Glossary

4.2 Colonial art and architecture in Africa

4 min read•august 13, 2024

Colonial art in Africa blended European styles with local elements, creating unique hybrid forms. Buildings like government offices and churches showcased European power, using grand designs and materials to assert dominance over African colonies.

These artistic choices reinforced racial hierarchies and cultural imperialism. European-style urban planning disrupted traditional African settlements, leaving lasting impacts on cityscapes and social structures that persist today.

Colonial Art and Architecture in Africa

European Styles and Design Elements

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  • Colonial art and architecture in Africa often incorporated European styles and design elements, such as neoclassical, baroque, and gothic revival styles, adapted to local contexts and materials
  • Colonial buildings, such as government offices, churches, and residences, were often designed to convey a sense of grandeur, permanence, and authority, using materials like stone, brick, and concrete
  • The characteristics and styles of colonial art and architecture varied across different African regions, depending on the specific colonial power, local cultural influences, and available resources

Incorporation of Local African Motifs and Patterns

  • In some cases, colonial art and architecture also incorporated local African motifs, patterns, and design elements, creating hybrid or syncretic styles that reflected cultural interactions and adaptations
  • Examples of notable colonial buildings in Africa include:
    • Palace of the Governors (Dakar, Senegal)
    • Jamia Mosque (Nairobi, Kenya)
    • Rua de Bagamoyo (Stone Town, Zanzibar)

Asserting European Power Through Art

Symbols of European Superiority and African Subordination

  • Colonial art and architecture served as visible symbols of European power and cultural dominance in African colonies, reinforcing the idea of European superiority and African subordination
  • The construction of grand, imposing buildings in European styles was intended to demonstrate the technological and cultural achievements of the colonial powers and to legitimize their presence and authority in Africa
  • The use of colonial art and architecture to assert European power and cultural dominance was part of a broader process of cultural imperialism, which aimed to reshape African societies and identities in the image of the colonial powers

Reflecting European Ideals and Cultural Dominance

  • Colonial public spaces, such as parks, gardens, and squares, were often designed to reflect European ideals of order, beauty, and civilization, and to create a sense of familiarity and comfort for European settlers and visitors
  • The display of European art, such as paintings and sculptures, in colonial buildings and public spaces was also used to assert European cultural dominance and to educate and "civilize" African populations according to European standards and values

Racial Hierarchies in Colonial Art

Segregated Spaces and Unequal Treatment

  • Colonial art and architecture often reflected and reinforced racial and cultural hierarchies by creating separate and unequal spaces for Europeans and Africans, based on ideas of racial difference and superiority
  • The layout and design of colonial cities and towns often segregated European and African populations, with Europeans living in spacious, well-appointed quarters and Africans confined to overcrowded, poorly serviced areas
  • Colonial buildings, such as government offices, banks, and hotels, were often designed with separate entrances, waiting rooms, and facilities for Europeans and Africans, reinforcing ideas of racial segregation and hierarchy

Reinforcing Stereotypes and Justifying Domination

  • The use of classical and neoclassical styles in colonial architecture, with their associations with ancient Greece and Rome, was intended to convey a sense of European cultural superiority and to justify colonial rule as a "civilizing mission"
  • Colonial art, such as paintings and sculptures, often depicted Africans as exotic, primitive, or childlike, reinforcing stereotypes and justifying European domination and control
  • The exclusion or marginalization of African art and architecture in colonial contexts also reinforced cultural hierarchies, by privileging European cultural forms and denying the value and legitimacy of African cultural traditions

Colonial Impact on African Landscapes

Disruption of Traditional African Settlement Patterns

  • Colonial art and architecture had a significant and lasting impact on African urban landscapes and built environments, shaping the physical and social fabric of cities and towns across the continent
  • The imposition of European-style urban planning and architecture often disrupted traditional African settlement patterns and ways of life, leading to the displacement and marginalization of African communities

Long-term Environmental and Economic Impacts

  • Colonial buildings and public spaces, such as government offices, churches, and parks, often became focal points of colonial power and authority, and continue to shape the character and identity of many African cities today
  • The use of durable, imported materials, such as concrete and steel, in colonial architecture also had long-term environmental and economic impacts, contributing to the depletion of local resources and the dependence on foreign imports

Divided and Unequal Landscapes

  • The legacy of colonial art and architecture can still be seen in the divided and unequal landscapes of many African cities, with former European quarters often enjoying better infrastructure and services than African neighborhoods

African Appropriation and Transformation

  • However, colonial art and architecture have also been appropriated and transformed by African communities, who have adapted and repurposed these spaces for their own needs and aspirations, creating new forms of urban culture and identity
  • The impact of colonial art and architecture on African urban landscapes and built environments is complex and multifaceted, reflecting both the oppressive legacy of colonialism and the resilience and creativity of African peoples

Key Terms to Review (17)

Appropriation: Appropriation refers to the act of taking or using elements from one culture or context, often without permission, and recontextualizing them for another purpose. This concept is significant in understanding how cultural elements are borrowed, altered, or commodified, especially in the context of colonialism and the resulting power dynamics between cultures.
Art as commodity: Art as commodity refers to the idea that art can be treated and valued as a product within the marketplace, where it is bought, sold, and traded just like any other good. This concept shifts the focus of art from its cultural or spiritual significance to its economic value, affecting how art is created, distributed, and perceived, especially in contexts of colonialism where local art forms were commodified for export and profit.
Cape Dutch Architecture: Cape Dutch Architecture is a distinctive style of building that emerged in the Cape Colony of South Africa during the 17th and 18th centuries, characterized by its gabled roofs, wide verandas, and ornate decorative elements. This architectural style reflects a blend of influences from Dutch colonial styles, local traditions, and other European styles, showcasing a unique adaptation to the South African environment.
Cross-cultural influences: Cross-cultural influences refer to the interactions and exchanges between different cultures that can lead to the adoption, adaptation, and integration of ideas, styles, and practices. This concept is especially relevant in contexts where one culture significantly impacts another, such as during periods of colonization. In the realm of art and architecture, these influences manifest in the blending of aesthetic elements and techniques from various cultural backgrounds, shaping a unique artistic narrative.
Cultural hybridity: Cultural hybridity refers to the blending and merging of different cultural influences, resulting in new forms of expression and identity. This concept is significant in understanding how colonized societies assimilate and adapt various cultural elements from both colonizers and indigenous traditions, leading to unique artistic and architectural outcomes as well as contemporary art practices that reflect diverse identities.
Exhibition of African art: The exhibition of African art refers to the presentation and showcasing of artworks from the African continent, encompassing a wide range of mediums including sculpture, textiles, painting, and installations. These exhibitions often highlight the rich cultural heritage, diversity, and artistic practices of various African societies, while also providing a platform for dialogue about colonial histories and contemporary issues within the context of art.
Exoticism in Art: Exoticism in art refers to the artistic representation of foreign cultures, landscapes, and people, often emphasizing their perceived differences from Western norms. This concept is rooted in the fascination and romanticization of the 'other,' allowing artists to explore themes of adventure, mystery, and the unknown. It often reflects the political and social dynamics of colonialism, where Western artists used exotic subjects to create a sense of escapism or to critique their own societies.
Francois Levaillant: Francois Levaillant was a French naturalist and explorer active in the late 18th century, known for his detailed studies and illustrations of African fauna and flora. His travels in Southern Africa contributed to the understanding of its biodiversity during the colonial period, highlighting the complex relationship between colonialism and natural history.
Moorish Revival: Moorish Revival refers to an architectural style that emerged in the 19th century, characterized by the incorporation of Islamic art and architecture influences, particularly from the Moors of North Africa and Spain. This style is known for its intricate tile work, horseshoe arches, and elaborate ornamentation, often creating an exotic atmosphere that appealed to European tastes during the colonial period.
Myth of the noble savage: The myth of the noble savage refers to the romanticized idea that indigenous peoples live in a state of purity, simplicity, and closeness to nature, free from the corrupting influences of civilization. This concept often portrays these groups as inherently good and virtuous, contrasting them with what is seen as the moral decay of European societies during colonial expansion. The notion has influenced colonial art and architecture, reflecting both admiration for and patronizing attitudes towards indigenous cultures.
Orientalism: Orientalism refers to the depiction and representation of Eastern cultures by Western artists, scholars, and writers, often characterized by stereotypes and exaggerations that serve to emphasize a sense of Western superiority. This concept reflects a complex relationship where art becomes a tool for colonial power, shaping perceptions of the 'Orient' as exotic, backward, and fundamentally different from the West.
Resistance art: Resistance art refers to creative expressions that challenge dominant narratives, especially those imposed by colonial powers. This type of art serves as a tool for marginalized communities to assert their identity, critique oppression, and reclaim cultural heritage. It often reflects themes of resilience, struggle, and empowerment, making it significant in understanding the effects of colonialism on traditional art forms and the artistic responses to colonial architecture.
Romanticism in Colonial Contexts: Romanticism in colonial contexts refers to the artistic and intellectual movement that emerged in the late 18th and early 19th centuries, emphasizing emotion, nature, and individualism as a reaction against the Enlightenment's focus on reason. This movement often idealized the exotic and the 'noble savage,' influencing how colonial subjects were represented in art and literature, and shaping perceptions of colonized lands and peoples.
Royal Academy of Arts: The Royal Academy of Arts is an art institution in London that was founded in 1768, aimed at promoting the visual arts through education, exhibitions, and support for artists. It played a crucial role in shaping British art and influencing colonial art practices, particularly during the era of British imperial expansion.
Scramble for Africa: The Scramble for Africa refers to the rapid invasion, colonization, and division of African territory by European powers during the late 19th century, particularly between 1881 and 1914. This period significantly reshaped the political and cultural landscape of Africa, impacting art production, architecture, and the representation of African identities in the context of colonialism.
Thomas Baines: Thomas Baines was a British artist and explorer known for his vivid landscape paintings and illustrations during the colonial period in the 19th century, particularly in Africa. His work captures the complex interactions between colonial powers and indigenous populations, providing a visual narrative of colonial expansion and its effects on the landscape and culture of Africa.
Visual colonization: Visual colonization refers to the ways in which colonial powers used imagery, art, and architecture to assert dominance and control over colonized territories and peoples. This concept highlights how visual representations were employed to establish narratives that justified colonialism, often depicting colonizers as civilized and superior while portraying the colonized as primitive or exotic. Through these visual tactics, colonizers sought to shape perceptions, identities, and social hierarchies within colonized societies.
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