LESSON PLAN TEMPLATE
Title: Art and the Object (Part I): “Why Africa and Why Art?”
Your Name: Michael H. Feinberg
Quick Description of the Class
Serving as the introduction to the final unit, this lesson introduces the concept of the
found object to students in the art history course, Depicting Race, Sexuality, and Cannibalism in
Global Modern Art. This lesson analyzes how the Edo people represented Europeans and how
this complicates the notion of the “imaginary Orient.” Additionally, this lesson introduces
students to the historiography of studying “non-Western” art. Although this lesson suits a
modern art history class, professors and students of anthropology, history, sociology, Africana
studies, and postcolonial studies may also find this topic of interest. No prior knowledge of the
discipline or its related studies is necessary; students of varying levels may appreciate the
information.
Learning Objective(s)
Remember from previous lessons the tenuousness of establishing a bifurcation between the
“West” and the “rest”
Problematize the distinction between art and objects
Discuss the elements of a formal analysis
 Understand how meaning and analysis of a non-Western art object changes over time
Evaluate pervious and contemporary understandings of the art object
Create a formal analysis of a "non-Western" art object
Course Plan
The course familiarizes students with artworks produced in the long nineteenth century
that demonstrate an awareness of an expanding or changing modern world. How did EuroAmerican artists depict non-Europeans and how did non-Europeans depict Euro-Americans?
How might these portrayals augment or complicate the Said’s notion of the “Orient?”
Paralleling Neil MacGregor’s A History of the World in 100 Objects, each lecture focuses on one
or two case study art objects. Each lesson will analyze the art objects historically, formally, and
politically in order to understand how the case study depicts moments of cross-cultural dialogue.
This particular lesson will focus on the Benin City Plaques (MacGregor’s object 77).
Prior to this unit, students will examine a variety of paintings such as Géricault’s The
Raft of Medusa (1818-1819) and Gros’s Bonaparte Visiting the Plague Victims of Jaffa (1804).
These depictions subvert the assumed dichotomy between the “West” and “non-West,” depicting
Europeans as dying savages and valorizing native populations. The Benin City plaque further
questions orientalist discourse, by demonstrating how the Edo people saw themselves as superior
to the Portuguese traders. Future lessons examine intersections of “high” and “low” European
culture by turning to pieces such as Duchamp’s Fountain (1917) and Picasso’s Les Demoiselles
d’Avignon (1907). Students are encouraged to see the relationships amongst proliferating
capitalist and consumer economies, colonially seized objects, and museums. Students will
engage with the evolving definition of a “modern public” and how it might have corresponded
with imperialism.
The course prepares students to participate in an extended research project by meeting
with curators and visiting at least one museum.
Related Reading
Neil MacGregor, A History of the World in 100 Objects. New York: Penguin Books, 2010, pp.
497-503 (object 77).
Ferdinand Anton, Fredrick J. Dockstader, Margaret Trowell, Hans Nevermann, Primitive Art.
New York: Henry J. Abrams, 1979, pp. 256, 433, 438-439.
Michael Kampen O’Riley, Art Beyond the West. New York: Herny J. Abrams, 2002, pp. 234240, 251-260.
Reading MacGregor alongside two African art textbooks aim to introduce students to a
meta-history of African art history. Especially significant is how art historians have struggled to
understand the Benin City plaques and the complicated colonial history of the Edo people.
Students should be wary of the 1979 textbook (Anton et. al) that reinforces colonial polemics.
Indeed, the textbook seems to uphold the stereotype of African peoples as culturally inferior. The
MacGregor and Kampen O’Riley texts demonstrate the attempts that have been made to recover
colonial narratives. Many details such as the central role the Edo people played in European
economy has been lost to history due to racism.
Student-Centered Activity
In this activity, students will conduct a formal analysis of the Benin City Plaque.
Part I, Together as a Lecture Class, (20 minutes)
First, the instructor provides students with background information regarding the history
of the Edo people and the Benin City plaque (see Set Up below). It may also be helpful to
summarize a few of the key points from each of the readings, ensuring students understand the
strengths and limits of each methodology. To make the learning experience more experiential,
the instructor can call on a few students to provide this information. All students should be aware
of the pervasive racism of the Primitive Art text. Secondly, the class will conduct a “mini”
formal analysis on the Benin Plaque as a class. Students can later emulate this process and apply
it towards different plaques in their smaller groups. Ideally, the VTS (Visual Thinking
Strategies) model is utilized. This model engages students by asking questions that avoid “yes”
or “no” answers. Examples of questions include: What do you see? What more can you find?
More examples can be found on vtshome.org. This will help students achieve an understanding
of how one “looks” or “reads” an art piece. These open-ended questions encourage students to
apply pre-existing knowledge (from previous lectures) to new materials. The instructor should be
sure to point out size (the diminutive Portuguese and the larger Edo people) as well as the
“props” or weapons visible in these depictions.
Part II, In Smaller Groups (10-20 minutes):
Following the mini lecture, students break into groups of no more than five students.
Each group will be assigned one of the texts that students read. Each group also receives an
image of a different Benin City Plaque. They will perform critical analysis upon the relationship
between the assigned text and the image. Specific questions students can answer to help facilitate
these discussions can be found in the directions section. For example, a group assigned the
O’Riley reading will focus more on the formal characteristics of the plaque (scale of the figures,
the two and three dimensionality, etc). Last of all, students are encouraged to create their own
analyses in order to “improve” upon their author’s methodology. Lastly, a student from each
group will ideally present his/her discussion to the rest of the class. A follow up question will be
asked to the group.
Materials Needed
Instructors will need print out images of various objects produced by the Edo people.
Khan academy and the British Museum have excellent images
(http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?object
Id=8849&partId=1 and https://www.khanacademy.org/partner-content/britishmuseum/africa1/benin-bm/a/benin-plaques ).
Set-Up
To set-up this activity, the instructor will need to provide additional information on the
Edo people than what is contained in the readings. Students will find it valuable to have a more
detailed understanding of the Edo people than MacGregor or Anton, et. al provides. Students will
become acquainted with the complexities surrounding the tensions among the competition
colonial regimes (France, England, and Germany). A mini lecture will explain the significance of
the 1893 Niger Coast Protectorate, (which extended British influence over Benin). While
students should be familiar with some of this information from their reading, historical
elaboration may benefit student discussions. For example, 1892 marked Henry Gallwey’s
attempt to persuade the Oba to sign away the independence of the Edo people. 1896 marked the
reversal of this situation. Another essential event is when the replacement for the British deputy,
sent an army of men to combat the Oba’s decision. The Edo killed the members of this British
party due to their ignorance of various warnings. This would culminate in the 1897 raid on the
Oba’s palace where the plaques were stolen. Understood as the Edo people’s “punishment” for
the death of the deputy, British colonial rule commenced. Along with more detailed notes
regarding these events, students will also be shown images that documented the British
occupation and raid of these people. This information comes from Annie Coombes, Reinventing
Africa. New Haven and London: Yale University Press, 1994.
Directions for Students
Break into groups of four or five students. Review the information sheet with the
questions for discussion. Analyze the Benin City plaque (also on the information sheet) from the
perspective of the assigned author.
Questions include: What does your author say about the plaque? What does your author
emphasize? What perspective is the author coming from? How does the plaque depict the
relationship between the Portuguese and the Edo people? Why might the author be explaining
this relationship in his/her manner? How does the author (if at all) describe the British Colonial
raid? Why do you think the author is explaining the raid in this way? Do you agree with your
author's analysis? Why or why not?
Recap
Ideally, one student from each group will briefly present key discussion points to the
greater lecture. After all students present, the following follow up questions can be asked: Why
do you think the Edo people wanted to commemorate either trade with the Portuguese and use
these plaques to decorate a palace? How can an object be utilized to understand a complex
colonial history? Ideally, this will enable students to understand how a single object (the Benin
City plaque) tells a multiplicity of stories of colonialism in Western Africa as well as within the
art historical discipline.