Britain‚ displays with the full agreement of the Benin people. Plate 3.2.26: Horniman gave it
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Read the following extract from reading 2.2 ‘Benin antiquities at the British Museum’ and look at Plates 3.1.14 British officers of the Benin punitive expedition with bronzes and ivories taken from the royal compound‚ Benin City‚ 1897 and 3.2.24 Display of Benin bronzes in the Sainsbury African Galleries‚ the British Museum‚ 2005 in the AA100 Illustration Book. How do the different contexts of display reflect different attitudes to the art of Benin? At the end of the 19th century‚ Africa was
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Introduction Benin Bronze is some beautifully produced by African artists‚ art work. Benin Bronze was one of the best peices of artwork produced in Africa. It was carved from brass in the late 1800s. They made for the very powerful king‚ King Oba. Benin Bronze was made to decorate the pillars in his palace. Background Story Benin Bronze was stolen by British. At the end of the 19th century‚ the British Empire was in charge of nearly a quarter of the world. Other countries wanted the same. They
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that- for example- the re-unification of the “weary Herakles” was anything but a positive development. This essay will cover the arguments for and against repatriation‚ look to establish a structure of principles and then use as an example the Benin “bronzes (actually brass) held not only in the British Museum but in museums worldwide‚ including the Pitt Rivers in Oxford. The key arguments for repatriation are that:- 1. Artefacts are enriched by being viewed in their place of origin 2
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African Art History African art history has played a significant role in shaping the culture and history of the world. The belief that Africa is the cradle of the history of mankind is virtually unshakeable. The origins of African art history lie long before recorded history‚ preserved in the obscurity of time. Rock Art is centuries old‚ while shell beads fashioned for a necklace have been recovered in a cave in the furthest reach of the southern peninsula of South Africa that are 75 000 years old
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Benin once known as Dahomey (until 1975) is one of Africa’s most well structured democracies. Within it holds a slender piece of territory stretching North for about 400 miles. The river that constructs a portion of Benin’s Northern margin with Niger is the Niger River. It is lined to the east by the Nigeria northwest by Burkina Faso and west by Togo. Benin’s official capital is Porto Novo. Cotonou is not only Benin’s largest city but it’s also its largest chief port and its de facto administrative
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