Stock raid with cattle, horses, encampment, and magical ...
Stock raid with cattle, horses, encampment, and magical “rain animal,” rock painting, San, Bamboo Mountain, South Africa, mid-19th century. Pigments on rock, approx. 8’ long
← Rock paintings = one of most ancient oldest African art traditions, but still done as recently as the 19th century, some images even depict Europeans (especially in South Africa)
← Originally 8 feet long, now in pieces, from mid 19th century
← Attributed to the San people who often depicted animals they hunted for food
← Because of the increasing development of colonial ranches/settlements during this time period, the lifestyle of African agriculturalists changed, many were displaced from their land
← Began to raid ranches for livestock and horses to have an alternate food source
← Rock painting shows a series of stock raids on a camp, also the idea of a person leading an animal has spiritual significance – perhaps a ritual leader in a trance
Reliquaries, Fang peoples, Southern Cameroon, Photo by Hans Gehne, ca. 1913, Published in Zimmerman, Karl, 1914
← Ancestor worship was important part of culture, believed they continued to aid the living, including help in maintaining the productivity of the earth for bountiful crop production
← Idea of ancestor adoration takes a more literal form with these relic containers – housed collections of skulls and other bones of ancestors
← Protected by stylized human figures (sometimes just a head, not full figure) = known as guardian figures
← These figures sit on the edge of boxes made from bark full of ancestral bones = meant to ensure no harm falls on the ancestral spirits
← Figures are symmetrical, odd proportions, emphasis on the head (enlarged), made up of solid shapes and forms – meant to demonstrate power and strength
Reliquary guardian figure (mbulu-ngulu), “Kota,” Gabon, 19th or early 20th century. Wood, copper, iron, and brass, 1’ 9 1/16” high
← -What traits do you notice about this figure? How has it been depicted?
← Some are just heads, particularly those of the Kota (tribe of people in Central Africa)
← Different in that have no body, just an open lozenge (meaning diamond shaped) below the wooden head that is covered with strips of polished copper/brass – believe the gleaming surface of the metal repels evil
← Simplified heads, flattened hairstyle, geometric ridges, borders, texture
Woman sculptor finishing an ancestral portrait, 1965, Akan, Ghana. Terracotta
← Akan (ethnic group in Ghana and Côte d'Ivoire) terracotta commemorative head
← Conventionalized, flattened clay head is a typical style trait
← When someone important died, they placed meat and drinks on the grave because the person desired these in life so they will in the afterlife, also clothes, armor, anything of importance to the man, these sculptures meant to represent the men that served him during his lifetime and are placed all around the grave to serve him after death
← -What other culture that you’ve studied does this remind you of? (Egyptians – tombs)
*compare to image of Death Mask of Tutankhamun
Female figure with child, Kongo peoples, Mayombe region, Democratic Republic of the Congo, Mid 19th-early 20th century, Wood (Nauclea latifolia), glass, glass beads, brass tacks, pigment, H x W x D: 25.7 x 10.5 x 10.2 cm
Nail figure (nkisi n’kondi), Kongo, from Shiloango River area, Democratic Republic of Congo, ca. 1875–1900. Wood, nails, blades, medicinal materials, and cowrie shell, 3’ 10 3/4” high
← Examples of Kongo Power Images – Kongo was a kingdom throughout West Central Africa from the 1400 until early 1900s
← Served many purposes: commemoration, healing, divination, and social regulation
← May commemorate an ancestor, more likely a legendary founding clan mother (known as a genetrix)
← These are made of wood but many were made of white kaolin clay, referred to as “white chalk” and believed to have medicinal power
← Female- holding child, royalty (indicated by the cap she is wearing and jewelry), chest scarification
← Male-nails sticking out of him = has been consecrated by a priest during rituals – owners of power figures would insert nails or blades into figures, believed that it prodded the figure to do work for them, sometime would also chant, rub them, or apply special powders
Kuba Nyim (king) Kot a Mbwecky III in state dress with royal drum. Mushenge, Zaire (now Democratic Republic of the Congo). Photograph by Eliot Elisofon, 1971
← Costumes and mask rituals are extremely important part in African culture
← King commissioned a costume to be made for him – full of Eagle feathers, leopard skin, cowrie shells, imported beads, raffia, and other materials – meant to expand image of king, make him larger than life
← Also holds two weapons to prove his military might as well as wealth and dignity – the king covered with royal regalia implies idea of sacred kingship, shows his superiority, he is physically elevated on platform while performing rituals
Mwashamboy (kneeling) and Bwoom (standing) maskers in a royal ceremony among the Kuba, Democratic Republic of Congo, late 20th century
← The art of the masquerade – large gathering, rituals, dances, theatrical shows of people in full costume wearing masks
← Purpose of masquerades is to move the audience, and to affect them or to effect change in them – performances may have specific function = to increase productivity of fields, stimulate growth of crops, or a celebration such as a good harvest – maskers also performed at funerals
← Masks became so influential and important sometimes even had their own priests to watch after them – believed the masks themselves served as power sources or oracles
“Beautiful Lady” dance mask, Senufo, Côte d’Ivoire, late 20th century. Wood, ca. 1’ 1/2” high
← Each mask would represent a specific character or person, sometimes mythical, sometimes an ancestor visiting the earth once more for a short time, etc
← Senufo (group of indigenous people of Ivory Coast) masks typically have a small face with fine features, several extensions, usually composite images of animals (antelope, crocodiles, warthogs, hyena, etc) with human images
← At funerals Senufo maskers attend the corpse and help expel the deceased from the village = the individuals final transition, a rite of passage to the next world
← If person is particularly important have several masking groups at funeral, music, dancing, costuming, and feasting
Ngady Amwaash mask, Kuba, Democratic Republic of Congo, late 19th or early 20th century
← Kuba people hold three legendary royal ancestors in high honor: Mwashamboy, Bwoom, and Ngady Amwaash
← Mwashamboy – founding ancestor and embodies the king’s supernatural/political powers
← Bwoom – has bulging forehead, represents a legendary dwarf or pygmy, signifies indigenous peoples on whom kingship was imposed
← Both vie for the attention of the beautiful female ancestor, Ngady Amwaash, symbolizes the first female and all women
← The striped lines on her faces represent tears both from childbirth and the fact that in order to procreate she must commit incest with her father
← These three characters are seen throughout masking rituals and stories
Seated couple, Dogon, Mali, ca. 1800–1850. Wood, 2’ 4” high
← Extremely stylized Dogon carvings
← Good depiction of female and male roles in society – male has quiver on his back and woman has a child on hers = male has role of protector, hunter, warrior; woman is nurturer
← Male dominance and role to protect woman further shown by his slightly larger size and arm around her
← Four very stylized figures support the stool upon which they sit, probably either spirits or ancestors
The thunder god Amadioha and his wife, painted clay sculptures in an mbari, Igbo, Umugote Orishaeze, Nigeria, photographed in 1966
← Male and female roles further shown here
← Image of the thunder god Amadioha and his wife in a mbari house
← Mbari houses (tradition of the Igbo people) were built ritually every 50 years
← Constructed out of mud as sacrifices to major deities, elaborate and filled with lots of unfired clay sculptures, sometimes hundreds
← Never underwent repair but rather were allowed to disintegrate over time and return to its original source, the earth – rituals were performed at the unveiling of the Mbari house, once veil was taken off = sign that the gods accepted the sacrificial offering and would be benevolent
← The thunder god and wife show contrast of modern traditions with old – thunder god wears modern clothing but his wife appears in traditional body paint and a fancy hairstyle – ideas of modernity were viewed as positive by men (who had control of ritual and art) but though they themselves were allowed modern things they wanted their women to remain traditional
Mami Wata shrine with priestess, Igbo, near Owerri town, Nigeria, photographed by Henry J. Drewal in 1978
← Around 1900 an image was introduced to Nigeria of a light-skinned, straight haired woman controlling large snakes, deity associated with water – myth of Mami Wata
← Said to have come from across the sea, as other white people did, bringing riches as well as problems – said to be charismatic and beautiful, offering help to those in need, but at the price of becoming her devotee
← Helps with more modern desires of life, shrines are created in her honor, colorful paintings, sculptures of snakes, powders, soaps, perfumes, glittery jewelry, dolls, candles, medicines, and usually a mirror – because the goddess is said to be vain and also to symbolize the water surface she emerged from
KANE KWEI, coffin in the shape of a hen with chicks, Ga, Ghana, 1989. Wood and pigment, 7’ 6 1/2’ long
← Carved wooden caskets created by Kane Kwei and his sons of the Ga people in Ghana
← Started creating figurative coffins around 1970 intended to reflect the deceased’s life, occupation, or major accomplishments
← Has been commissioned to created everything from a cow, whale, and bird, to crops such as onions and cocoa pods to airplanes, Mercedes Benz, and a modern villa
← Coffins are not carved but rather pieced together with nails and glue
← -who do you think this coffin belonged to?
← This coffin was created for a respected woman with a huge family = chicken with her chicks
← Kwei died in 1991 but his sons still carry on this tradition
← In the past African artists were not known by name, not because rule they had to be anonymous but just often not recorded – now we known a lot more artist’s names and they are recognized and honored but still don’t bring attention to individualized style – try not to exalt having an individualized artistic personal style
TRIGO PIULA, Ta Tele Gabon, Democratic Republic of Congo, 1988. Oil on canvas, 3’ 3 3/8” X 3’ 4 3/8”
← Trigo Piula is a contemporary painter of the international school (trained in western artistic techniques and styles), from the Democratic Republic of Congo
← Fuses Western and Congolese images and objects to provide social commentary on present-day Congolese culture
← Depicts group of Congolese citizens staring transfixed at colorful pictures of life beyond Africa displayed on 14 television screens
← The TV images reference travel to exotic places such as the Eiffel Tower in Paris, as well as sports events, love, the earth seen from a satellite, and Western worldy goods
← A traditional Kongo power figure associated with warfare and divination stands in center of composition, figures feather head dress is traditionally associated with supernatural and magical powers from the sky, such as lightening and storms – perhaps here refers to the power of airborne television images
← Meaning that television messages have deadened Congolese peoples’ minds so they only think of modern thoughts and commodities
WILLIE BESTER, Homage to Steve Biko, South Africa, 1992. Oil, enamel, and mixed media, 4’ 1 5/6” X e’ 1 5/6”
← Many contemporary African artists use vibrant color and are concerned with social and political issues
← Art in South Africa tends to be depictions of issues associated with the apartheid (government sponsored racial separation)
← Homage to Steve Biko, a heroic leader of the Black Liberation movement, killed by white authorities while in detention and all involved with his death were exonerated
← Bester layers images with lots of references to death and injustice
← Biko is shown with chained fists raised in a protest gesture, surrounded by white graveyard crosses, his death is referenced in the tagged foot as if in a morgue
← Blood red and ambulance yellow colors are seen throughout; numbers in piece refer to dehumanized life under the apartheid
← Oilcan guitar (bottom center), recurrent in Bester’s work, symbolizes both the social harmony and joy provided by music
← Pretoria is a city in South Africa (Administrative Capital)
← -What colors do the artist use? What images are shown? What could be the meaning behind these things?
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