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The Pan-African Circle of Artists

Le cercle pan-africain des artistes

 

Overcoming Maps 3 - English

 

Elmina and its Message

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Elmina and its Message.

 

Chris Okey Chinwuba

 

The bowels of St. George Castle at Elmina in Cape Coast, Ghana, present a stunning revelation of the magnitude of wickedness that dwells in mankind. The unpleasant memories woven around the history of Elmina confronts its visitors with the horrors associated with slavery.


Elmina is a historic city in Ghana, on the Gulf of Guinea, about 130km south east of Accra. The place is the earliest permanent European settlement on the Gold Coast. The Portuguese built St. George Castle on the site in 1482. Elmina was initially a gold trading centre but later made a mark in history when it metamorphosed into a slave trading port, flourishing up to the 19th Century.1 Little did the designers and builders realise that they were composing a monument to inhumanity.


The Castle as an edifice connotes the proverbial painted sepulchre. The architectural layout of the dungeons located in the basement is part of a montage in the shameful history of the exodus of black Africans to America. The stifling air of the dungeons is reminiscent of the unpalatable treatment that was the lot of the inmates. There existed also two chapels where the civilized lords’ and masters prayed to God – of course fore prosperity in the slave business. Ironically, however, the dungeons and the chapels portray a mockery of the concept of God and humanity.


The Elmina experience silently enjoins us to pause in our ideological strides and re-evaluate our thoughts and decisions in relation to societal values and realities. What remains of the grandeur of St. George Castle persists as a form of conceptual art. It mirrors the torture, humiliation and suffering which man meted to his own kind. The tales told by Elmina pictures man as beast that threatens its own essence. Ideologically, the rationale behind the experience from Elmina strongly questions the parameter by which humanity defines civilization.


If we plough back into the last century, there is enough evidence to show that the Elmina experience occurs periodically in different dimensions in various part of the globe. On April 13, 1919, for example, in Amritsar’s Jallianwala Bagh, Punjab, India, the British military commander, Brigadier Reginald E.H Dyer, ordered his soldiers to fire point blank into an unarmed and unsuspecting crowd of some 10,000 men, women and children. Dyer returned to Britain a hero.2 Have we forgotten too soon, the extermination camps of Auschwitz and Sobibor of Nazi Germany? Then, in 1948, the government of South Africa enacted the apartheid laws. Racial discrimination was institutionalized. Race laws touched every aspect of social life, including a prohibition of marriage between whites and non-whites.3 Think of the 1966 pogrom in Nigeria when the Igbo ethnic group was massacred in northern Nigeria.

 

How about the ethnic cleansing incidents that occurred in 1994 in Rwanda, where about 800,000 innocent men, women and children were murdered.4 The mass murders that occurred in Guyana, the former Yugoslavia, East Timor, Bosnia etc, cannot easily fade from memory. The beast in man was still on the prowl when on 11th September 2001, about 3000 men and women got trapped and were buried in the rubble of what used to be the World Trade Centre, in New York.


The overall picture thus presented, creates enough nightmares to showcase man as a beast that preys on his own kind. At this juncture, it could be concluded that this beast, which is inherent in man is usually unleashed when the idiosyncrasies of civilization is translated without restraint.
 

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The Pan-African Circle of Artists

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