I have been thinking and subsequently blogging about iconoclasm a lot, primarily in an attempt to... more I have been thinking and subsequently blogging about iconoclasm a lot, primarily in an attempt to clarify my own approach and possible arguments regarding iconoclasm as one extreme in a spectrum of relationships between religion and the (visual) arts, or different regimes of visual piety if you like. This relates closely to something I have been thinking about a lot recently : how to address and conceptualise what I perceive of as a pervasive influence of religion/religious politics with regard to the art forms I’m concerned with (and beyond). I have been using terms such as religious politics, socio-religious context and alike but never been particularly happy with them. Now, yesterday I was searching for literature about other aspects of the relationship between the arts and Islam actually addressing contemporary, to use these terms again, socio-religious developments and the views of Muslim scholars speaking to contemporary Muslims about the legitimacy of different art forms. In this course, I came across a special issue of the journal Contemporary Islam particularly concerned the contested notions of art, leisure and entertainment in contemporary Muslim societies. While there were a number of (in comparative terms) useful ideas, concepts and observations in other articles as well, what I would like to briefly introduce you to here, is the concept of ‘pietization’ introduced by Bryan S. Turner and constructively employed by Karin van Nieuwkerk.
One of Morgan's discussions in The Sacred Gaze of particular importance to my own argument deals... more One of Morgan's discussions in The Sacred Gaze of particular importance to my own argument deals with the dichotomic pair of iconoclasm and idolatry. Morgan convincingly argues that 'Iconoclasm presupposes idolatry. By definition, iconoclasm cannot be conceived or practices without the requisite “other” it seeks to rout out of human behaviour. But this does not mean that iconoclasts are reacting to anything real. In fact, they often imagine the offense they seek to reprove. They need the other to destroy in order to construct a new tradition in which to exist.' (Morgan 2005: 117) [...] This further emphasises the need to consider in any discussion of iconoclasm and explicit pronouncement of aniconism the socio-political and ideological context in which it is enacted as well as judged. This brings us straight back to the (rhetoric) question I raised in an earlier blog entry: To which extent and how do I need to consider Nigerian socio- and religious politics in my writing about contemporary arts in northern Nigeria?
I had come across David Morgan’s Visual Piety: A History and Theory of Popular Religious Image s ... more I had come across David Morgan’s Visual Piety: A History and Theory of Popular Religious Image s a while ago and was really interested in his concept of visual piety as an analytical tool for my discussion of the religious prints I collected at Kurmi Market in July 2008. While this books is waiting in the library for my next trip to Berlin, I have just received his The Sacred Gaze and I’m just captivated. A lot of what he writes ties in very well with my recent reading on iconoclasm, provides further useful food for thought and one or the other promising theoretical underpinning for my discussion of religious discourses on the arts and religious visual culture in northern Nigeria.
The little I originally found about contemporary arts in (the region we, for the lack of a better... more The little I originally found about contemporary arts in (the region we, for the lack of a better term and in full awareness of all the ideological baggage attached to this name, agreed to continue calling) northern Nigeria alleged iconoclasm in the course of Islam’s introduction featured prominently. In 2006 Nigeria was one of the countries worst hit by unrest in protest of the publication of the so-called Danish Muhammad cartoons. Thus, in order to appropriately conceptualise I have done some background reading. Here some of my thoughts.
This article will briefly address the issue of teaching sculpture as part of the art curriculum i... more This article will briefly address the issue of teaching sculpture as part of the art curriculum in institutions of higher learning in Maiduguri. As such it will draw upon data collected in the course of fieldwork for my PhD project on the state and development of contemporary arts in northern Nigeria.
With regard to the issue of sculpture it appears that Muslim views about the arts and their local interpretations are major factors in explaining its even less favourable situation in the art market, and at some art departments in institutions of higher learning. The latter will be the focus of this paper. It will briefly address local attitudes towards sculpture in Maiduguri as background to the following discussion of the status of sculpture in the art departments of the University of Maiduguri and Kashim Ibrahim College of Education. It will consider its position in the curricula of these institutions, the reasons for this as well as attitudes towards sculpture expressed by students.
[Pls. note: This is the unedited version of the paper that was published in the 2007 issue (no. 72/72 & 74/75. p. 15-28.) of the Borno Museum Newsletter, Maiduguri.]
The few published references to art education and artistic practices in Nigeria’s predominantly M... more The few published references to art education and artistic practices in Nigeria’s predominantly Muslim north tend to discuss them in terms of the religious restrictions. Indeed, local interpretations of the religious sources affect art departments in local institutions of higher education, their curricula and the attitudes of students as well as the wider academic communities towards particular art practices and the departments. Nevertheless, I argue, influences on the development and contemporary practice of art education and the arts in northern Nigeria need to be considered. This is well illustrated by the discourses and practices at art departments at northern Nigerian colleges of education and universities I will discuss in this presentation.
Originally I intended the phrase ‘northern Nigeria’ in the title of my thesis to indicate that, i... more Originally I intended the phrase ‘northern Nigeria’ in the title of my thesis to indicate that, in contrast to the bulk of available literature on Nigeria arts, my research would focus on contemporary artistic developments in the (in terms of art history) under-documented region of the country. Here the term was intended to indicate a geographical regions rather than any particular colonial or postcolonial construct of the same name. In the reference to a geographical region was meant to circumvent the pitfalls of using ethnic categories in the study of African arts. However, what I originally failed to see is that through its associations with the colonial administrative region of the same name, the term ‘northern Nigeria’ carries a complex of connotations going beyond and, indeed, eclipsing the geographical association. Such, the term has been drawn deeply into Nigerian politics of identity and religion, and with it, to an extent, my research. Regions, then, might provide a means to delimit research topics that, at least at first sight, appears less contentious than categorisations that draw upon ethnic or nationalist notions. This paper, however, will investigate some of the pitfalls of using regions as a category of analysis in art history, in particular in the study of African arts, using the example of my own research into contemporary arts in northern Nigeria. It will address the discursive construction of the term ‘northern Nigeria’ and explore its implications for my research into contemporary arts in the area such designated in order to evaluate how useful a category of analysis the region here actually constitutes. Hence, to which extent does ‘northern Nigeria’ here compromise a constructive analytical category or rather a categorical construct that obscures other relevant perspectives.
In July 2008 the Kano based researcher Nura Ibrahim introduced me to the traders of religious com... more In July 2008 the Kano based researcher Nura Ibrahim introduced me to the traders of religious commodities at Kurmi Market in Kano, Nigeria. Only recently had I become aware of several murals in the city’s old town, now I was presented with a variety of religious posters and prints depicting locally and internationally respected religious scholars using a variety of techniques and styles. They boldly contradicted everything my literature review had suggested about contemporary arts in northern Nigeria. Islam, as the regionally predominant religion, most authors argued, had prevented the development of any meaningful artistic traditions. Figurative, let alone religious figurative arts were unfeasible according to these accounts. In particular a set of simple, locally produced prints depicting scenes and personalities from Quranic narrative and Muslim history, however, raises further questions about the impact of religion and religious arts upon popular visual culture, the adaptation or conservation of imported cultural traits as well as varying concepts of creativity. This paper will present an analysis of some of these prints as a point of departure to explore some of these questions.
An attempt to conceptualise and put up for discussion a possible approach to contemporary artisti... more An attempt to conceptualise and put up for discussion a possible approach to contemporary artistic discourses and practices.
Paper presented at the Creative Arts Department at the University of Maiduguri on the occasion of the completion of my fieldwork association with the university.
Constructive feedback still very much welcome. Thx.
I have been thinking and subsequently blogging about iconoclasm a lot, primarily in an attempt to... more I have been thinking and subsequently blogging about iconoclasm a lot, primarily in an attempt to clarify my own approach and possible arguments regarding iconoclasm as one extreme in a spectrum of relationships between religion and the (visual) arts, or different regimes of visual piety if you like. This relates closely to something I have been thinking about a lot recently : how to address and conceptualise what I perceive of as a pervasive influence of religion/religious politics with regard to the art forms I’m concerned with (and beyond). I have been using terms such as religious politics, socio-religious context and alike but never been particularly happy with them. Now, yesterday I was searching for literature about other aspects of the relationship between the arts and Islam actually addressing contemporary, to use these terms again, socio-religious developments and the views of Muslim scholars speaking to contemporary Muslims about the legitimacy of different art forms. In this course, I came across a special issue of the journal Contemporary Islam particularly concerned the contested notions of art, leisure and entertainment in contemporary Muslim societies. While there were a number of (in comparative terms) useful ideas, concepts and observations in other articles as well, what I would like to briefly introduce you to here, is the concept of ‘pietization’ introduced by Bryan S. Turner and constructively employed by Karin van Nieuwkerk.
One of Morgan's discussions in The Sacred Gaze of particular importance to my own argument deals... more One of Morgan's discussions in The Sacred Gaze of particular importance to my own argument deals with the dichotomic pair of iconoclasm and idolatry. Morgan convincingly argues that 'Iconoclasm presupposes idolatry. By definition, iconoclasm cannot be conceived or practices without the requisite “other” it seeks to rout out of human behaviour. But this does not mean that iconoclasts are reacting to anything real. In fact, they often imagine the offense they seek to reprove. They need the other to destroy in order to construct a new tradition in which to exist.' (Morgan 2005: 117) [...] This further emphasises the need to consider in any discussion of iconoclasm and explicit pronouncement of aniconism the socio-political and ideological context in which it is enacted as well as judged. This brings us straight back to the (rhetoric) question I raised in an earlier blog entry: To which extent and how do I need to consider Nigerian socio- and religious politics in my writing about contemporary arts in northern Nigeria?
I had come across David Morgan’s Visual Piety: A History and Theory of Popular Religious Image s ... more I had come across David Morgan’s Visual Piety: A History and Theory of Popular Religious Image s a while ago and was really interested in his concept of visual piety as an analytical tool for my discussion of the religious prints I collected at Kurmi Market in July 2008. While this books is waiting in the library for my next trip to Berlin, I have just received his The Sacred Gaze and I’m just captivated. A lot of what he writes ties in very well with my recent reading on iconoclasm, provides further useful food for thought and one or the other promising theoretical underpinning for my discussion of religious discourses on the arts and religious visual culture in northern Nigeria.
The little I originally found about contemporary arts in (the region we, for the lack of a better... more The little I originally found about contemporary arts in (the region we, for the lack of a better term and in full awareness of all the ideological baggage attached to this name, agreed to continue calling) northern Nigeria alleged iconoclasm in the course of Islam’s introduction featured prominently. In 2006 Nigeria was one of the countries worst hit by unrest in protest of the publication of the so-called Danish Muhammad cartoons. Thus, in order to appropriately conceptualise I have done some background reading. Here some of my thoughts.
This article will briefly address the issue of teaching sculpture as part of the art curriculum i... more This article will briefly address the issue of teaching sculpture as part of the art curriculum in institutions of higher learning in Maiduguri. As such it will draw upon data collected in the course of fieldwork for my PhD project on the state and development of contemporary arts in northern Nigeria.
With regard to the issue of sculpture it appears that Muslim views about the arts and their local interpretations are major factors in explaining its even less favourable situation in the art market, and at some art departments in institutions of higher learning. The latter will be the focus of this paper. It will briefly address local attitudes towards sculpture in Maiduguri as background to the following discussion of the status of sculpture in the art departments of the University of Maiduguri and Kashim Ibrahim College of Education. It will consider its position in the curricula of these institutions, the reasons for this as well as attitudes towards sculpture expressed by students.
[Pls. note: This is the unedited version of the paper that was published in the 2007 issue (no. 72/72 & 74/75. p. 15-28.) of the Borno Museum Newsletter, Maiduguri.]
The few published references to art education and artistic practices in Nigeria’s predominantly M... more The few published references to art education and artistic practices in Nigeria’s predominantly Muslim north tend to discuss them in terms of the religious restrictions. Indeed, local interpretations of the religious sources affect art departments in local institutions of higher education, their curricula and the attitudes of students as well as the wider academic communities towards particular art practices and the departments. Nevertheless, I argue, influences on the development and contemporary practice of art education and the arts in northern Nigeria need to be considered. This is well illustrated by the discourses and practices at art departments at northern Nigerian colleges of education and universities I will discuss in this presentation.
Originally I intended the phrase ‘northern Nigeria’ in the title of my thesis to indicate that, i... more Originally I intended the phrase ‘northern Nigeria’ in the title of my thesis to indicate that, in contrast to the bulk of available literature on Nigeria arts, my research would focus on contemporary artistic developments in the (in terms of art history) under-documented region of the country. Here the term was intended to indicate a geographical regions rather than any particular colonial or postcolonial construct of the same name. In the reference to a geographical region was meant to circumvent the pitfalls of using ethnic categories in the study of African arts. However, what I originally failed to see is that through its associations with the colonial administrative region of the same name, the term ‘northern Nigeria’ carries a complex of connotations going beyond and, indeed, eclipsing the geographical association. Such, the term has been drawn deeply into Nigerian politics of identity and religion, and with it, to an extent, my research. Regions, then, might provide a means to delimit research topics that, at least at first sight, appears less contentious than categorisations that draw upon ethnic or nationalist notions. This paper, however, will investigate some of the pitfalls of using regions as a category of analysis in art history, in particular in the study of African arts, using the example of my own research into contemporary arts in northern Nigeria. It will address the discursive construction of the term ‘northern Nigeria’ and explore its implications for my research into contemporary arts in the area such designated in order to evaluate how useful a category of analysis the region here actually constitutes. Hence, to which extent does ‘northern Nigeria’ here compromise a constructive analytical category or rather a categorical construct that obscures other relevant perspectives.
In July 2008 the Kano based researcher Nura Ibrahim introduced me to the traders of religious com... more In July 2008 the Kano based researcher Nura Ibrahim introduced me to the traders of religious commodities at Kurmi Market in Kano, Nigeria. Only recently had I become aware of several murals in the city’s old town, now I was presented with a variety of religious posters and prints depicting locally and internationally respected religious scholars using a variety of techniques and styles. They boldly contradicted everything my literature review had suggested about contemporary arts in northern Nigeria. Islam, as the regionally predominant religion, most authors argued, had prevented the development of any meaningful artistic traditions. Figurative, let alone religious figurative arts were unfeasible according to these accounts. In particular a set of simple, locally produced prints depicting scenes and personalities from Quranic narrative and Muslim history, however, raises further questions about the impact of religion and religious arts upon popular visual culture, the adaptation or conservation of imported cultural traits as well as varying concepts of creativity. This paper will present an analysis of some of these prints as a point of departure to explore some of these questions.
An attempt to conceptualise and put up for discussion a possible approach to contemporary artisti... more An attempt to conceptualise and put up for discussion a possible approach to contemporary artistic discourses and practices.
Paper presented at the Creative Arts Department at the University of Maiduguri on the occasion of the completion of my fieldwork association with the university.
Constructive feedback still very much welcome. Thx.
Uploads
Papers by Katrin Schulze
[http://katrinschulze.blogspot.com/2009/06/on-piety-pietisation-and-contemporary_25.html]
'Iconoclasm presupposes idolatry. By definition, iconoclasm cannot be conceived or practices without the requisite “other” it seeks to rout out of human behaviour. But this does not mean that iconoclasts are reacting to anything real. In fact, they often imagine the offense they seek to reprove. They need the other to destroy in order to construct a new tradition in which to exist.' (Morgan 2005: 117) [...] This further emphasises the need to consider in any discussion of iconoclasm and explicit pronouncement of aniconism the socio-political and ideological context in which it is enacted as well as judged. This brings us straight back to the (rhetoric) question I raised in an earlier blog entry: To which extent and how do I need to consider Nigerian socio- and religious politics in my writing about contemporary arts in northern Nigeria?
[http://katrinschulze.blogspot.com/2009/06/on-iconoclasm-yes-still-thinking-about.html]
[http://katrinschulze.blogspot.com/2009/06/on-sacred-gaze.html]
[http://katrinschulze.blogspot.com/2009/06/on-iconoclasm-some-thought-about-stuff.html]
With regard to the issue of sculpture it appears that Muslim views about the arts and their local interpretations are major factors in explaining its even less favourable situation in the art market, and at some art departments in institutions of higher learning. The latter will be the focus of this paper. It will briefly address local attitudes towards sculpture in Maiduguri as background to the following discussion of the status of sculpture in the art departments of the University of Maiduguri and Kashim Ibrahim College of Education. It will consider its position in the curricula of these institutions, the reasons for this as well as attitudes towards sculpture expressed by students.
[Pls. note: This is the unedited version of the paper that was published in the 2007 issue (no. 72/72 & 74/75. p. 15-28.) of the Borno Museum Newsletter, Maiduguri.]
Talks by Katrin Schulze
Regions, then, might provide a means to delimit research topics that, at least at first sight, appears less contentious than categorisations that draw upon ethnic or nationalist notions. This paper, however, will investigate some of the pitfalls of using regions as a category of analysis in art history, in particular in the study of African arts, using the example of my own research into contemporary arts in northern Nigeria. It will address the discursive construction of the term ‘northern Nigeria’ and explore its implications for my research into contemporary arts in the area such designated in order to evaluate how useful a category of analysis the region here actually constitutes. Hence, to which extent does ‘northern Nigeria’ here compromise a constructive analytical category or rather a categorical construct that obscures other relevant perspectives.
As ever, constructive feedback welcome. Thx.
Constructive feedback welcome. Thx.
Paper presented at the Creative Arts Department at the University of Maiduguri on the occasion of the completion of my fieldwork association with the university.
Constructive feedback still very much welcome. Thx.
[http://katrinschulze.blogspot.com/2009/06/on-piety-pietisation-and-contemporary_25.html]
'Iconoclasm presupposes idolatry. By definition, iconoclasm cannot be conceived or practices without the requisite “other” it seeks to rout out of human behaviour. But this does not mean that iconoclasts are reacting to anything real. In fact, they often imagine the offense they seek to reprove. They need the other to destroy in order to construct a new tradition in which to exist.' (Morgan 2005: 117) [...] This further emphasises the need to consider in any discussion of iconoclasm and explicit pronouncement of aniconism the socio-political and ideological context in which it is enacted as well as judged. This brings us straight back to the (rhetoric) question I raised in an earlier blog entry: To which extent and how do I need to consider Nigerian socio- and religious politics in my writing about contemporary arts in northern Nigeria?
[http://katrinschulze.blogspot.com/2009/06/on-iconoclasm-yes-still-thinking-about.html]
[http://katrinschulze.blogspot.com/2009/06/on-sacred-gaze.html]
[http://katrinschulze.blogspot.com/2009/06/on-iconoclasm-some-thought-about-stuff.html]
With regard to the issue of sculpture it appears that Muslim views about the arts and their local interpretations are major factors in explaining its even less favourable situation in the art market, and at some art departments in institutions of higher learning. The latter will be the focus of this paper. It will briefly address local attitudes towards sculpture in Maiduguri as background to the following discussion of the status of sculpture in the art departments of the University of Maiduguri and Kashim Ibrahim College of Education. It will consider its position in the curricula of these institutions, the reasons for this as well as attitudes towards sculpture expressed by students.
[Pls. note: This is the unedited version of the paper that was published in the 2007 issue (no. 72/72 & 74/75. p. 15-28.) of the Borno Museum Newsletter, Maiduguri.]
Regions, then, might provide a means to delimit research topics that, at least at first sight, appears less contentious than categorisations that draw upon ethnic or nationalist notions. This paper, however, will investigate some of the pitfalls of using regions as a category of analysis in art history, in particular in the study of African arts, using the example of my own research into contemporary arts in northern Nigeria. It will address the discursive construction of the term ‘northern Nigeria’ and explore its implications for my research into contemporary arts in the area such designated in order to evaluate how useful a category of analysis the region here actually constitutes. Hence, to which extent does ‘northern Nigeria’ here compromise a constructive analytical category or rather a categorical construct that obscures other relevant perspectives.
As ever, constructive feedback welcome. Thx.
Constructive feedback welcome. Thx.
Paper presented at the Creative Arts Department at the University of Maiduguri on the occasion of the completion of my fieldwork association with the university.
Constructive feedback still very much welcome. Thx.