Académique Documents
Professionnel Documents
Culture Documents
Kristin Bell
ARH 426: African Art History
Research Paper
Professor Nicolette Trahoulia
Spring 2015
Postmodern Still Masquerades & the Uncanny: The Work of Jane Alexander
Reimagined Within Traditional African Art Forms
The disturbing and intriguing work of Jane Alexander has often been cited as an
postcolonial grotesque.1 Her work has been dissected within the traditions of Western
philosophy and art history, yet there has been little discussion of her work as a
continuation of African traditions despite the fact that she is South African (albeit a white
South African woman). In this paper I will discuss ways in which Jane Alexanders work
relates to traditional African art, specifically how it relates to African masquerades and
masking traditions and the second-burial effigies of the Yoruba. I hope to show that the
1
Kobena Mercer, Postcolonial Grotesque: Jane Alexanders Poetic Monsters, Nka
Journal of Contemporary African Art 2013, no. 33 (September 1, 2013): 80.
2
very thing that makes Alexanders work beyond words is the same thing that activates
uniform, lost marsh from 20072 juxtaposed with a video still from a video titled Dogon
Mask Dance.3 I found the use of walking sticks and horned masks to be quite strikingly
similar. Perhaps the similarities are an accident, but even so, it reveals that on some level
Alexander has been influenced by African imagery. As irruptions that subvert the
entirety and wholeness of our structured daytime universes, these objects in Alexanders
installments bring sinister portents from the realm of night, acting as Trojan horses that
cross the repression barrier to unload contents unpalatable to the conscious mind.4 Both
figures are also larger than life with attenuated and extended forms. Harbinger, even
though it is a still image, represents movement with the out-of-focus monkey figure in the
bottom left, and the bird figures in the air. The Dogon dance in situ is all about movement
and animation. It is as if Alexander has encapsulated the spirit of the Dogon dance into a
Even though Alexanders main character is a hybrid inanimate human, and the
encourages us to leave the realm of the ordinary and banal behind. When speaking of
2
Jimenez, Danetta, Jane Alexander (Surveys from the Cape of Good Hope): An
Educators Guide (New York: Museum for African Art, 2013), 2829,
http://www.theafricacenter.org/uploads/resources/docs/jane_alexander_educators_guide.p
df.
3
AshBasel, Dogon Mask Dance, 2010, https://youtu.be/J60WVxAOe9Y.
4
Pep Subirs et al., eds., Jane Alexander: Surveys (from the Cape of Good Hope) (New
York, NY: Museum for African Art [u.a.], 2011), 39.
3
masquerades Vison et. al. write, the maskerthe human wearing a mask and its
associated costumeis a transformed being: not a person imitating a spirit, but a person
whose identity is subsumed into the otherworld being who is now truly present.5 This is
Alexanders creatures are not animate, they are otherworldy and uncanny. Alexander
Figure 2: The Municipal Crucifix (1986) and Second-Burial Effigy Figure of Chief (1949)
5
Monica Blackmun Vison, A History of Art in Africa, 2nd ed (Upper Saddle River, N.J:
Pearson/Prentice Hall, 2008), 324.
6
Bick, Tenley, Horror Histories: Apartheid and the Abject Body in the Work of Jane
Alexander, African Arts 2010, no. Winter (2010): 38.
4
The sculptures also suggest the uncanny (unheimlich) at work. Freud describes
the uncanny as that species of the frightening that goes back to what was once well
known and had long been familiar.7 There are precedents of the uncanny in traditional
African art. Examples include the second-burial figures of the Yoruba. In figure two I
have juxtaposed Alexanders sculpture The Municipal Crucifix (1986)8 with a second-
burial effigy figure of a chief from a Yoruban village near w from 1949.9 Both figures
are alive and dead at the same time. Of course, they are not animate, but their position
within their cultures keeps them from being one or the other. Lawal writes that the
mnemonic power of a life-size naturalistic effigy (k) vivifies the presence of the dead
during the second-burial ceremony, enabling mourners to treat the image as if it were
alive.10 Part of the uncanny nature of Alexanders figures is their strange ability to seem
somewhat life-like just like the effigy figures. Another sculpture, Alexanders famous
Butcher Boys (Figure 3), reinforces this ambiguity of the life/death barrier. The Butcher
Boys irrupting spines and bones transgress the distinction between life and death, inside
and outside, by undermining the skin as a sign of the wholeness of the surface and the
completion and innocence of the unified body. In addition to their forms being similar, it
can be argued that Alexanders figures and the Yoruba second-burial effigy figures
function in a similar way too. In a sense, Alexanders figures help us to mourn the
horrific histories of South African apartheid (and inhumanity in general) while the effigy
7
Subirs et al., Jane Alexander, 38.
8
Bick, Tenley, Horror Histories: Apartheid and the Abject Body in the Work of Jane
Alexander, 35.
9
Babatunde Lawal, Aworan: Representing the Self and Its Metaphysical Other in
Yoruba Art, The Art Bulletin 83, no. 3 (September 2001): 504.
10
Ibid., 503504.
5
change on unconscious levels. As images and dances, the traditional African art that has
been discussed also works on the preconscious semiotican anarchic and formless flux
authors of A History of Art in Africa might as well have been talking about Alexanders
embodied paradox. The [art]is symbolic and allusive, but tangible. It is an illusion,
but at the same time real. The characters are invented, yet are quite capable of inflicting
11
Vison, A History of Art in Africa, 324.
12
Subirs et al., Jane Alexander, 42.
6
damageit is affective as well as effective, and one of the continents most expressive
When examining Alexanders work through the lens of traditional African art, it
is hard to imagine that a connection does not exist. Her use of masking continues in other
works like Bom Boys (1998)14 (Figure 4) where we are again confronted with the
otherworldly, only this time in the guise of street children. They awaken in us the same
stockiness.15 The boys are mid-motion, again captured in a postmodern still masquerade
that exists on the border of life and death; real and unreal. Despite being configured
without the traditional African religious culture that inspires Dogon and Yoruba art,
Alexanders work embodies the aesthetic and functional spaces in ways that connect her
13
Vison, A History of Art in Africa, 324.
14
Jimenez, Danetta, Jane Alexander: Educators Guide, 24.
15
Subirs et al., Jane Alexander, 41.
7
art to traditional expressions of African art. This connection makes Alexanders work all
the more powerful and appropriate as a commentary on social injustice, and reinforces
the importance that these traditional African art forms have as precedence. The
Bibliography