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About Portland observer. (Portland, Or.) 1970-current | View Entire Issue (March 12, 1981)
Pag* 4 Portland Observer March 12.1981 lacks in western art: A changing image By Clarissa Mynck Smithsonian News Service Part Ona A 12-century mual at the Collegiate Church o f San Isidoro in Leon, Spain, portrays a pious Saint M artin praying fervently to resist the temptation of a "dem on.” The evil spirit is represented as a Black child. A sculpture created a century later for the Cathedral o f Notre Dame in France depicts a white Queen o f Sheba standing regally on the back o f a crouching Black man. These and other art works o f the Western world reveal that some of history’ s most negative images o f Black people can be found in the Western European art o f the Middle Ages. Some historians believe the negative views of Blacks held in the medieval Western world and reflec ted in the art work o f the time formed the basis for the racial in tolerance of later centuries. Western artists, however, have not always painted biased portraits of Black Africans. In particular, the art o f ancient Greece and Rome contains some o f the most positive and realistic images of Blacks. The art o f Greece and Rome, ac cording to Dr. Frank Snowden, a professor o f Classics at Howard U niversity in W ashington, D .C ., shows that although the people o f antiquity were not colorblind, "they never based their judgment of a man on his skin color.” Examples of the ways Blacks were portrayed during a n tiq u ity , the M iddle Ages and the Renaissance are featured in a Smithsonian In situation Traveling Exhibition Ser vice show based on the photographs assembled in The Image o f the Black in Western Art, published by the Menil Foundation o f Houston, Texas. “ This art shows us that many o f the prejudices o f today were not held in the early centuries o f the Western W orld,” Warrne Robbins, director o f the Sm ithsonian’ s Museum o f African A rt, says. “ It shows too that the racial intolerance that first infested the Western W orld in medieval times was primarily the result o f ignorance.” U nlike the medieval Western Europeans, the Greeks and Romans had been in contact with Africans for hundreds o f years. As early as the seventh century B.C ., Greek soldiers encountered Black military opponents in Egypt and in other North African countries and as con tingents o f armies invading Greece. These Greek soldiers feared the m ilita ry strength o f A fric a n warriors, but that fear did n ’ t turn into prejudice or racism, Snowden contends in his book. Blacks in An tiquity. N or, he continues, did the prejudice and racism found in later centuries jaundice the eyes o f the Greco-Roman artists. While visiting Africa, many Greek and Roman ar tists followed the lead o f Egyptian artists and painted, sculpted and drew tru e -to -life images o f Black people. These artists continued to depict Blacks in their art when Black Africans began to migrate to Greece and Rome as slaves and free persons from 500 to 400 B.C. The artists were intrigued by the challenge to depict accurately the physical characteristics o f Black people. To represent the tig h tly curled hair o f Blacks, for instance, some sculptors cut diamonds shapes in relief, others sculpted spiral cones. For centuries, Greek and Roman artists featured images o f Black members o f the working class and mythical African characters on terra cotta pottery; they captured the images of Black statesmen, scholars and entertainers in bronze and marble statues and busts. But the number o f positive and SHOP realistic portrayals o f Blacks dwin S m ithson News Service P hoto CQuHesy of dled in the Middle Ages as racial in Memi FouncJa’ >n Htchey & R obertson H ouston tolerance spread through the Western W orld. According to In the 13th c e n tu ry , S t. M a u ric e , th e p a tro n s a in t o f th e H o ly historians, this prejudice against R om an E m pire, sud d enly b ecam e B lack a fte r c e n tu rie s o f being BRANDS Blacks developed prim arily for two d e p ic te d as a w h ite m an . This s an d sto n e s ta tu e , c a rv e d a ro u n d V A RICTUS you lik e reasons. 1250 A D , was probably one of the first im ages of the Black saint. S IIK S you w o o l First, in the Christian teachings of German artists continued to depict St. M aurice as a BLack man until • Ml I 1.1 MM m w O » • I»» » l.l. medieval Europe, the color Black • Jlrti * I m i • u<4 a N.l. Mamack the 16th century. • i l i « 4 • m . i o r i t a a • >«•», a s .l. symbolized evil. “ From the sim • M la m h a > 4 «« O ra a la y a l l r 4 • W aM B a rm ia a • ■«talpfc M ill, a ia s a a l a k a O a w a *a W • *-*• plistic but readily accepted idea that • 1 ( 1 4 4 aa I I M a ta la a a K la « City Black is the sign o f death and and merchants believed that Black the Holy Roman Empire, suddenly therefore sin, it was easy to go on to people were the personification o f became Black after centuries o f the more dangerous idea that the evil. being depicted as a white man. man whose color was Black was a Some medieval European artists End Part One. menace, a temptation, a creature o f then projected this fear in their art, the D evil,” French historian Jean stereotyping Blacks as servants, in Devisse explains in The Image o f the fidels, demonds and executioners. Black in Western Art. An eighth-century Roman fresco Second, until the 15th century, that shows Christ trampling a dark Western Europeans rarely came in figure as he descends into lim bo is contact with Black Africans whom one o f the earliest portrayals o f a they nevertheless feared. A ll they Black demon. And a 13 century knew were the stories and rumors sculpture over a portal o f the '377 about Blacks they had heard from Cathedral o f Notre Dame in Paris is disgruntled soldiers who fought just one o f many art works depic against Black Africans among the E X O D U S ting the Black as executioner. Muslim troops during the Crusades A lthough positive images o f and from traveling merchants who Blacks became scarce in medieval ¿C iTucaTicno/ a r u / e n / e e occasionally glimpsed Blacks during Europe, they did not, however, their journeys. Because o f their become extinct. The people o f the 1639 N.E. Alberta religious teachings, these soldiers Mediterranean countries, who had PORTLAND. OREGON 97211 more contact with Black Africans 294 7997 than their northern contemporaries, were the firs t to o ffe r Blacks a chance to im prove their cu ltu ra l standing - and their image. ‘ ‘ Black people were allowed to move upward in society on two con ditions. They had to become con verts to one o f the m onotheistic Bv Tom Boothe religions, and they had to get rich or demonstrate some a bility entitling them to upward m ovem ent,” From the Front Door, as you may know, The House of Exodus was awarded a $50,000.00 Devisse writes. grant to develop a Youth Alcohol and Drug Prevention Program. This award was made back Positive portraits o f Blacks did in November through the North/Northeast Mental Health Project. appear in Western Europe later. In the 13th-century, fo r example, The House of Exodus is happy to report that the first quarter review was extrem ely Saint Maurice, the patron saint o f favorable, which motivates us to do even better next quarter. l _ K c IE lENOW'S From the Front Door Spears teaches music class This vase detail of an Ethiopian w arrior was created by the Greek artist Exekian betw een 550 and 525 B.C. Greek a rtists, inspired by E g yp tian a rtis ts , o fte n p a in te d im ag es of B lacks on te rra c o tta pottery M attie Spears, Northeast P ort land resident, w ill o ffe r a class in Music Reading and Appreciation at PCC’ s Cascade Center beginning Tuesday, March 31. M attie’ s music background was acquired at the Music Conservatory at New Orleans’ Xavier University, and at UCLA in Los Angeles. For addition al in fo rm a tio n , Phone 283-2541, ex. 30. Wear black ribbons for Black children (Continued from Page I Col 6) munity offers any hope o f arresting the worsening picture fo r Black c h ild re n ,” states Evelyn M oore, Executive Director o f the National Black Child Development Institute. "W ho, if not us," she asks, " w ill be responsible for Black children?” The Coalition For Black Colleges and the N ational Black C hild Development Institute point out that the wearing o f yellow ribbons successfully reminded Americans of our patriotic duty to the hostages in Iran. “ This domestic tragedy is comparable to if not worse than the taking o f hostages in Iran and Black ribbons will remind us o f our moral obligations to Black children. They w ill become a profound symbol o f the tragic deaths and an equally evocative statement o f our national so lidarity to protect the defen seless," states Tony Brown. The Black C hildren’ s Campaign also emphasizes the color Black because o f its association w ith m ourning and when tied to the American flag, it vivid ly reminds Americans that the na tio n ’ s morality is endangered. The Atlanta incident is a tragedy fo r all Americans. The Campaign believes that this simple expression o f moral support from the country would assist the families and workers o f Atlanta as they face the stark terror o f their situation and let them know that we share their deep sense o f loss and anguish. The Campaign is urging that Americans in additon to wearing a ribbon: volunteer to serve as an area coordinator; inform as many people as you can by passing out fliers in your com m unity; call your radio and television stations urging them to publicize the Campaign and give appropriate news coverage to the A tlanta situ a tio n ; endorse and solicit endorsements for the Black Children’ s Campaign. For more in fo rm a tio n w rite: Black Children, 1463 Rhode Island Avenue, N.W ., Washington. D.C., 20005 As you know Exodus is a comprehensive, innovative and aggressive treatment center, and is a driving force in the Black community and is meeting the challenge of treating our com munity citizens from (5) years of age, to over (701 years of age; and is providing positive sup port through a dedicated professional staff Exodus's latest development is it's New Youth Mental Health Offensive, which is a paiTof the Exodus Youth Prevention Department. To accommodate this new undertaking, we have moved to our new facilities, which is the entire block on the Northside of Alberta street between 16th and 17th. The address is 1639 N.E. Alberta We are proud of the support the community is giving Exodus, not the people you m ight expect, but the quiet citizens w hom you w ould least expect to be concerned about the quality of their neighbors life. (By the way these citizens are absolutely non solicited volunteers), who came and asked "how can I help?" Some gave money, some are giving their time and expertise and others are coming to participate in groups, and to learn and help in anyway they can. Some of these individuals and businesses have asked me not to glorify them, by mentioning and publishing their names, so to not single them out to the public, we here at Exodus want all of you to know that the clients, and staff, and perhaps the entire community sincerely ap predates your support. As I said last week, you can't spend your time or money for a better purpose. Join with the Exodus Youth Mental Health Offensive, building our community into a better and safer place to live and raise our children. Brought to you m » public »ervice by House of Exodus