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Remembering the Present: Painting and Popular History in Zaire, by Johannes Fabian
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This book combines ethnography with the study of art to present a fascinating new vision of African history. It contains the paintings of a single artist depicting Zaire's history, along with a series of ethnographic essays discussing local history, its complex relationship to forms of self-expression and self-understanding, and the aesthetics of contemporary urban African and Third World societies. As a collaboration between ethnographer and painter, this innovative study challenges text-oriented approaches to understanding history and argues instead for an event- and experience-oriented model, ultimately adding a fresh perspective to the discourse on the relationship between modernity and tradition.
During the 1970s, Johannes Fabian encouraged Tshibumba Kanda Matulu to paint the history of Zaire. The artist delivered the work in batches, together with an oral narrative. Fabian recorded these statements along with his own question-and-answer sessions with the painter. The first part of the book is the complete series of 100 paintings, with excerpts from the artist's narrative and the artist-anthropologist dialogues. Part Two consists of Fabian's essays about this and other popular painting in Zaire. The essays discuss such topics as performance, orality, history, colonization, and popular art.
- Sales Rank: #1192803 in Books
- Published on: 1996-12-19
- Original language: English
- Number of items: 1
- Dimensions: 10.00" h x 1.00" w x 6.88" l, 1.77 pounds
- Binding: Paperback
- 385 pages
From Library Journal
A unique style of painting developed among Zairean artists during the late colonial and postcolonial period. Often labeled "tourist-art," this emergent painting tradition has evolved considerably in recent years, moving beyond simple decorative landscape scenes to subjects of more indigenous interest. Fabian (chair, cultural anthropology and non-Western sociology, Univ. of Amsterdam) focuses on a remarkable cycle of 101 paintings that tells the modern history of Zaire from the perspective of artist Tshibumba Kanda Matulu. The volume is divided into two parts: the first reproduces the paintings together with Matulu's personal commentary, while the second offers the author's anthropological analyses of issues raised by Matulu's work. A unique study of an important development in modern African art that should be of great value to scholars, this is highly recommended for academic libraries; but it may be too narrowly focused for public libraries.?Eugene C. Burt, Art Inst. of Seattle Lib.
Copyright 1997 Reed Business Information, Inc.
From the Inside Flap
"This is an extraordinarily original, powerfully argued book; provocative in the best sense of the word. The sheer juxtaposition of the terrible history of Zaire as painted by a Zairean popular artist who lived through some of the worst of it, the artist's precise and eloquent explications of his work, a bluntly factualist account of the events depicted, and Fabian's searching ethnographical commentary, without privileging any of these so different types of discourse over any of the others, raises some of the most fundamental and most difficult questions in history, art, and anthropology. Remembering the Present is a major step forward in both the presentation of cultural materials and in their analysis."—Clifford Geertz
From the Back Cover
"This is an extraordinarily original, powerfully argued book; provocative in the best sense of the word. The sheer juxtaposition of the terrible history of Zaire as painted by a Zairean popular artist who lived through some of the worst of it, the artist's precise and eloquent explications of his work, a bluntly factualist account of the events depicted, and Fabian's searching ethnographical commentary, without privileging any of these so different types of discourse over any of the others, raises some of the most fundamental and most difficult questions in history, art, and anthropology. Remembering the Present is a major step forward in both the presentation of cultural materials and in their analysis." (Clifford Geertz)
Most helpful customer reviews
9 of 9 people found the following review helpful.
Manylayered views of Congo/Zaire's history [4 1/2 stars]
By A Customer
Anthropologist Johannes Fabian performed an outstanding service in sponsoring painter/historian Tshibumba's unique vision of his country's history. His words and the paintings themselves offer a rather romantic look at precolonial life, but a searing indictment of the epoch of Belgian rule. The interpretation of the Mobutu period is more equivocal, partly due to living under the authority of that regime, but also because Tshibumba genuinely admired some of Mobutu's achievements. Our painter vanished (presumably deceased) in the mid to late 1970s just as the tyrant's control began to go sour; it would be fascinating to read and see how Tshibumba assessed Mobutu's decline and fall.
His history operates on three levels---through his startling folk images, his own words, and the dialogue which emerges out of interviews with Fabian. The result is probably the most fully realized popular interpretation of the history of any African country, though oriented toward Tshibumba's home province of Katanga (Shaba). Fabian's essays in Part II further enhance our understanding of their joint project, though some are dense enough to deter some students and lay readers, thus 4 1/2 stars. Overall, a stunning and memorable collaboration. If only we had more like it....
For another indigenous perspective on many of the same events, by a Katangan girl who grew to womanhood during the Mobutu era, see Suruba Wechsler, "By the Grace of God," less penetrating but rather more accessible. Useful background material is also available in works by Eduard Bustin, Crawford Young, and Phyllis Martin and David Birmingham.
9 of 9 people found the following review helpful.
Manylayered views of Congo/Zaire history [4 1/2 stars]
By Chimonsho
Anthropologist Johannes Fabian performed an outstanding service in sponsoring artist/historian Tshibumba's unique vision of his country's history. His words and the paintings themselves offer a rather romantic look at precolonial life, but a searing indictment of the epoch of Belgian rule. The interpretation of the Mobutu period is more equivocal, partly due to living under the authority of that regime, but also because Tshibumba genuinely admired some of Mobutu's achievements. Our artist vanished (presumably deceased) in the mid to late 1970s just as the tyrant's control began to go sour; it would be fascinating to read and see how Tshibumba assessed Mobutu's decline and fall.
His history operates on three levels---through his startling folk images, his own words, and the dialogue which emerges out of interviews with Fabian. The result is probably the most fully realized popular interpretation of the history of any African country, though oriented toward Tshibumba's home province of Katanga (Shaba). Fabian's essays in Part II further enhance our understanding of their joint project, though a couple are dense enough to deter some students and lay readers, thus 4 1/2 stars. Overall, a stunning and memorable collaboration. If only we had more like it....
For another indigenous perspective on many of the same events, by a Katangese girl who grew to womanhood during the Mobutu era, see Suruba Wechsler, "By the Grace of God," less penetrating but rather more accessible. Useful background material is also available in works by Edouard Bustin, Thomas Kanza, Crawford Young, and David Birmingham & Phyllis Martin.
1 of 1 people found the following review helpful.
a landmark in the anthropology of art and popular culture
By x andrade
this is a fascinating contribution to these fields. the book follows a dialogue about images, painting and history between a Zairean painter and the ethnographer. it anticipates current discussions on anthropology and art practices. Tshibumba, the painter, is granted the position he deserves as a creative image-maker, and a vernacular historian.
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