CULTURAL EXCHANGE BETWEEN AFRICA AND EUROPE
Magda Maja Wisniewska Gdansk University of Technology &Tampere University of Technology Tampere, November 2011
CONTENTS CONTENTS: CULTURAL EXCHANGE ACCORDING TO
GLOBALIZATION..........................................................................................3
PART 1: WHEN 'LOCAL' BECOMES 'GLOBAL' FROM AFRICA TO EUROPE TRIBAL MASKS...........................................................................................4 AFRICAN FASHION......................................................................................6 INTERIOR DESIGN......................................................................................11
PART 2: WHEN 'GLOBAL' TURNS INTO 'LOCAL' FROM EUROPE TO AFRICA AFRICA GLOBALIZATION IN AFRICA..........................................................................16 RUBBISH IN AFRICA...................................................................................18
TRANSFORMING RUBBISH INTO TRIBAL ART - DESIGN.....................................22 DESIGN
BIBLIOGRAPHY..........................................................................................25
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CULTURAL EXCHANGE ACCORDING TO THE PROCESS OF GLOBALIZATION In contemporary world, in modern realities people eople are forced to deal with the fears, that globalization is imposing a deafening cultural uniformity. A lot of, not even extremist groups, dread that local tradition and national identifies are waning and becoming a crude whole-world world consumerism. Such cultural cultural imperialism is considered to enforce among the human population general values and beliefs as well as worldwide-known known products, promote some common commercial goods, goods that, in fact, cannot guarantee the real satisfaction. In some other opinions globalization glob may also be thought to hate the diversity: local habits, inner brands and regional tastes are mentioned to be its enemies. However, to get the real image of globalization, we should go into its roots. Is not it a kind of a myth that the process proce of globalization involves such effects as uniformity and non-diversity diversity rather than diversification and blast of cultural switch? We need to be aware that local tradition exchange may increase the diversity within societies, but usually at the expense of making them more similar. It is not that people cannot decide. Human beings all over the world have more choice, but they often prefer analogous things. And this is the main factor that generally worries cultural pessimists, however the choice right is the e essential part of free societies. Globalization can spread the great diversity Pic.1 Andy Singer, D-Day Day (1988) but, at the same time, it can cause greater similarity. A more extensive worry can consider the fact that bigger individual freedom may cut down national identity. But even these ese fears are the results of quire pessimistic attitudes. Natural cultures c are in fact very strong,, even stronger than people seem to think. Some of the foreign influences can be embraced by them and some might be discarded at the same time. External rules can become domesticated, changing national culture, but not really destroying it. All of it depends on people's attitude and behavior. As most of essential for world's future processes globalization has many pros and cons at the same time. Usually, radical radical groups of pessimists want to keep things as they were. They are in need, not even to preserve, but to freeze tradition, cultural habits and beliefs. However, everybody needs diversity. At some point variety might be desirable and in some situations it transmutes transmutes to variance across-time. time. Of course, people should do their best to preserve and keep alive their local traditions. But outer...foreign point of view can sometimes help, by providing the new technologies and brand new, improving ideas. In contemporary contempor world globalization cannot be perceived as a one-way one way phenomenon. Although European's colonial power left so many signs all over the world (one-way (one way globalization), present relations between continents and countries are based mostly on mutual cultural exchange. change. In most cases...without exceptions. But still, even widely spread exchange 3
can only take a small part in defining people's identities, but not defining them at all. In spite of having the desire for foreign brands persons may feel strongly bounded to their fellow citizens.
PART 1: FROM AFRICA TO EUROPE The essential point in understanding African indigenous culture is that we must reach beyond the materialistic and physical definitions of mind that characterize so called 'Western psychology' and seek to get more familiar with African mind within the context of its distinct characteristics and strivings. The main pulse of common vitality that flows and infiltrates tribal Africa's world is the RHYTHM. It is clearly noticeable in all disciplines of life, from the way people move to their speech. Every time, when the disorder occurs, it is manifested physically and spiritually. The disruption radiates from an interruption in the rhythm, which is the African's basis for cohesion. That is why looking for a rhythm and a harmony has its own reflection in tribal clothing, handcraft art strictly connected with religious rites. So it is quite understandable that African tribal artist's training usually lasts many years and involves the knowledge of traditional techniques and the ways of applying them to social and religious objects he creates. Because of providing the specific ethnic group with the various masks and sculptures for use in ritual ceremonies, he holds an extraordinary position in a tribal society and his work is valued for its mental, rather than aesthetic qualities. Art without a deep 'spiritual dimension', never transcends the level of craftsmanship and does not have the power to communicate those sophisticated emotions that are born from mystical inspiration. African masks are not the exceptions. Their shape, structure and painted patterns create the coherent entirety as a part of ceremonial outfit. They are used during holy ceremonies or social events in order to represent the spirits of ancestors or to control good and evil powers in a social community. Some of them represent the combination of human and animal features to consolidate people with their primal, natural environment. The nature's bond is really important to the tribal inhabitants and in the whole African history the masks have always been used to indicate this association. No matter which African area they come from, their task is to resemble human connections with nature. Mask
Country of origin
Meaning
Events
western Ghana& eastern Ivory Coast
circular face - life giving power of the sun; horns - great strength of buffalo
dances during harvest festivals, processions to honor particular visitors, funerals of important figures
Democratic Republic of Kongo - Luala & Kasai rivers' intersection
three forms at the top representation of Biombo tribe hairstyle
tribal rituals and ceremonies
People to wear by the Baule farmers of eastern Ivory Coast; the Akan people Biombo people
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southern part of Mali & Burkina Faso
eyes - owl eyes; nose -representation of a hornbill's nib; owl & hornbill - creatures that possess magical power; geometric pattern symbolizes rhythm, internal spiritual energy; general: representation of the myths that boys have to learn before accepting into adult society
boys' initiation to adult life
Bwa people
from western side of the Ivory Coast to Liberia
spiritual domain of the world represented by the forests and its spirits (according to the belief that world is spread into the reality people and their villages, and the spiritual truth)
different role depending on mask type entertainment or tribal rites (ex. initiation rites of young men into adulthood)
Dan people hunters and farmers
from eastern Gabon to the Congo
convex surface - male; concave surface - female; symbolizing guardians protecting relics of ancestors (kept in a box, basket or 'bwete')
assisting with troubles in people's lives
Kota people kind and peace-loving
borders of Gabon, Congo, Cameroon
visual representation of the antelope, whose flesh was eaten in the end of a 'beete' ritual; symbol of pure spirits of the forest
worn during 'beete' ritual that means the purification by the spirits
Kwele people, who believe in witchcrafts as the reason of the personal illnesses
upper Ngoume River in Gabon
idealized beauty of Punu women: white face - soul of an ancestor
audience's entertainment during festivals and celebrations; rituals of embodying the spirits of ancestors
Punu men
from southwest region of the Democratic Republic of Congo to Cabinda (Angolan province)
colors on white background symbol of power (colors are supposed to be renewed so that the mask saves its power)
ritual dances of the 'ndunga' - a male society responsible for social order
Woyo people tribal fishermen
Unfortunately, when the interest in African Art was firstly taken, it was not appreciated for its communal or immaterial function. Lots of artists, collectors and 5
even connoisseurs perceived it as a naive genre with a forceful visual effect. In the beginning of the 20th century, European creators and craftsmen tried to find new forms of expression that provoked and stimulated their swiftly changing realm of concepts,, beliefs and technology, because the old-fashioned old fashioned methods of realism seemed to o be too hackneyed and predictable. They were no longer working. In the situation of artistic stagnation, new solutions must have been improved. Brand new ideas focused on borrowing images and motives from other cultures and combining them with European influences. The desire for refreshing overworked traditions of Western art was really strong. Itt was the fact that brand new Pic.2,3 P.Picasso 'Les Demoiselles d'Avignon' d'Avignon and tribal mask as the main inspiration attitudes and perspectives perspectives, offered by virgin cultures, cultures let the craftsmanship be developed and began the infiltration of cultures and styles that defined contemporary art. The evident, a little bit wild expression of African craft became the constitutional element of this revolution and led to the expansion of three first modern styles: Cubism, Expressionism and Fauvism. Artists like Pablo Picasso and Andre Derain got really inspired by abstract forms they managed to find in African tribal masks, that influenced their own unique styles. In fact, African culture went far towards refreshment of fatigued tradition of allegoric painting in in modern European art. Contemporary, a highly-qualified highly qualified African tribal art, as well as good art from every part of the world, are distinctly understood and managed to empower their position in the art of mankind. All the bold designs and abstract patterns patter of tribal masks are admired through European eyes. On the other hand, the great majority of conventional African craftworks are fabricated mostly for the tourist touris trade. The art has become a commercial good. However, some of the marketable works are still stil considered to be the examples of skilled craftsmanship. They are usually void of their meretricious,, commercial look and are not as attractive for the holiday-makers holiday as the other ones. Nevertheless, their apparent lack of character is generated by the spiritual, not the profit-making making motives. Sadly, their deep, invisible signification is not appreciated on tiny flea markets and magic power is treated a little bit with a pinch of salt. European culture cut them off from their original meaning. We can admire admir them as exhibits in museums and galleries, but this is not how they were destined to be seen. Africa keeps inspiring. Fashion has become a part of people's existence, existence that is not an exception any longer. longer. More designers, stylists, fashion creators or even eve photographers feel more satisfied to know, know that some piece of their creative work pays tribute to 'tribal'. It is modern and stylish to get to the canon of artists who pay attention to African culture. But is it just a cheap ingenuity or a shy trial to entirely e understand tribal art? The clothing styles and ways of dressing have a rich history going back thousands of years. Wear designs are a specified reflection of African 6
culture, so that fabrics, colors and symbols, that embellish them, are also very important. Meanings of colors, for example, vary from different people and textiles. Woven clothes belong to the group of most valuable and time-consuming to produce. Weaving expresses a ritual conferring from older to younger generations. Mud cloth (bògòlanfini) is a traditional wear from Mali. Each part of clothing is rich with black, brown and white elements arranging individual motives such as 'hunters', 'fish bones' or 'little stars'. Every piece of wardrobe has an own, sophisticated story to be told. Traditionally, clothes are made during the raw, dry seasons, when adverse circumstances prevent inhabitants of taking part in agricultural activities. Apparels are mostly worn by hunters to serve them a camouflage, as the ritual protection and vivid sign of high society status. Moreover, women are supposed to be dressed in mud cloth during their ritual initiation to adult lives and after giving a birth, so that bògòlanfini is believed to absorb dangerous, negative powers, released under such circumstances. Symbol
Name
Meaning
Farmer's sickle
'A farmer had a sickle he particularly liked. It worked well for him and he thought it deserved its own pattern. So this pattern is named for the back of the sickle.' Approximately 80% of actively working people are small farmers and agriculture at all, accounts for 40% of gross domestic product.
Brave and Fearless
The representation of a belt used by warriors before going off to the battles. Symbol of bravery and lack of fear.
Iguana's Elbow
Symbol of a good fortune. An iguana can lead a hunter to water and is also symbolic of African people in warfare with foreign powers.
Family and Community
Reflection of family's and community's love. Circles are the representation of the family's house and the dot the family itself or the family unity.
Cushions
Supposed to represent the cushions of rich women from the Mauritania area. Such women are so wealthy: they don't have to work.
The Talking Drum
The representation of a drum, used to call warriors to a battle or frighten animals while hunting.
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Bones of a Snake
Symbol of a bravery. It represents killed snake's bones (so that a warrior, who killed this dangerous animal must be brave and courageous).
A typical clothing of Yoruba people from Nigeria Nig - Asoke is mainly reserved for funerals, religious rituals and d other very formal occasions. The whole fabric is woven in 4-inch inch wide stripes that vary in length. The artistic, arti one-of-akind character of Asoke textiles flows from uninhibited way of stitching tching rough stripes. One piece of the fabric reflects whimsical soul of a tailor. Some parts of the material are left hemmed, partially hemmed or totally unfinished. Sometimes it is even expedient to get rid of one type of stripe and insert a band with quite qu unexpected pattern. Originally, Asoke was meant to be weaved worn by tribal men, although over the years women have become the equal users and producers of the fabric as well. However, irrespective of lapse of time Asoke, as Pic. 4 Asoke fabric tribal textiles, are strictly strictly reserved for very formal sacred occasions. Kente is probably the most popular from woven clothes in Africa, that holds the greatest significance. With a various palette of colours, it truly represents the powerful and energetic African people and is in tight association with the spiritual values. The origin of Kente has its roots even in tribal legends,, narrating about two friend hunters, who spotted a spider spinning a web and watched it for two days, till they returned home. After their trip, they decided decided to replicate the spider's work and the result product was Kente fabric. Color's multi-usage usage and designs utilizing various geometrical shapes and patterns are two most important factors that characterize Kente clothes and serve their special symbolics. Color Black Blue Green Gold Grey Maroon Pink Red Silver White Yellow Motive/Pattern
Meaning intense spiritual energy, maturation harmony, love, peace renewal of a spirit, growth, vegetation, harvesting wealth, royalty, glory, high status rituals of cleansing and healing, associated with ash mother earth feminine aspects of life (as pink is a mild aspect of red) political and spiritual moods, death and sacrificial rites joy and purity (associated with moon) purity, festive occasions wealth, royalty, preciousness preciou Meaning The world has three faces. This could be happiness-sadness happiness sadness-ok or day-night night-nature. The day is alright but at night you may have problems. Money is great to be possessed.
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The eyes of the housefly.
Things are not no going to be easy.
A pineapple skin. A pineapple is sometimes given as a gift to a friend. It is not easy to be peeled just like a friendship that requires a lot of work.
An agama that represents patience and trickery.
A butterfly is a symbol of punctuality and hard work.
A comb that symbolizes beauty.
It is an important thing that traditionally, original tribal fabrics were not tailored or even cut. They were folded folde and knotted to suit diverse events and occasions. Modern times and change nge of priorities have completely remodeled the situation. With the present interest in textile industry, industry that came from other continents, tribal handmade fabrics became old-fashioned old and not really up-to-date. date. To fulfill the needs of the mass production off fashion industry they are being cut, draped and fashioned into modern clothing, including pillows, blankets, wall hangings as well as throws. As a result, they have lost their primal character and, just like masks, become commercial goods. Of course, it cannot be denied, that authentic African textiles still existed, exis but their transformation, transformation begun by greatest European fashion creators, creators altered their main idea and the way of perceiving their meaning. One of the most Pic. 5 The transformation of Yoruba hat. Motive used in Jil interesting reference to a Sander's S/S 2012 collection.
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tribal fashion ion might be noticed in Jil Sander's spring/ summer 2012 collection. This German fashion designer got inspired by Asoke hats of Yoruba tribe. By attaching to the basic form of this head covering light and little mesh things, she gave them a much more fashion-forward forward current outlook. Some designers decide to go a step further and create not so obvious and instantly noticeable references to tribal culture. For fall 2010 Black Coffee collection was inspired by fluent and simple line structures of African masks.. Voluminous cocoon look like coats in pastel tones of
Pic. 6 Black Coffee Label collection. The structure of outfits inspired with the form of African mask.
peach, rose and royal blue were featured in this assemblage. It is a game of structures, cuts, folds and shapes that influences imagination. Of course,, some people may ask if analyzing the part of European, inspired by Africa, fashion world in comparison with original tribal heritage has the explicable argument, or even a point. It is commonly believed, that having the knowledge about own cultural roots and the ability of recognizing new, sometimes a little bit exotic elements, makes us the people of the 21st century - versatile and aware. Although the conscious interpretation is highly recommended, recommend we should remember to keep a mild restraint. Interpreting things in a very literal way, may lead some people to the borders of absurd and comicality. But, for many issues concerning modern world, there are usually two sides of viewpoints to be considered. Is the misinterpretation always the receiver's fault? By borrowing existing schemes, lots of contemporary orary artists aim to create new aesthetic values and expand people's horizons. Like Picasso, or less famous Black Coffee designers they try to bring to perfection the art of interpretation. Nevertheless, while referring to the heritages of another cultures, cultures they should remember to be understanding and tactful. The desire to create something beautiful and valuable ought to rule lower needs, like money gain and rise Pic. 7 Donna Karan collection. Mindless transformation of African art motives.
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of popularity. These are basic and obvious ethical rules. Sadly, vacuous copying, that modern art and design have currently to deal with, can also lead do absurdity, misleading the receivers and offence of the forerunners. Fashion creators and other artists have to put into consideration the fact, that reactions of tribal communities to their art might ight not be as they previously expected (if they expected any at all...). Perverting sacrosanct patterns and mysterious geometrical shapes may lead to mistaken perception of European world. This is why contemporary Europe needs a dialogue, discussion with Black Africa. Deriving cultural modules should happen with the acceptance from both sides. Only such way of dealing with some ticklish issues may go far towards balanced development, development that moves the civilization forward. Luckily, some of the distinguished fashion companies are aware of the scale of this problem. Through the cooperation with the great designer from Mali - Chris Seydou, who popularized the use of bògòlanfini and embraced it as a part of fashion heritage, Yves Saint Laurent or Paco Rabanne went we a long way towards the outset of serious and informative multicultural discussion. The third great area, that transforms tribal heritage into forfor sale goods is interior design industry. This huge machinery of money making Pic. 8 The positive influence of Chris C Seydou on Paco Rabanne and appeared around Yves Saint Laurent brands vs. the offensive collection of John Galliano 1720's in Western in 1990 (for Dior) Europe and was mostly associated with men of diverse backgrounds. In this art everything is taken into account, from rugs and flooring to lighting, because the slightest difference can change the room completely. The tendency is only growing today. ay. There is a very large emphasis on décor écor and the ambiance in rooms. People want to feel fee comfortable and want to have the guests feel comfortable in their homes. The sense Pic. 9 Ndebele interion paintings.
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of wellbeing depends, of course, on personal taste. And again, like in many cases, Africa is the perpetual source of inspiration. Surely, it is really hard to imagine a slavish transfer of tribal living conditions into European interiors. This is why, the art of interior design in modern housing on our continent is based on interpretation interpretati or detail's, pattern's and ornament's borrowing. There are many examples of African design to be permanently used in contemporary interiors. A long tradition of Ndebele Nd bele house paintings is a good example of housing decoration. This tribe of South Africa Africa began the mainstream of symbolic pictures after fter experiencing a lot of post-Boer-war post war harsh punishments. The expressive and colorful ornaments were used as a specific type of communication between groups of Ndebele community. In spite of many persecutions persecutio and harassments started by Boer tribe, they managed to preserve their cultural continuity in uncongenial circumstances. The paintings made by women were unable to be understood by the oppressors.. Because of apparent lack of harmful, political matters, the art was allowed to be continued. The planar expressions usually portray various emotions, marriage, values concerning self-identification identification or communication between prayers. 'The women of the Ndebele are often the
tradition carriers and the main developers develope of the wall art of their home. The tradition and style of house painting is passed down in the families from Pic. 11,12,13 Ndebele interion paintings and modern decor objects.
generation to generation by the mothers. A well painted home shows the female of the household hold is a good wife and mother.' 1 Like in all Africa, every piece of art has its specific, deep meaning. This is why, colours, symbols and shapes play a significant role in the overall design. Usually, there are five main dyes represented on paintings. '
The colours give an intensified symbolic meaning to the e Ndebele. They can mean status or power of the home's owners, offer prayer, announce a marriage in the home, or can even represent a current protest. These wall paintings express an abstract meaning with no real reference to any Pic. 14,15 (next page) Zulu hut - interior. 1
Quotation from www. wikipedia.org
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specific characteristic off their homes. This is the most direct way to show their individual expression to the people outside their far distinct family, showing of the talent and the taste of the mother. The colour white is always used as the background because it makes the bright patterns stand out more.''2 On the whole, geometrical motives and ornaments complete the complex complex structure of folklore and convention. Communication through artistic expressions makes each household one of a kind and allows it to tell its own history. It lets the art speak, not only in the interiors, but also outdoors emphasizing the self-identity. But except of outstanding, vivid paintings as decor art, African design focuses on utility. It is a common thing, that everyday use tribal objects become a small interior masterpieces in European apartments. South Africa, for example, is well-known known for its tightly woven Zulu baskets and clay pots. Except being very functional in agrarian existence of Zulu tribe, they are truly artistic and decorative as well.. Besides raising children, working in the fields, collecting water and other daily chores, basket making became a normal working routine among Zulu women. HandHand weaving influences a very individual and unique size, shape and pattern of each of them. What iss more all the colours are obtained from boiling roots, leaves, berries and bark or other organic materials of indigenous flora. Despite the weavers' personal styles, it is obvious that the form is strictly ruled by the function. Type of a basket
2
Name of a basket Ukhamba - Beer Basket (Water Tight)
Function Used for serving low alcohol during ceremonial occasions or when receiving guests. Smaller ones are created as drinking vessels, bigger ones - as a liquid storage
Isichumo - Water Basket (Water Tight)
Used for carrying and storing liquids (usually it is water). The size varies the function (bigger ones for storing water in a hut, smaller ones as the transport containers).
Imbenge - Saucer/Small Bowl (Some Water Tight, Some Not)
Weaved to hold d nuts, serve moist food (mashed potatoes, etc.).
Quotation from www. wikipedia.org
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Isisquabetho Winnowing/Grain Basket (Not Water Tight)
Used for carrying and storing grain or kneading bread in large quantities.
Isilulu - Large grain Basket (Not Water Tight)
Created to store grains for a long period of time (the convolution allows for air flow inside).
Iqoma Open Bowl (Not Water Tight)
Used in order to store, transport or serve food or valuable personal possessions.
Canister (May be water tight or not)
Storage of bread, coffee beans, candies, personal stuff, bread serving.
Iqutu Herb Baskets (Not Water Tight)
Created to store dried herbs for culinary and medical use (very small quantities).
Antique/Vintage Imbenge: (Not Water Tight)
Used usually as a beer basket or clay pot lid.
Zulu Telephone Wire Baskets Decorative Imbenge (Not usually Water Tight but older ones can be/were)
Used to cover beer baskets.
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Houses with African decorations aim to give the feeling of Africa, no matter how far away from this thi a little bit exotic continent the house may actually be. It is usual that a house or apartment is years away from tribal styles on the exterior, but the interior decor might make attempts to transport the inmates to another Pic. 16 Modern interior with a huge hu collection of Zulu tribal baskets reality. And, of course, and woven plates. transfer fer of the templates into modern design is in this situation inevitable. Many contemporary books and magazines try to give helpful advices how to transform a plain flat into tribal-hut-look-like like apartment. A reader may find out that a huge plurality of bright ght colours, including blues, greens and purples or possession of African accessories is highly desirable. The Th belief and the need of ownership of something indigenous, present among future consumers is commonly used to account by disreputable inhabitants. This is why flea markets are very popular almost in every major cities of Africa. They usually feature craft items with little ethnic identity,, whose authenticity is not really true. In the craft markets, the African identity is connoted, not only in previously viously mentioned masks, but in the huge majority of figures, carvings and other accessories, made by suspicious semi-skilled semi craftsmen. These home decor supplements are usually sold at out-of-town town tourist places, suggesting their area of origin and creating creati a sense of 'authentic' cultural ral landscape. The sad truth is that original, unique and indigenous products of Pic. 17,18 Cheap stuff on the high-craftsmanship can be found in endless false 'tourist market' and sellers acting as the tribal African. replications on flea market stalls. The pervasive lack of even vague knowledge concerning tribal triba artists and authors of sold objects is not considered by the great majority of consumers. The strategy of 'primitive Africa' is an important factor in marketing and self-promotion self policy - this is the Africa sought by tourists, who, who by hunting for tribal-look-like tribal home decorations, increase the annual income of this genuine continent. It seems, that housing decor art could be interpreted only in a very traditional way.. But it is the fact, that new disciplines of housing design are to be born. Students and nd scientists from Computer Science Department in the University of 15
Pretoria managed to convert traditional Ndebele paintings into parametric art. Various designing tools for drawing or painting present a lot of challenges. One of the most important advantage of it, is a support of the designing process, without restricting the artist's creativity. Commonly available appliances, like tablets, allow architects and designers to work in two dimensions. Designing tools in virtual environments aim to use 3D modeling eling for diverse applications. Students from Pretoria University wanted to simulate or imitate the traditional, tribal wall wall-painting method. At the same time they decided to take maximum advantage of the possibilities that computer techniques have to offer offe in terms of fast production and mapping onto Pic. 19 Traditional Ndebele painting vs. virtual various surfaces among others. technology (University of Pretoria - student's Finally, the advanced system, that research). includes a huge diversity of prepre scanned patterns and ornaments, was developed. The good equipage of it contains a set of virtual tools for editing editing and manipulating decorative designs design embodied in database and a set of algorithms, that enable positioning, resizing or painting the patterns. A real paintbrush used as the interaction device, allows for a rapid creation of Ndebele wall decorations that that cover different virtual surfaces. It reflects the way of hand manipulation, pressure and all the artist's gestures.
PART 2: FROM EUROPE TO AFRICA African continent has been affected by globalization for centuries. The phenomenon of slavery and slave trades have defined the development of lots of African communities for many years. Former colonizers and slave owners have created an uprightness of evolving political and economical liberalization. It is a perpetual feeling, that old-time time oppressors seem seem to be today's redeemers, fighting for democracy, inalienable human rights and capitalistic free markets. During years the progressing process of globalization has posed utterly new demands to usually politically unstable, debt-ridden ridden and, unfortunately, technologically underdeveloped communities. Contemporary, like almost all world nationalities, African countries play a role in world's ld's economical situation. They not only participate in international export, but also so import lots of world-known world products. On the other hand,, this continent found terrible difficulties in taking advantages of the opportunities provided by modern moder economy. The undefined regulations of economical system, production and exchange of goods, as well as problems with dealing with political pol and socio--cultural progress 16
make the situation even worse. Sadly, it is the fact, that Africa is usually being omitted in the process of dividing and receiving foreign stock capital. Although African goods are quite popular among tourists, art collectors collectors and connoisseurs, still, they are not very well known and understood by masses and are not commonly available on universal markets. markets. The internationalization and mobility of these products and their connection with outer world is not well prepared and advertised. advertised Some people may even say, that the process of turning the world into a huge village is nothing but a new order of marginalization of the African continent. They may think, that the universalism of media distribution, market exchanges, and communication comm technologies rules the inception of new, creative ideas and development of the "Black Continent". So maybe we should ask ourselves if the poverty - a major institution of Africa was totally designed and did not happen just by accident? It is truth, trut that all developing countries are in debts that reaches trillions (not even billions) of dollars. But how to comment on the lack of government's initiatives to enhance local productions currency devaluations or exhaustion of foreign reserves? With no doubts, do these actions raise the marginalization rate, which, paradoxically, influences the development of underdevelopment directed by the operators of development. Besides the considerable impact on poverty, it seems that another aim of globalization is the implementation of a conformism policy, in which poor African countries are ruled and dominated, or even exploited by the rich ones. In fact, unwieldy African government and catchy economical manoeuvres can easily deprive the "Black Communities" of the independence of self-reliant self political, sociological and psychological thinking and determined actions. The deficiency of foreign capital and the burden of external debts have dashed peoples abilities to cope with their own businesses and fulfill people's needs and Pic. 20 Poverty in Africa demands. We can strongly admit, that for this continent globalization has become a serious threat rather than a great opportunity to solve continental problems. Most of the globally used policies give the international corporations unbridled emancipation ncipation to operate anywhere without any limitations of host nations while their actions have a huge impact on the interests of hosting communities. By adding some pressure to the poorer nations "people from the West" want African societies to open their markets under previously constituted rules, they do not follow later on. As a result, left without sufficient financial aid, inhabitants have been forced into a situation, when they have to live from f hand to mouth. Inn the past every family possessed a silos silos in their domestic premises. Now, most of them stay empty and to deal with difficult situation people borrow their salaries before the official date of payment. In Mali, outer investors and manufacturers 17
managed to take over revenue tobacco and textile industries, industries, or even national airlines. In Zambia foreign capital lead to the bankruptcy of motor and textile industries and in Tanzania capitalistic rule of open market and free competition have caused the collapse of clothing and leather production. The African market has become the dumping ground for various types of commercial goods from developed countries, all in the name of free trade. But it is not only economy at all. We have to be aware that every culture is changeable. The culture is dynamic, not steady. Getting out inspirations from another cultures is the inevitable part of the development. However, in a situation when outer, foreign products become more popular and better sold than those locally manufactured, some concrete actions should be taken to prevent the culture from evisceration.. In Zimbabwe, Zimbabwe for example, imported goods are considered to be more respectful and prestigious. Music and dance have started to be ruled by western beats and rhythms. Sadly, the t overrunning conviction of western predomination edomination and blind delight referred to international brands may lead to self-destruction. destruction. It has always been the most significant part of African societal structure, that keeping in touch with outer environment and provide the whole family with differentt appurtenances and sufficient budget. Contemporary the priorities changed. Men and women are equally forced to leave their households in the search of proper job. The whole situation affects family life, leads to social pathologies and has its own reflection reflection even in health and education areas. This is why the he system needs to be recomposed. All in all, the he final calculation between Western's commitments and benefits on Africa do not stay in good proportion. We may think it is really strange that the same sam process of globalization that has found a perfect link between East and West constantly negates the huge disintegration between North and South. But the bond between globalization and Africa's poverty may be a very contentious issue. The vivid refusal and a the denying outlook taken by the G8-rulers G8 and other official globalization instruments might exemplify that there is something wrong and bad economical situation of Black Africa could be proposed as its solution. Pic. 21 J. Ferreira, 'Trashland of Maputo' To make matters worse, the continent is drowning in rubbish. Many western corporations benefit from legal loopholes to dump their waste in Africa. It is a common habit for European or American ships to unload their containers filled with used computers, electronic devices, or even old medical equipment.. Dodgy groups of people, like wrangler purchasers, corrupted politicians and businessmen or poor civil servants accept to 18
take disproportionate, little charge of such rubbish and dump them off the landfill areas or even coastlines. In obvious wayy such procedures lead to the total destruction of natural, primeval environment and cause hundreds of terrible diseases, diseases like paralysis, headaches, vomits. vomits In the cases of mass setbacks and serious health problems, caused by toxic liquids, liquids harmful leaks and nd noxious fumes Africa has to face the problem of medicines dicines deficiency. Except chemical waste African communities have to deal with previously mentioned electronic waste. Every year, dishonest Nigerian merchants accept to receive about 400.000 unwanted computers, computers, mobile phones or printers and promise to distribute them for practical reuse. But in fact, it appears that 75% of incoming devices are unable to be resold. It is usual that they end up on landfill sites.. In the tones of harmful waste, barefoot children children and teenagers look for easy-to-sell-and-reuse reuse materials, like copper wires, nails. To reveal deeper layers of garbage they decide to set the fire. And this is how plastic appliances, containing cadmium, mercury and other poisonous elements or ferritisers, ferritisers, disappear sending fumes up into nto the air. As the Western technologies are still becoming cheaper, there is a great threat of intensification dumping procedures on African continent. But it is not only the massive, corporatist waste that threats Black Blac Continent. By importing Western products African communities had to get familiar with culturally uncommon stuff. Plenty of worldwide known commodities, are wrapped in packages made by stilted materials, just like plastic, polyethylene or polyvinyl chloride, chlori that differ a lot in comparison with fully natural tribal trade production. In such situation even not that big consumption creates the excess of rubbish, that, basically, Africa is not able to deal with. And this is how huge quantities of waste end up on streets. Bad education, lack of experience in coping with constrained materials and the deficiency of environmental awareness, awareness, as well as rapidly growing populations, makes local communities unable to realize, that throwing domestic waste on roads and pedestrians area is not even unpleasant, but really dangerous for themselves. In Uganda, for example, people are left with household garbage on their own. The government is not interested in providing their society with dustbins and rubbish collecting vehicles. cles. There are no specified policies to gain the cleanness of people's nearest surroundings. Plastic bags, that are cheap to produce and given for free with all shopping are a serious problem for citizens and provincial inhabitants. Discarded on roadsides,, rural areas and river shores, they clog up waterways, causing sewage complications and flooding. What is more, they hold stagnant water, which festinates the breeding of mosquitoes, that accordingly leads to malaria. The truth is, that if Africa does not take resolute actions the problem will escalate and future generations will suffer from the short-sightedness sightedness of their ancestors. Paradoxically,, several billions of dollars are spent annually on the treatment of people suffering from common diseases. These se vacuous costs could be easily reduced with the implementation of good sanitation laws and hygiene education. So far, in the face of startling inanity and Pic. 22 Sally's Stokes woven objects of daily use.
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thoughtlessness, some more aware people are forced to find their own, creative ways of dealing with ith waste and used recyclable materials. Starting from the very small scale,, unwanted stuff has the general capacity to be transformed. The conjunction of clever and a little bit artistic brain and old plastic bag may lead into the uprising of surprising objects bjects of daily use, that recall traditional art and tribal craftsmanship. The great mixture of conventional technology and modern way of thinking may bring enhanced, astonishing results and lead to the birth of new, glorious ideas. By thinking in a local way, there is a huge possibility to act globally. Lucky for Africa, there are few people, who desire to transform other's wastes into their own treasure. Sammy's Ansah passion for environment coerces him to look for new ways of reusing junk and other unwanted wanted things. Actively acting in Ghana, in the beginning of his career he became aware of the problem of wooden telephone and electricity cable spools spread all over the country. In the end of electrification improvements in countrified areas, huge woodenn wheels are left with no mercy among other wastes. Good quality and heavy-duty heavy structure enables a lot of opportunities of any kind of reuse. Breaking it up into pieces and basic elements in the opinion of Mr. Ansah is just the misuse of money and energy. This is why, in 1987 he decided to start an interior design project based on the tables, chairs and even doors from the timber spools. Some time later, he went further and combined the wooden wheels with Pic. 23 S. Ansah, Transformed timber spool. other types of junk, creating a comprehensive decor deco style in the Abelenkpe apartments. apartments Some medium-scale scale projects aim to combine the solutions for groups of different problems. And so Mark Anderson from Anderson Anderson Architecture conceived an idea of building an enormous flower from plastic water bottles, liquid containers and other different plastic constructions that could be constructions, used in the process of water collection and purification of the rainwater and respond for the severe problem of water scarcity, that puts Africa in the first row of interes interest. All preliminary elements of structure were we gathered and stick together creating forms resembling blossom's petals. During the rain, the designed trajectory leads water through the system of threaded stems of tuberous filtration. Thousands of raindrops end nd up in a storage in flower's roots, so that the user has the possibility to
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gain sweet, drinkable rainwater. rainwater. What is more, the huge construction provides people with shaded space.
Pic. 24 (previous page), 25 M. Anderson, EnormousPlasticRainFlower
We live in a beautiful, but very cruel world. The blind and furious race ra for power and mammon may lead not only to the harm of other human beings, bit in fact, causes self destruction, total and unavoidable. In this sad reality I put all my hope in those not very 'important', not really rich everyday-life everyday life people, whose visionary, visio sometimes out-of-this-world world clever ideas, ideas using no dominion and very little mo oney aim to make someone's world better. Itt is called PASSION. Seeing them thinkking, working and acting makes me believe, that one day, GLOBALIZATION will po ositively turn into PASSIONALIZATION, that exxerts the perfect combination of 'past' traaditional world, as well as the incontrovertible achievements of modern reality.
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BIBLIOGRAPHY: 1. P. Legrain, 'In Defense of Globalization. Why cultural exchange is still an overwhelming force for good.' - article from 'International economy' magazine. 2. S. Williams, 'Symblos and Color in African Clothing' - for www.ezinearticles.com 3. K. M. Jones, 'African Mud Cloth - History, Origin and Significance' for www.earthsongvillage.com 4. A. Nettleton, 'Life in a Zulu Village: Craft and the Art of Modernity in South Africa' - article for 'The journal of Modern Craft', March 2010 5. 'Ndebele Painting in VR' - the report concerning the research taken by University of Pretoria, Computer Science Department and Jurgen Wind at GMD/IMK VE (Schloss Birlinghoven) 6. R. Sandiq, 'African Inspired Collections Unveiled During Milan Fashion Week S/S 2012' for www.hautefashionafrica.com 7. A.Horn, 'JUNK ARCHITECTURE: TOWARDS AN ECOLOGY OF RECYCLING!' for 'Get the Funk Out Magazine', 2000 8. J. Herbst, 'Africa and the Challenge of Globalization' - Presented at the Conference on Globalization and Economic Success: Policy Options for Africa, Singapore, 7-8 November 2005 9. M. SĂŠverine, 'Globalization and Africa's Future: Towards Structural Stability, Integration and Sustainable Development' ,2001 10. H. McDonald, 'Houses with African Decor' - commercial article for interiordesign.lovetoknow.com 11. N. Jayawardane, 'Recycling Rubbish - article for http://africasacountry.com 12. Project EnormousPlasticRainFlower, U.C. Berkeley - www.andersonanderson.com 13. BBC article, 'Is Africa drowning in rubbish?' - www.bbc.co.uk 14. BBC article, concerning the activity of Sammy Ansah - www.bbc.co.uk 15. RAW Foundation booklet, August 2006 16. www.africancrafts.com - article concerning patterns and symbols in Kente and Korhogo clothes 17. http://www.mnh.si.edu/africanvoices/mudcloth - facts regarding the activity of Chris Seydou 18. http://munaluchibridal.com/african-inspired-spring-2012-collections-takes-over-lfw-nyfw 19. http://theakuviproject.com/2011/07/01/ndebele-inspired-piano-by-jen-mazer 20. http://www.zulu-culture-history.com 21. http://www.zanzibartrading.com/AboutZuluBaskets.htm 22. http://www.artyfactory.com/africanmasks 23. http://www.vub.ac.be/BIBLIO/nieuwenhuysen/african-art
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