MS01.03.03.B07.F09.0001
Facsimile
Transcription
CAAM PROPOSAL (DRAFT 4/10)—Henry Drewal
[underscored] Objective [/underscored]
The CAAM seeks -funds -for an exhibition that will explore the central
issue of identity in the art of Afro-Americans and
Afro—Brazi1ians—that is, how these artists view themselves in
relation to their African heritage, their status as citizens in
dominant white cultures, and their community. Scheduled for 1988 to
coincide with the 100th anniversary of Brazilian Emancipation, the
exhibit is a timely and appropriate effort to evaluate and to compare
the situation of peoples of African descent in the New World whose
histories, while unique and distinct, are bound together in countless
ways. It will focus on art as objects of deep thought that can reveal
the minds of artists who have confronted, or are confronting, the
questions 'of "Who are we, where are we?" [HANDWRITTEN
DOWN ARROW INSERTED ACROSS THIS 1ST PARAGRAPH]
[underscored]Rationale[/underscored]
Art is a tangible manifestation of the identity of its creator. It is
a construction that reveals the ethos of a time and place and the
thinking of the artist. Like the individuals who create it, art
shapes, and is shaped by, culture and history. Artists are among the
foremost creators of culture. At the same time, they reflect the
culture and era of which they are a part. Using art as the focus, *
this exhibit will examine artists' orientations and intentions, their
concerns as evident in the works themselves, as a means of considering
questions of identity—as individuals, as members of communities, as
minorities, and as descendants of Africans.
[NOTE HANDWRITTEN ON LEFT SIDE OF 2ND PARAGRAPH:]
"compelling issue for Afro Am & Afro Braz. Artists --"
Since their ancestors were first brought to the New World,
Afro-Americans and Afro-Brazi1ians have been finding solutions to
their particular problems and circumstances. They have been shaping
and creating ways of living not merely for survival, but for active
self-determination. While they certainly did not forget their African
traditions, they did not choose simply to "retain" or preserve the old
ways (a creative choice in itself). Rather they continued to invent,
constructing and transforming themselves and, in the process, American
and Brazilian cultures as well. Their art is not a hollow, empty
replication of African art without substance or meaning, not
"survivals," but rather an invention of a meaningful
tradition—created for a new situation to serve new needs,
aspirations, and visions. It is not simply a synthesis or derivation,
but rather a construction for a new circumstance that exhibits
polyvalent attitudes toward Africa—from devotion to disinterest.
[NOTE HANDWRITTEN IN RED INK ON LEFT SIDE OF 3RD PARAGRAPH:]
"*1 [underscored]Active[/underscored] Shaping culture"
Given this perspective, the works of Afro-American and Afro-Brazi1ian
artists may be grouped into three main categories based upon their
primary focus:
[NOTES HANDWRITTEN IN RED INK ON LEFT SIDE OF 4TH PARAGRAPH:]
"*2 Active idea of creativity"
"*3 Where is the artist in this particular work--]
"*4 Where is he as a construction of reality?"
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