Portrait of Metang, the 10th King of Batufam 1912 - 1914

Editor: So, this is "Portrait of Metang, the 10th King of Batufam," carved sometime between 1912 and 1914 by a Bamileke artist. It’s currently housed at the Art Institute of Chicago. The figure appears almost frozen mid-motion, holding what looks like a musical instrument. What stands out to you about it? Curator: Well, this sculpture provides us a glimpse into early 20th century Cameroon, a period deeply affected by colonization. The formal portrait itself signifies a shift, doesn't it? Consider what it means to depict an African king using a Western artistic convention. Editor: So the piece operates on this intersection of tradition and imposed foreign influence? Curator: Precisely. The statue also presents an interesting take on power dynamics. What is the king holding? How does his pose – seated, yet still somewhat formal – speak to authority? And importantly, whose gaze are we aligning with when we view this? Editor: It feels like a claim of self-representation during a time when representation itself was fraught with colonial baggage. Was this image of the King perhaps circulated? Or was the carving purely ceremonial? Curator: These are all vital questions! The statue’s material presence embodies power in ways we must interrogate. If the carving was not made for circulation amongst the Bamileke, one must wonder: where was this meant to be displayed and to whom? Who controlled its circulation? Editor: It gives me so much to consider— how artistic traditions transform amidst larger societal shifts. Curator: Exactly. And understanding these entanglements— between art, history, and power— that is how we unlock deeper meaning.