From Missionary Lenses to Modern Masterpieces: Scotland’s Evolving Artistic Relationship with Africa

By Amy Hyslop

The artistic relationship between Scotland and the African continent reveals a complex narrative than spans centuries, encompassing colonialism, missionary work, and more recently, a burgeoning appreciation for Modern African art. This evolving relationship can be traced back to early Scottish photography and missionary documentation found in the National Library of Scotland’s collection and extends to Modern art acquisitions in the sixties by the Argyll council, as discovered by St Andrews’ own Dr Kate Cowcher.

In the early twentieth century, Scottish missionaries and their cameras ventured into various parts of Africa, both to document and support their mission work and to capture life in the regions in which they served. Many of these early photographs, preserved in the National Library of Scotland, were taken by the missionaries themselves whose aim was to visually record their experiences. These images document a significant period of cultural exchange, but they also reflect of the colonial gaze that often shaped Western perspectives of the African continent. One such photograph is a group portrait of four girls and their teacher, Mrs. Grieve, from the Chorgia Mission in Kenya. Though often framed with a Eurocentric and religious lens, images such as this provide valuable documentation of ways of life at a moment of profound change. Photographs like this were brought back to Scotland, where they were used to both attract financial support and create a curated image of Africa for a Scottish audience.

'Standard VI at cooking class, 1946.’ Chorgia Mission, Kenya. Credit: National Library of Scotland.

The images in the National Library of Scotland, however, also raise questions about representation and power dynamics. The missionaries’ photographs were often staged to illustrate the supposed ‘civilising’ influence of their work. Using the cooking class image as an example, images of Africans in Western clothing or standing alongside missionaries were intended to show progress as defined by European standards. This framing perpetuated an image of Africa as a place in need of external guidance, reflecting the paternalistic attitudes of colonial Britain. These historical images are therefore complex: while they provide an invaluable historical record, they are also fraught with the biases of their time, serving as a reminder of the ways in which Africa was- and often still is- viewed through an outsider’s lens.

With the arrival of the swinging sixties, Modern art came to Argyll and Bute. As it is now known, The Argyll Collection is a unique collection of almost 180 artworks that span across media, all stemming from an experimental idea six decades ago, bringing modern art to rural Scottish schools. However, what makes the collection stand out is its remarkable collection of post-independence era African art with well-known works from artists such as Samuel Ntiro and Jak Katarikawe. Under the guidance of Dr Kate Cowcher, a lecturer at the University of St Andrews with a specialisation in African art, many of these artworks have now been identified and dated.

Lovers, Jak Katarikwe, 1967, Wax Crayon. Argylle and Bute

Unlike the missionary photographs from the beginning of the century, which often presented a Eurocentric perspective of Africa, the pieces from the Argyll Collection are contemporary works created by African artists themselves, who bring their own narratives and perspectives to the forefront. Pieces like Lovers(1967) by Jak Katarikwe, engage with themes such as identity, colonial history, and social change, offering Scottish audiences a richer, more direct engagement with African art and its multiplicity.

The transformation from early missionary photography to the Argyll Collection’s modern African acquisitions reflects a broader shift in Scotland’s relationship with Africa. Where earlier works often imposed a narrative, modern collections like Argyll strive to amplify African voices, allowing the art to speak for itself. This evolution marks an important step in decolonizing art collections and fostering a cultural dialogue that is rooted in respect, collaboration, and a shared appreciation for artistic expression across borders.

Bibliography

Argyll-bute.gov.uk. “The Argyll Collection,” 2023. https://www.argyll-bute.gov.uk/argyllcollection/.

National Library of Scotland. “Photographs.” Accessed November 27, 2024. https://www.nls.uk/collections/photographs/.

National Museums Scotland. “National Museums Scotland,” 2022. https://www.nms.ac.uk/collections/departments/global-arts-cultures-design/projects/scottish-collectors-in-central-africa.