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An artificial construct means that the fact that something isn’t real doesn’t mean that it doesn’t have real consequences. Based on Yinka Shonibare’s perceptions, culture is an artificial construct, and I do agree with him in that some of the cultural practices that can be seen from one culture can at times be fake or borrowed, but that doesn’t mean that they have authenticity in another culture. Based on Yinka’s statement that batik clothing is a crossbred of different cultural background, it can be used to justify that culture is an artificial construct. Yinka was born in London but was brought up in Nigeria, two countries that have different cultural backgrounds raging from the dressing to eating patterns. Being raised in a multicultural society, Yinka was exposed to different cultural backgrounds which are rich depending on the indigenous people from those nations.
The batik clothing is a crossbred of European and African attire in that it is not purely African despite exhibiting some African aspects especially in the decorations, which are made of bright African wax which is decorated with a fake funny logo. The mannequin, on the other hand, is also made of mixed colors, in the legs, it is decorated with a white color while on the hands, it is decorated with brown color thus an indication of mixed race. Different races have different cultures, and this explains the dress worn by the mannequin in the swing. Race is an artificial construct, and it forms the basis for a culture. It is the race that defines what beliefs to be followed as well as the rules in the society, including the dressing. During colonization, Africa was colonized by Europeans and Nigeria was colonized by Britain, and this is how the cloth design found its way in West Africa, being assimilated by the Nigerians. It is, therefore, true that culture is an artificial construct as it is based on personal interpretation to differentiate between what is genuine and fake within the culture.
Reference
Picton, J. (2001). yinka Shonibare: undressing ethnicity. African Arts, 34(3), 66.
