a brief note on African agency in its historical contacts with the rest of the world.
the indigenous and the foreign in Benin art
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===================================================================================== ### the indigenous and the foreign in Benin art ( Apr 28, 2024 28 Contacts between people of different societies and cultures are one the most important subjects of research undertaken by historians and anthropologists. But in African historiography, most studies of cultural contacts and discovery used to be concerned with the study of foreign perceptions of Africa and Africans, with relatively few studies being devoted to the African view of non-African people and societies, and how they evolved over time, especially during the era of mutual discovery beginning in the late 15th century. _**Carved ivory salt cellars made by Sapi artists in early 16th century Sierra Leone, showing indigenous and foreign motifs.**_ This asymmetrical focus on the perspectives of non-Africans has created a false division between active and passive participants in cultural contacts, not just in research about the individual figures who participated in these exchanges, but also in the analysis of the "hybridized" objects, structures, and styles produced as a result of the contacts between African and non-Africans. Fortunately, the recent shift to studying the perspectives of Africans in their cultural contacts with the rest of the world has revised previous ideas about Africa's role in the era of mutual discovery. As more research re-evaluates the impact of Africa's international relations on global history in general and African history in particular, a more coherent perspective on the initiative of Africans and their artistic creativity has emerged. Recent publications such as David Northrup's '_**Africa's Discovery of Europe’**_ and Michał Tymowski's _**'Europeans and Africans'**_ have positioned Africans as fully articulated historical agents in the era of mutual discovery. While studies focused on the material impact of such interactions like Verena Krebs' _**‘Medieval Ethiopian Kingship’**_ and Manuel Joao Ramos' _**‘The Indigenous and the Foreign in Christian Ethiopian Art'**_ have reframed previous ideas about African agency in the creation of the 'hybridized' artwork and architecture of the period. _**18th century Ethiopian manuscript miniature depicting a long battlemented building similar to the Gondarine palace of Empress Mentewwab.**_ Mss Or. 791, British Library. My articles about the African diaspora in (
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, the West Africans in ( and (
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, explore the contribution of these diasporic Africans to the diverse cultural and intellectual traditions of their host societies. The impact of Africa's contacts with the rest of the world and the African perception of non-Africans appear in the art traditions of the kingdoms of (
, as well as in the artworks of the (
, all of which demonstrate the evolution in the image of the European in African art. Among these four African societies, the kingdom of Benin provides the most comprehensive visual document representing foreign objects and peoples in African art across five centuries of contact. The nature of cultural exchanges between the indigenous and the foreign in Benin’s art is the subject of my latest Patreon article. Please subscribe to read about it here: ( * * * (left) Crowned head from Ife, Nigeria, ca. 14th century (right) Head of Augustus found buried in Meroe, Sudan ca. 25BC. the ( were erroneously thought to be the product of an ancient society influenced by Greco-Roman tradition, but besides the similarity in sophistication, the kingdom of Ife had no contact with the ancient Mediterranean. Thank you for reading African History Extra.
## A Brief Note on African Agency in Its Historical Contacts with the Rest of the World

### Title: The Indigenous and the Foreign in Benin Art

#### Introduction
1. **Significance of Cultural Contacts**: The interactions between different societies and cultures are crucial to understanding historical developments. 
   
2. **Historical Focus**: Traditionally, African historiography emphasized foreign views of Africa, often neglecting African perspectives on non-African societies. 

3. **Emergence of Mutual Discovery**: Starting in the late 15th century, there was a mutual discovery period that significantly shaped cultural exchanges.

#### Shift in Perspective
4. **Re-evaluation of African Agency**: Recent scholarly work has shifted focus to the agency of Africans in their cultural contacts, altering the previously dominant narrative that positioned Africans as passive participants.

5. **Significant Publications**:
   - **David Northrup's "Africa's Discovery of Europe"**: Positions Africans as active historical agents during cultural exchanges with Europe.
   - **Michał Tymowski's "Europeans and Africans"**: Also emphasizes African agency in historical narratives.

6. **Material Impact Studies**: Research by Verena Krebs and Manuel Joao Ramos highlights the role of Africans in producing hybrid artworks and architecture resulting from cross-cultural interactions.

#### Artistic Evidence of Cultural Exchange
7. **Example of Ethiopian Art**: 
   - **18th Century Manuscript**: Illustrates the influence of foreign architectural styles on Ethiopian art, indicating a blend of indigenous and foreign elements.

8. **Diaspora Contributions**: Articles exploring the African diaspora reveal how African agents shaped the cultural and intellectual traditions of their host societies.

9. **Artistic Evolution in Benin**:
   - The art of the Kingdom of Benin represents one of the most comprehensive visual records of foreign influences over five centuries.
   - Benin art reflects evolving perceptions of European figures and objects over time.

#### Conclusion
10. **Cultural Exchange in Benin Art**: The nature of interactions between indigenous and foreign elements in Benin’s art is pivotal in understanding Africa’s historical agency and the complexities of cultural exchanges.

11. **Visual Comparisons**:
    - Objects such as the **Crowned Head from Ife** and **Head of Augustus** demonstrate the sophistication of African societies like Ife, which showed no direct contact with ancient Mediterranean cultures despite superficial similarities.

#### Call to Action
12. **Further Exploration**: For a deeper understanding of these dynamics, subscribe to the author’s upcoming articles that delve into the cultural exchanges and their significance in African history.

### Closing
13. **Acknowledgment**: Thank you for engaging with African History Extra, a platform dedicated to illuminating the continent's rich and often overlooked past.