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An Accommodational Esthetic: Precursor for One Legitimate Black Esthetic in African Rock Art Traditions

The many styles, metaphorical slants, idiosyncratic morphologies, middle-of-the-road, back-to-Africa, social realism, or other artistic predilections of contemporary Afro artists have not fully exhausted one primal base for a legitimate foundation in the development of a Black esthetic-African rock art. It appears that African rock art might be an esthetic as profound in its implications as any other: it deserves some attention. Intelligence-gathering associated with the African culture eventually runs into difficulty. This is due to, not only, a lack of consistency in the interpretations of what is found, but moreover, one certainly notices the frequency of occurence of the stigma of racial arrogance associated with the various interpretations. A contempt for blackness and the pursuit of knowledge about blackness remain unequally balanced. Somehow, a contempt for blackness has a perservering capacity of greater magnitude. For in earlier efforts to understand the works of West Africa, the art of Ife and Benin, for example, the contempt for native genius in African art was documented by Leo Frobenius whose judgment revealed gross speculations, suggesting that these quality works were due to the