Adinkra Symbology - Art Education at Colorado State University
Melanie Reis Dr. Patrick FaheyEDUC 466/ART 326A Symbolic Self Portrait!Drawing/Painting/Mixed MediaEnduring Understanding:The visual arts incorporates comparisons and observations of practices and disciplines across many unique culturesArt is used to communicate a sense of expression Art can be used to identify or represent something/someone with elements of expressive features and characteristics of artHistorical and cultural context are found in visual art Visual art has inherent characteristics and expressive features Art and design have purpose and functionReflective strategies are used to understand the creative processInterpretation is a means for understanding and evaluating works of art Assess and produce art with various materials and methods Make judgments from visual messagesObjectives/Outcomes/Concepts/Standards:Students will be able to recognize and explain the purpose of the Adinkra symbols of the Akan tribe in Africa. (Understanding; Comprehend: Historical and cultural context are found in visual art, Reflect: Interpretation is a means for understanding and evaluating works of art) Students will be able to identify self-portraiture, symbolism, and collage in the work the artists Frida Khalo, Vincent Van Gogh, Chuck Close, Jan Van Eych, and Hannah Hoch. (Understanding; Comprehend: Historical and cultural context are found in visual art, art and design have purpose and function)Students will be able to define the concept of symbolism in art and translate this understanding into the creation of their own, unique symbols in a self-portrait based on the Adinkra culture. (Remembering, Understanding, Creating; Reflect: Reflective strategies are used to understand the creative process, Create: Make judgments from visual messages)Students will be able to develop and experiment with the techniques of resist, photo transfers, and collage. (Creating, Analyzing; Create: Assess and produce art with various materials and methods)Pre-Assessment:Can students recognize and explain the purpose of the Adinkra symbols of the Akan tribe in Africa?Can students identify self-portraiture, symbolism, or collage in the work of the artists Frida Khalo, Vincent Van Gogh, Chuck Close, Jan Van Eych, and Hannah Hoch?Can students define the concept of symbolism and translate this understanding into the creation of their own, unique symbols in a self-portarit based on the Adinkra culture? Can students develop and experiment with the techniques of resist, photo transfers, and collage? Accommodations/Modifications:This project will entail a lot of individual exploration and experimentation. The students will be mostly self-directed after being shown various possible techniques falling under the three mediums of drawing, painting, and mixed media. Gloves will be provided for those who wish not to have skin contact with the tempera paint during the Adinkra symbol creations. If the photo transfers do not dry fast enough students may use the available blow dryers. Materials:paint brushespaint palettes water cupscolored construction paperoil pastelsblack/white tempera paintpaper towelsnewsprintnewspaperhot glue gunsmodge podge (“yes!” paste)fabric, other collage materials (found objects) acrylic paint drawing materials: graphite, charcoal glovesscissorscanvas panels (2 each student)laser jet photo prints for transfersgel/gloss mediumblow dryers Resources:Historical examples (PowerPoint)My own project examplesImages: Chuck Close (close-up) Self-Portrait (1997) “Big Self-Portrait” (1967-68) Frida Khalo “Self-Portrait with Thorn Necklace and Hummingbird” “The Two Fridas 1939” Van Gogh “Self-Portrait with Dark Felt Hat 1886” Gogh Self-Portrait (1889) Van Eyck- “Arnolfini Marriage” (Symbolism) Hoch “Cut with the Kitchen Knife…” (Collage) (Cloths) (symbol index) (symbol chart)Preparations:Write dear student letter a week before lesson informing them of what is to come Research contemporary and historical artists for inspiration and for PowerPoint presentationCreate examples for necessary techniques and show images of examplesGather any needed materials and lay them out on the tables a day before the lesson Students must buy two canvas panels both size 12” X 16” and bring them on the day of the first lesson as well as a laser printed photograph to use for a transfer onto the canvas Safety:Aprons may be worn over clothes while students are working with the black tempera paint or any other material to avoid damage. Gloves will also be available. If necessary, students will be reminded of hot glue gun safety if they are using this tool for their project.Motivation/Anticipatory Set and Ideation/Inquiry: (7 Minutes)I will introduce the lesson with a “game” to get them thinking and challenge them to recall a little art history! I will show a picture of Jan Van Eyck’s painting titled Arnolfini Marriage and tell them that they have one minute to write as much as they can remember about the painting in their sketchbook, and if they have never seen it before I want them to make an educated guess of it’s meaning and content based on their personal interpretation. Then as a class we will discuss what they could recall (2 volunteers) and then compare this to the analysis of the painting based on the various symbols within it from Gardner’s Art Through the Ages (Slide 2 of PowerPoint). Ideation/InquiryStudents are challenged to recall their comprehension of the meaning of the Jan Van Eyck painting and for those who have not previously seen this work are pushed to use their knowledge of artistic choices, composition, arrangement, style, etc. that they have learned as an artist themselves in order to understand the work. Students will also be challenged to produce a symbolic self-portrait by thinking of representing themselves in a different way, other than realistically. They will also have to be creative in finding ways to incorporate all three techniques discussed (resists, transfers, and collage) in one unified piece.This requires a much deeper level of thinking, different than they have maybe ever thought before, opening up new possibilities and perspectives to trigger new ideas. Procedures:Day 1: Lecture/Demo total- (~30 minutes)Begin with motivation- Jan Van Eyck painting- Symbolism (7 minutes)Slide 1- “So I’m going to start the day by showing you all a historical painting. Let’s see what we can remember… ready?… Has anyone ever seen this painting before, with a raise of hands? If so who can tell me the name of the artist? The title maybe? …Ok so now as far as the meaning and content of Jan Van Eyck’s Arnolfini Marriage I would like to see how many of you can remember the symbols throughout the painting, and for those of you who have never seen this before I want you to make an educated guess by using your artistic knowledge about composition, style, color choice, etc. We’re not going to share your guesses aloud quit yet, first I want you all to pull out your sketchbooks and write your interpretation for one minute.After one minute- “Ok is everyone just about finished? With a raise of hands, can I have a volunteer describe to the class what you think is going on in this painting?” Pick two, write answers on boardSlide 2- “So here I have listed a few of the symbols or objects and their meanings from this painting, quoted from Gardner’s Art Through the Ages”- Read slide…“So culture often plays a large role in the overall understanding of artwork, let’s look at another example of symbolism, this time a little more abstract and within a different culture...”(7 minutes)Slide 3 (1 minute)- “In Ghana, Africa there is a tribe called the Akan or Asante where they produce cotton cloths called Adinkra. On these cloths there are various symbols, which represent popular proverbs and maxims, record historical events, express particular attitudes or behavior related to depicted figures, or concepts uniquely related to abstract shapes. These cloths are also used for important ceremonies such as funerals, Adinkra ironically actually means ‘goodbye,’ and there purpose is often to help recognize the life of a specific individual. They are also used to represent individuals in weddings and during initiation rites.”Slide 4 (1 minute)-“Now let’s take a closer look at some of the Adinkra symbols that would be seen on these cloths…”- Point out a few Slide 5 (1 Minute)- “Here an artist who is a native to the Akan culture himself was inspired by this practice and took a more contemporary approach by using acrylic on canvas instead of the original cloth. Can anyone spot the hidden figure in the painting?”Slide 6 (2 minutes)-“Ok now that we have seen both a realistic artwork and a more abstract example of ‘artists’ incorporating symbolism, do you think that one is more successful than the other? Would you say that both could act as a kind of self-portrait?”- Class Discussion Slide 7 (2 minutes)-“Considering that these examples may seem like a stretch to be categorized as self-portraits, let’s take a look at a few artists who may be a little more familiar…Can you name these artists?”Chuck Close, Frida Khalo, and Van Gogh Slide 8 (8 minutes)- “Think about this question…If you were going to create your own self-portrait what would you want your viewers to know about you?-In your sketchbooks I would like you to draw a line down your paper…-On one side write down your most valued traits (4) (2 minutes)-On the other write how this would assist you as a future art teacher -Now on another page I would like you to take what you learned about the Adinkra symbols and create at least 4 of your very own symbols based on the traits that you just wrote down (use pencil) (6 minutes)-If you would like to see more examples of the symbols to help you brainstorm I will have some at the front of the room!”(7 minutes)“Is everyone about done? I would like you all to come over to this table to watch a demonstration…Who knows what a resist is? What kind of materials would resist each other? “Today I’m going to show you how oil pastel resists tempera paint (show example)…I’m going to take this colored construction paper and draw my symbols from my sketchbook on it with pencil and then I’ll take the oil pastels and color it in…VERY IMPORTANT: You have to leave some space between the oils and the pencil lines to create these darker “shadows” (show example). Next you will take either black or white tempera with a paint brush and apply a layer over your symbols, then lay either a paper towel or newspaper over the symbols and rub smoothly with the flat of your hand and then remove it, ta-da! Play around with different combinations and see what you come up with, the possibilities are endless!” “I’m going to show you another technique…we are going to do photo transfers onto our canvas…I’m going to show you the process with a magazine page but it is the same with a laser print photo.” (show example)“Your going to take gel/gloss medium and with a paint brush apply it around the area where you want your photo to be on the canvas…then place the photo onto that area and lightly press it down with the flat of your hand, REMEMBER: this will be a reverse image, make sure it’s the correct way so that it is the right orientation when you eventually remove the photo. Next we have to wait for the gel to dry and catch the image so when my example is dry I will pull you all back over for a demonstration on how to remove the paper”Review- “We are going to get started, but first I want to make sure that we are clear…I want the transfer down on your canvas first thing, then while you’re waiting for that to dry you can create your resist symbols on the construction paper.” “As far as putting all this together into one composition, this I leave up to you, I want you to feel free to experiment and explore the concept of collage/ multi media, don’t be afraid to try something I didn’t show you”“Next class we will be making another self-portrait, this is why I asked you to bring two canvases, you must have this first piece done and handed into me with your name written on the back before you leave today…Let’s get started! I will be walking around the room if you have any questions feel free to ask!”Clean Up: (15 minutes before class is over)You are responsible for your table- clean up your materials (place them back where they came from), store your piece in your locker, wipe down and roll up mats (three rubberbands) Sweeping: Eun Soo and HilaryMopping: Mary Everyone chairs up! Day 2: (5 minutes)Review: In smartboard room (1 minute) “Who can tell me what the African cloths and symbols are called?”- Adinkra“Who can tell me the three self-portrait artists we looked at last time?”- Close, Khalo, Van Gogh“Who can tell me the two techniques we learned?”- resists and transfers“Now before we begin I would like to show you another artist, who I hope you’re familiar with…Slide 9 and 10 (2 minutes)- “Who knows this artist?...I wanted to show Hannah Hoch as an example of an artist who works with collage since you are all ultimately working with collage and multi media, maybe this will help you better visualize a more unified composition? Just something to think about…Also here are several examples of the oil pastel resists for you to look at…”(1 minute) “So today we are going to get right to work on our second self-portrait, but first I would like a couple of volunteers to tell the class what they learned from their first piece last class- maybe challenges, maybe successes?” (2 volunteers)“Let’s get started, remember you are still more than welcome to explore! You must have this finished by seven o’clock because I have a special activity planned at the end”Clean Up: (15 minutes)Everyone is still responsible for their own table, wipe down then roll up mats Sweeping: Brooke and BeccaMopping: Teal Chairs Up! Reflective Activity: (45 minutes)Students will gather in front of the covered board (first s-p) with their second self-portrait in hand First self-portraits are numberedFirst S-Ps revealed, “In your sketchbooks I would like you to write down your guess as to whose is whose- quietly please” (5 minutes)Correct artists revealed on white board… “Check these with your guesses…how many people got all of them right? One wrong? Two? Three? More than five?”“Now I would like to go in order of how these are presented on the board…when it is your turn I would like you to come up with your second s-p and tell us which one you feel was more successful and why? What challenges did you run into during this project? What did you discover?”Thank you! Post-Assessment:Can students recognize and explain the purpose of the Adinkra symbols of the Akan tribe in Africa?Can students identify self-portraiture, symbolism, or collage in the work of the artists Frida Khalo, Vincent Van Gogh, Chuck Close, Jan Van Eych, and Hannah Hoch?Can students define the concept of symbolism in art and translate this understanding into the creation of their own, unique symbols in a self-portarit based on the Adinkra culture? Can students develop and experiment with the techniques of resist, photo transfers, and collage? RubricCriteria??? ??? Advanced??? ??? Proficient??? ??? Partially ProficientBasic??? ??? Recognize and explain the purpose of the Adinkra symbols of the Akan tribe in Africa.??? ??? Student can clearly and thoroughly describe the purpose of the Adinkra symbols when asked, well after the lecture (several days)Student can mostly describe the purpose of the Adinkra symbols, but only on the day of the lecture Student can somewhat describe the purpose of Adinkra symbols?Student cannot describe the purpose the Adinkra symbols Identify self-portraiture, symbolism, or collage in the work of the artists Frida Khalo, Vincent Van Gogh, Chuck Close, Jan Van Eych, and Hannah Hoch?Student can easily distinguish and identify the work of all five historical artists and place them in the correct genreStudent can distinguish only four of the five artists and can match them to their genre Student can only distinguish two or three of the five artists and can somewhat match to their genres Student can only distinguish one or none of the artists and cannot match them to the correct genreDefine the concept of symbolism in art and translate this understanding into the creation of their own, unique symbols in a self-portrait based on the Adinkra cultureStudent can accurately define the term symbolism as it is used in art and can effectively show this by creating their own and unique symbols in a self-portrait Student can accurately define the term of symbolism in art, but do not effectively show their understanding in their own and unique symbolsStudents can generally define the term of symbolism in art, but their symbols neither effectively show their understanding or display unique designs Students cannot accurately define symbolism in art, therefore they do not show their understanding or uniqueness in their self-portrait Develop and experiment with the techniques of resist, photo transfers, and collage? ??? ??? Student shows a substantial amount of exploration with the materials and successfully incorporates all three techniques in their piecesStudent shows a descent amount of exploration with the materials and incorporates only two of the three techniquesStudent shows a minimal amount of exploration with materials and incorporates only one of the three techniquesStudent shows exploration and the techniques only in their sketchbook and not in their self-portrait??? ??? ??? ??? 90-100/A??? 80-89/B??? 70-79/C??? 60-69/D??? Reflection:Added after the lesson is taught Handouts/Vocabulary/Historical Artists Photo Transfers a photo to canvas: 1.?Supplies needed- a canvas (here canvas panels), gel medium (the kind from? HYPERLINK "" Liquidex, any kind of gel/gloss medium), a paint brush and the image you want to transfer (laser copy) and a spray bottle filled with water. Remember, your image will print reversed.?2. Completely cover your canvas with gel medium. Use a heavy coat. 3. Press the photo copy onto the canvas and let it dry for several hours or overnight. 4. After your image is completely dry, use a spray bottle to wet the top of the paper. 5. Rub the surface with your fingers until pieces of the paper start coming off. When pieces start coming up your image will be revealed. This step takes patience and is messy! Be careful not to rub too hard as this can remove your transfer on accident. Continue until all the paper is removed and the image is completely visible! 6. You can cover your canvas with one more coat of gel medium to seal and protect the image.Symbolism originated in France, and was part of a 19th-century movement in which art became infused with mysticism. French Symbolism was both a continuation of the Romantic tradition and a reaction to the realistic approach of impressionism. It served as a catalyst in the outgrowth of the darker sides of Romanticism and toward abstraction.???The term Symbolism means the systematic use of symbols or pictorial conventions to express an allegorical meaning. Symbolism is an important element of most religious arts and reading symbols plays a main role in psychoanalysis. Thus, the Symbolist painters used these symbols from mythology and dream imagery for a visual language of the soul.???Not so much a style of art, Symbolism was more an international ideological trend. Symbolists believed that art should apprehend more absolute truths, which could only be accessed indirectly. Thus, they painted scenes from nature, human activities, and all other real world phenomena in a highly metaphorical and suggestive manner. They provided particular images or objects with esoteric attractions.There were several, rather dissimilar, groups of Symbolist painters and visual artists. Symbolism in painting had a large geographical reach, reaching several Russian artists, as well as American. The closest to Symbolism was Aestheticism. The Pre-Raphaelites, also, were contemporaries of the earlier Symbolists, and have much in common with them. Symbolism had a significant influence on Expressionism and Surrealism, two movements, which descend directly from Symbolism proper. The work of some Symbolist visual artists directly impacted the curvilinear forms of the contemporary Art Nouveau movements in Europe and Les Nabis. Jan Van Eyck “Arnolfini Marriage” 1434, oil on oak panel82.2 (panel 84.5)?cm ×?60 (panel 62.5)?cm (32.4?in ×?23.6?in) S. Kleiner, Gardner’s Art Through the Ages: 13th Edition pgs. 524-525 The intersection of the secular and religious in Flemish painting also surfaces in Jan van Eyck's double portrait Giovanni Arnolfini and His Bride. Van Eyck depicts the Lucca financier (who had established himself in Bruges as an agent of the Medici family) and his betrothed in a Flemish bedchamber that is simultaneously mundane and charged with the spiritual. As in the Mérode Altarpiece , almost every object portrayed conveys the event's sanctity, specifically, the holiness of matrimony. Arnolfini and his bride, Giovanna Cenami, hand in hand, take the marriage vows. The cast-aside clogs indicate this event is taking place on holy ground. The little dog symbolizes fidelity (the common canine name Fido originated from the Latin fido, "to trust"). Behind the pair, the curtains of the marriage bed have been opened. The bedpost's finial (crowning ornament) is a tiny statue of Saint Margaret, patron saint of childbirth. From the finial hangs a whisk broom, symbolic of domestic care. The oranges on the chest below the window may refer to fertility, and the all-seeing eye of God seems to be referred to twice. It is symbolized once by the single candle burning in the left rear holder of the ornate chandelier and again by the mirror, where viewers see the entire room reflected. The small medallions set into the mirror's frame show tiny scenes from the Passion of Christ and represent God's ever-present promise of salvation for the figures reflected on the mirror's convex surface.Van Eyck enhanced the documentary nature of this painting by exquisitely painting each object. He carefully distinguished textures and depicted the light from the window on the left reflecting off various surfaces. The artist augmented the scene's credibility by including the convex mirror, because viewers can see not only the principals, Arnolfini and his wife, but also two persons who look into the room through the door. One of these must be the artist himself, as the florid inscription above the mirror, "Johannes de Eyck fuit hic," announces he was present. The picture's purpose, then, seems to have been to record and sanctify this marriage. Although this has been the traditional interpretation of this image, some scholars recently have taken issue with this reading, suggesting that Arnolfini is conferring legal privileges on his wife to conduct business in his absence. Despite the lingering questions about the precise purpose of Giovanni Arnolfini and his Bride, the painting provides viewers today with great insight into both van Eyck's remarkable skill and Flemish life in the fifteenth century.Adinkra Cloths/Symbols SymbologyThe Origin and Meaning of Adinkra SymbolsAdinkra is a cotton cloth produced in Ghana and C?te d'Ivoire which has traditional Akan symbols stamped upon it. The adinkra symbols represent popular proverbs and maxims, record historical events, express particular attitudes or behaviour related to depicted figures, or concepts uniquely related to abstract shapes. It is one of several traditional cloths produced in the region – the other well known cloths being kente and adanudo.The Akan people (of what is now Ghana and C?te d'Ivoire) had developed significant skills in weaving by the sixteenth century, with Nsoko (present day Begho) an important weaving centre. Adinkra, originally produced by the Gyaaman clans of the Brong region, was the exclusive right of royalty and spiritual leaders, and only used for important ceremonies such as funerals – adinkra means 'goodbye'.During a military conflict at the beginning of the nineteenth century, caused by the Gyaaman trying to copy the neighbouring Asante's 'golden stool' (the symbol of the Asante nation), the Gyaaman king was killed. His adinkra robe was taken by Nana Osei Bonsu-Panyin, the Asante Hene (Asante King), as a trophy. With the robe came the knowledge of adinkra aduru (the special ink used in the printing process) and the process of stamping the designs onto cotton cloth.Over time the Asante further developed adinkra symbology, incorporating their own philosophies, folk-tales and culture. Adinkra symbols were also used on pottery, metal work (especially abosodee), and are now incorporated into modern commercial designs (where their related meanings give added significance to the product), architecture and sculpture.Adinkra cloth is more widely available today, although the traditional methods of production are very much in use. The traditional ink (adinkra aduru) used for stamping is obtained by boiling the bark of the Badie tree with iron slag. (Because the ink is not fixed, the material should not be washed!) Adinkra cloth is used in Ghana for special occasions such as weddings and initiation rites.Note that African fabrics often differ between those made for local use - usually replete with hidden meanings or local proverbs - allowing locals to make a particular statement with their costume. . a technique of composing a work of art?by pasting on a single surface various materials not normally associated with one another, as newspaper clippings, parts of photographs, theater tickets, and fragments of an envelope. 2. a work of art produced by this technique. Compare assemblage ( def. 3 ) . 3. an assemblage or occurrence of diverse elements or fragments in unlikely or unexpected juxtaposition: The experimental play is a collage of sudden scene shifts, long monologues, musical interludes, and slapstick. 4. a film that presents a series of seemingly unrelated scenes or images or shifts from one scene or image?to another suddenly and without transition. Hannah H?ch, Cut with the Kitchen Knife through the Beer-Belly of the Weimar Republic, 1919, collage of pasted papers, 90 x 144 cm ................
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