AFRICAN ART COMPLEX to define technically all art

AFRICAN ART COMPLEX to define, technically all art made by African Artists is African art; Africans’ definition includes function. Never art for art’s sake. Once removed from context- lost meaning. Westerners look at aesthetics only. Rarely individually produced; collaborative art. Very few objects acquired prior to late 19 th century; becomes fashionable in the 20 th century CULTURAL CONTEXT: Function is clearly identifiable – may contain or symbolize power. May heal, entertain, teach, tell histories, curse, protect, or adorn bodies and architecture. Usually related to magical, social rites GENDER SPECIFIC: Varies from tribe to tribe FUNCTION: SPIRITUAL: Art is directly related to spirit world- ancestors, nature spirits, deities Masquerades honor ancestors and depict nature spirit shrines are dedicated to them figures carved as aids to communicate. POWER: emphasizes power of leaders MASKS & MASQUERADES: Considered art by Africans STYLE & PRODUCTS: sculpture, jewelry masks, weapons, textiles, body art, etc. Sculpture and relief: Often elongated, scarified, emotionless, rigid, static, combines stylization with naturalization. Often emphasizes the head or forehead INFLUENCE: Highly influential in modern world – especially Picasso and Braque’s – cubist styles and other abstract styles

Benin Art “Court Art” Founded by the son of an Ife King c 1300; apogee -c 15 th-16 th Introduced to brass gilting and ivory work by Portuguese Art - Associated with king (Oba) (divine king) Displayed during parades, processions or on ancestral altars; commissioned by king Brass heads and figures created for royal palace New Oba dedicates altar to predecessor Rectangular altars surmounted with brass heads figures, ivory tusks, bells rattle staffs Tribute to deceased and point of contact to his spirit Oba calls spirit with bells and rattles and offers sacrifices Mostly Benin heads believed to be kings; now belief is they may be prisoners Iconography – power, divinity of leader; animals, hierarchal Style – thin cases, prominent chins to 16 th C. thicker casts showing a high collar extending to the mouth, stylized, rings around neck

The earliest heads have light thin walls and a tight fitting collar that does not cover the chin. They have no beaded crown. They are more naturalized than later heads.

The next period includes heads that have necks covered with stylized coral beads often the chin is covered and the beads reach the mouth, with the addition of bead clusters to the crown. The head is far more stylized and has a wide cylindrical shape, additionally the cheeks appear swollen and eyes enlarged

In the third period, the flange is expanded and the features are further exaggerated. There are wing-like projections on the crowns which are thought to represent the ceremonial swords of the court. There also representations of beads that hang in front of the eyes.

Altar of the Hand (Ikegobo) Most Benin products used by divine king and court and given as gifts to others. Style: symmetric, hierarchal with focus on king (top and side) Personal altar – make sacrifices to their own powers of accomplishment – symbolized by hand arm Concern here: Power Animals: leopards, elephants, crocodiles (commonly Benin) represent kings of their realms

Ancestral Altar – bleached-white tusks (purity, power of animals), head-holders repel evil and show enduring power of king rattles, bells, hierarchal king Altar perpetuates image of royal power and its renewal

Akan Art – Central Ghana – forest area Asanti or Ashati Tribe (combined with coastal – Fante and Ewe and northern savannah – Gur (unknown and poorly understood). The Asante people are a hierarchical, matrilinear people who distinguish status though art. Court regalia are publicly displayed during ceremonies where the queen mother, chief, and sub-chiefs gather. Decorative Objects- put in shrines(commoners and kings) where magical materials were kept. Also known for female dolls (Akuaba), stools, statues, maternity statues, textiles, jewelry The Golden Stool is the focal point of the creation of the Akan political system. It is said to have descended from heaven to rest on the first king as a result of the prayers of the chief priest when the Asante Kingdom emerged as independent from Denkyira in the 17 th century.

20 -40 cm, stylized elongated body and enlarged circular head-disc shaped (sometimes triangular or rectangular); consecrated by priests, have power to make barren women conceive, they are carried around like a real child, after use-placed in a domestic shrine.

Akan heads and (rare) figures carried into funeral ceremonies of chiefs. They were paraded through the village and left on grave or set on shrine where libations were offered. Two styles exist: one (Fante) shows a rounded head. And a second important style (here) has a flattened face – showing a connection to the Akuaba dolls

The Golden Stool is the spiritual center of the Asante. It was said to contain the spirit of the whole of the Asante nation and that all the strength of the nation depended on the safety of the stool. The stool embodies the political unity of the Akan states and the power of the chiefs. Departed kings are represented by stools that have been blackened during a sacrificial ceremony. The blackened stool truly honors the strength and continuity of the throne.

Dan – Also known as Yacuba Western Ivory Coast and into Liberia – forests and savannah, farmers (cocoa, rice, manioc) Until 1800’s Villages autonomous with chief elected by wealth and social position – after turn of century -Secret unifying societies set up. Leopard Society today acts a regulator of life, young men initiated – 3 -4 months isolation in forest Known for entertainment festivals with maskers on stilts Dan face masks – concave face, pointed chin, protruding mouth, upturned nose, high-domed forehead, eyes set in middle of face, often with rich brown patina – variations occur Functions: varied- job oriented, entertainment

Bagle Masks – oval, concave, low forehead, tubular eyes, entertainment: wearer dances and beats musicians with stick and throws objects in their way. Deangle Mask – ridge in middle of forehead and slit eyes – sometimes covered with white kaolin worn by the intermediary who acts between the village the forest initiation camp. Dugle Mask (cow) high forehead and huge mouth resembling a beak and is worn for entertainm ent purposes. Zakpai Mask – has red cloth over eyes, It acts against bush fires during the dry season. Kaogle Mask has triangular cheek-bones and eyes and its wearer is meant to stimulate a festive mood among the audience by throwing sticks at them.

Bugle Mask Gagon Mask characterized by also worn for exaggerated mouth, entertainment dark, thick patina, purposes has stylized horns on high-domed forehead, high forehead, slit feathered coiffure. eyes, long, Wearer dances beak-like nose and makes with black trouble in order to monkey fur provoke a reaction attached under from spectators – and a long, prewar ceremonies. mobile jaw. Gunyeya Mask a racing mask has a pointed face, large circular eyes. Wearer pursued by an unmasked runner; if caught, unmasked runner wears mask and is pursued. These races trained men to fight – winners gained social recognition. Today – more a game. Dan Maou Passport Masks Mask large – sewn onto face maskers cloth and kept in with chins leather pouch issuing a long possible worn in beak, triple small of back – incised grooves miniature copies on edges of a family feared as it has mask, sometimes judiciary received function. libations –acted Denounces as witnesses spell casters during initiation ceremonies

Dan Go Ge Mask Set under an elaborate coiffure with insert talismans. Belongs to the secret Go society. It was only worn during the funeral ceremonies of important chiefs and epitomizes the elegance of Dan Masks. Its features change from one village to another but are usually large, and have an elaborated plaited coiffure.

Nok Central Nigeria – ceramic sculpture, terra cotta Earliest African Sculpture in the round 5 th Century BC Function – unknown, but probably in a ritualistic context, possibly because of spherical bases found, they served as roof finials or grave markers, or funerary urn tops Classical Style: full size figures, smooth modeling, enlarged haughty head, cast-down eyes (inverted triangles) and intricate jewelry suggesting stone beads

Variations on classical Nok Style Elongated style Katsina Classical Elongated Style: elongated face and features. Style seen to influence Rodin Katsina terracotta figures display typical globular eyes with curved lower eyelid which convey a subtle expression. They have exaggerated, elongated heads with elaborate coiffure and jewelry. Eyes similar to classical Nok.

Katsina Figure Katsina figure terracotta with globular eyes and rounded features. Elongated neck of this female figure emphasizes her head.

Sokoto figure – another variation on the Nok Classical sculpture; has overhanging heavy eyebrows that weigh over the brows. These figures tend to be cruder that the classical Nok figures and lack the detail. Their cone-shaped body indicate they may have phallic connotation

Classified as being of the “elongated style” The symbolism of the sculpture’s posture of chin on knee is unknown.

Yoruba Tribes live in area of forest and savannah Prolific artists and craftsmen and can be attributed to a specific artist – Olowe of Ise Artistic tradition traced back to AD 1000 near city of Ife in southwestern Nigeria Sculptures in stone, terra cotta, and most famously cast metal as well as wood carving – did not survive Gender specific – women: potters and weavers, men wood and metal Tools of woodcarving include adzes (primary tool), chisels, knives training – years of apprenticeships to a master artist family professions, commissions from distant towns and cities Stylistic conventions: idealized and naturalistic emphasizes most important aspects of human form; globular eyes, emphasis on head, high coiffures, complex statues on head. Function: symbolic of power and spirituality

Ibeji figures representing deceased twins. According to Yoruba belief, they influence the daily lives of family members and hence are honored with libation and prayers Style: globular eyes, idealized bodies, high coiffures brings emphasis to head.

Ceremonial Figurative Cup Divination trays are found all over Yorubaland. During divination ceremonies, Yoruba diviners cover the center of the tray with saw dust, and the diviner evokes the spirits with the help of an ivory or wooden taper and then throws sixteen palm nuts onto the tray. Their position reveals the answer to the question asked. Following the ceremony, the nuts are stored here.

Esu Dance Wand Yoruba Deities called Orisha – each has own iconography; many associated with specific colors, animals, and objects. . Key Orisha is Eshu ( Esu, Elegba or Legba) mischievous, powerful messenger liason between humans and gods No sacrifice, no matter how generous will capture attention if Eshu does not bring message from earth to spirit world Eshu is revered in shrines where staffs carved with his figure are placed on his altar or carried by dancers during annual festivals. Characterized by enlarged backward-swept coiffure, symbolizing the shape of his club and can be covered by strings of cowrie shells representing wealth and fecundity. Typically African: function important, contain of symbols of power, cultural context important

Yoruba Beaded Crowns Among the most colorful of African works of art. They were worn by the king and his courtiers or given as gifts to important visitors

Olowe of Ise Elongated, angular, and dynamic characteristics of Olowe of Ise art are shown in this complex veranda post. Equestrian motif (also found in Mali) shows the status attached to the ownership of horses.

Epa Mask This Epa mask has most of the characteristics of Yoruba art – emphasized face, globular eyes, high coiffure and a complex statue on top of its head. When not worn by dancers during ceremonies related to rites of passage, the mask was reverentially kept and honored with libations.

Kongo represents those who occupy region at the mouth of the Congo River – vast cultural complex. Diverse artistically Religious pantheon small. One all-powerful god who gives healing power to leaders Funerary Figures: Wood Statues: Maternity figures: Nail Fetish Figures: People seek in crisis to obtain spirits protection by driving nails into its carved wooden likeness and shouting at it. Other powerful substances like root may be attached to the figure. To guard against misuse a mirror is affixed to the figures to reflect back the evil intent.

Funerary Art – decorated steles, funerary statues – aid the spirits of the dead to join the world of the deceased. Postures vary – but very often the depict the chief seated cross-legged in a posture of reflection. Some of these were placed on tombs to aid the spirits of the dead to join the world of the deceased.

Wood sculptures represent royal wives, hunters, musicians, and healers. Again, postures vary: sometimes they kneel in a position of respect, the head slightly backwards; women might be depicted seated with a child. Cheeks are round, face carefully rendered as realistic. Smooth patina and scarified bust. These were used to ward off danger to mothers during delivery and to protect the health of the child

Maternity statues – effectiveness depends on the dignity of the figure and its youth (shown by firm breasts) and the jewelry.

Nail Fetish figures – Nkisi (medicine)

Nail and mirror fetishes existed as either public and private. Some had vital democratizing roles, giving rural residents and individuals outside the court some power. At most basic it contains medicines – blood, animal, vegetable and mineral matter –in cavities in the stomach, head or back. Fetish figures have power to provide contact with spirits. Four types: Nkonda – fetishes of ill omen (brandish weapons) Npezo – evil, less menacing Moganga are benevolent figures, protect against sickness and dangerous spirits –helping the hunter and warrior Mbula – protect against witchcraft

Kongo Nail Fetish In order stimulate and obtain a spirit’s protection. Kongo people hammer nails into its wooden representation and shout at it. The contrast between the delicate treatment of the face and the roughness of the nails is striking.

Djenne style terracotta statues are attributed to the Mali Empire. Style: Naturalistic rounded features and facial scarification, bulbous eyes; some have elongated features (Bankoni style); sometimes rectilinear appearance. Wood and terracotta statues Themes: kneeling and seated figures, equestrian figures displaying large arrays of weapons, standing figures engaged in daily activities, and maternity figures. Establish social roles Function: Unclear, although some are covered with; red slip – associated with death, possible ceremonial purpose

Djenne figures – terra cotta 12 th – 15 th century Two riders, one on a horse and one a buffalo, rare and of exceptional quality; great prestige is attached to the rider; beard means status, buffalo rider holds a boy – probably a warrior.

Djenne Archetype Kneeling figure is an archetype of Djenne art. Its hieratic posture and the attention to detail indicated a refined civilization

BANKONI The elongated features of these two terracotta figures are characteristic of the Bankoni style. Jewelry indicates possible noblewoman

Djennenke Figure This wooden Djenneke wooden figure has a typical loincloth and rectangular temple scarification found on Djenne terracotta figures. Its encrusted patina testifies to numerous libations and offerings which suggest a ritual function.

Do you know your African art?

Yoruban Dance Wand

Classical Nok Figure

Early Benin Head

Konga Maternity Statue

Late Benin Relief

Akan stool from Asante

Konga Nail Fetish Figure

Dan Kagle Mask

Djenne Equestrian Statue from Mali

Akan Akuaba Figure