Christine Mullen Kreamer

Impermanent by Design: The Ephemeral in Africa's Tradition-based Arts

Christine Mullen Kreamer Navajo and Tibetan sand paintings from North America and Asia that are created and then destroyed as offerings that heal and bless; spectacular creations in paper and wood designed for the funerary pyre of Hindu Balinese cremation rites (Fig. 1); the drawings by contemporary artist William Kentridge that are erased and altered as part of his process of creating works on film (Fig. 2); the vibrant green brilliance of Bwa leaf masquerades from Burkina Faso that are destroyed at sundown; the collaborative and temporary environmental installations around the world of artists Christo and Jeanne-Claude; the short-lived collective experience of public events such as firework displays, Mardi Gras, and the Rose Bowl and other parades held in the US to mark special occasions—these are some of the visual and performing arts that come easily to mind and that illustrate the creativity and vibrancy of ephemeral arts the world over. Ephemeral art plays with time, subverts it and with it the notion of permanence that is often associated with works of art. In her introductory essay to the first “Ephemeral Arts” issue of African Arts (vol. 42, no. 3), Allyson Purpura (2009) explored the ideas, motivations and outcomes—intentional and unintentional—that inform ephemeral arts with power, poignancy and meaning. Her insights equally apply to the essays compiled for this second issue on the topic. As with the first group, the essays in this volume present selected examples of Africa’s visual arts that are ephemeral by virtue of their use of fragile, fugitive materials and/or their intentions of a finite “life.” They also draw on the conceptual power of the ephemeral to push the boundaries of thought about the social lives of objects and people whose histories, practices, and identities are produced through them. Applying to both “traditional” and contemporary art practices, the concept allows us to break down such categorical distinctions1 and offers opportunities to consider the material, conceptual, ethical, and practical challenges posed by works of art that are impermanent by design. As a backdrop to the in-depth case studies presented in this and the previous volume, this essay provides a brief overview— illustrative, rather than comprehensive—of selected categories of tradition-based African arts whose uses and meanings are closely tied to the ephemeral. While a strict definition of “ephemeral” suggests an intentionally brief lifespan, I pro1 In Hindu Balinese practice, the deceased is carried to the cremation grounds in an elaborate structure—destined to be burned—of bamboo, paper, flowers, and other materials. Bali, Indonesia.

Intersections: World Art, Local Lives, Fowler Museum at UCLA ongoing

Exceptional objects; effective, attractive, and comfortable design; a compelling and relevant premise supported by cogent, engaging narratives—all are critical elements that, if well-balanced, ensure a successful exhibition. When these and other factors coalesce in the display of a permanent collection, the result is a visually and intellectually exciting exhibition with staying power. “Intersections: World Art, Local Lives,” the new permanent installation showcasing the collections of the Fowler Museum at UCLA, is an outstanding exhibition that conveys the centrality of objects—beautiful and masterfully made—to people’s lives over time and across the globe and to a rich constellation of ideas on the human venture. My impressions were formed during a visit in early 2007, a point to bear in mind as elements of the exhibition will change over time. “Intersections,” which opened in September, 2006, features some 250 works that rank among the best of the Fowler’s collection of arts from Africa, Native and Latin America, Asia, and the Pacific. The objects date from the third millennium bce to the present and many are from the Wellcome collection, donated to UCLA in 1965. The impressive strengths of the Fowler’s holdings are evident throughout, beginning with five stunning artworks that welcome visitors to the exhibition and introduce the five culture areas featured within. A nine-minute introductory video features compelling first-person testimonials by artists, scholars, and community leaders and draws visitors to the ways objects are linked to creativity, meaning, and purpose. It also establishes the Fowler’s collaborative approach to exhibition content, one that incorporates the voices of the peoples and cultures represented. “Intersections” is organized across cultures according to four cross-cutting themes that speak to the experiences of people the world over. This strategy encourages visitors to identify—or intersect—with the ideas explored in the exhibition, underscoring the relevance of museums to their audiences. Fowler designer David Mayo has done an outstanding job in creating an elegant, accessible environment suitable for casual browsing or intensive looking. Mayo makes effective use of metallicand wood-finish surfaces, fiber optic lighting, and a bold palette. Angular solid and clear wall panels provide lines of sight into adjacent galleries and lead visitors along a central path where one can enjoy the details of selected focus objects displayed in four-sided cases. Along the perimeter, large glass-panel vitrines and open platforms accommodate an astonishing array of objects from a diversity of regions and art-producing groups. In one vitrine devoted to “Objects that Work,” I was fascinated by the outstanding workmanship and variety of areca nut cutters used by peoples in India, Sri Lanka, China, and Indonesia. Nearby, a selection of Japanese baskets encouraged one to appreciate form, material, and artistry within a single basketry tradition. These, along with other beautifully realized and functional objects, belong to the thematic section “Art and Action,” which emphasizes the aesthetic experience in daily life, how form and function are intertwined, and the multiple roles objects fulfill in adding meaning and value well beyond their practical usage. Artworks as diverse as a Bukara silk coat from Uzbekistan, a Hopi tihu (morning singer katsina) figure from Arizona, a carved and painted house board from the Papuan Gulf, New Guinea, and a Mende sowei mask from Sierra Leone illustrate the theme of “Art and Knowledge” and the myriad ways in which objects encode history, wisdom, memory, cosmology, values and identity. A particular highlight was a monumental Rukai millet storage bin from Taiwan. Beautifully carved with mythic snake motifs and human figures representing ancestors, it is used to illustrate the sub-theme “Proclaiming Heritage.” The theme of “Art and Power” is dominated by a large, open platform that features an impressive display of major artworks from the Cameroon Grassfields. This includes the Fowler’s wellknown Bamileke wooden mask, with its expressive features and rhythmic, modernist volumes, and a stunning beaded elephant mask complete with an attached vestment ornamented with tufts of human hair. This section of the exhibition will change annually to allow the Fowler to mine its deep collection of leadership arts. Changing displays here and elsewhere in “Intersections” meet practical conservation concerns regarding the amount of time fragile objects remain on view and permit the museum to exhibit more of the collection over time. This strategy ensures that museum staff will remain engaged with the collection over the years and encourages visitors to return periodically to this “permanent” exhibition to see what’s new. Other cases in the “Art and Power” section explore the dynamics of gender, specialized knowledge and the spirit world in expressions of authority. Double-tiered jewel-box cases along one wall convey the value and aesthetic impact of the gold, ivory, wood, terracotta, and jade objects within. The top row of cases seemed a bit too high for visitors short in stature or in wheelchairs, and in some cases the last line of label text was partially obscured. A final theme, “Art and Transformation,” considers artworks created for spiritual intervention, for rituals marking death and the transition to the next world, and for reflecting on changing traditions. Power figures from the Democratic Republic of the Congo, Japanese votive plaques, Mexican devotional tin paintings called retablos, Colima ceramic figures and jars from West Mexico, and New Ireland malagan funerary arts illustrate the range of 1 Entrance to the exhibition “Intersections: World Art, Local Lives”