1. Africa 110-1980 C.E. Content 6 167-180

2. 167. Conical Tower and circular wall of Great Zimbabwe. Southeastern Zimbabwe. Shona peoples. c.1000-1400 CE coursed granite blocks (2 images) Form Function Themes Content Context Terms

3. 168. Great Mosque of Djenne. Mali. Founded c.1200 CE; rebuilt 1906- 1907. Adobe. (2 images). Form Function Themes Content Context Terms

4. 169. Wall plaque, from Oba’s palace. Edo peoples. Benin (Nigeria). 16 th century CE Cast brass (2 images) Met Museum Form Function Themes Content Context Terms

5. Over the course of the sixteenth and seventeenth centuries a remarkable series of some 900 rectangular brass plaques were cast in relief at the Court of Benin by a guild of brass casters for display across at the facade of the royal palace. A seventeenth century Dutch visitor to the court described the sprawling palace complex, with its many large courtyards and galleries: in the largest rooms, wooden pillars were covered from top to bottom with works depicting the array of officials at the court in great detail. In this example, the king mounting a horse is flanked by attendants rendered on a hierarchical scale that designated their relative rank. Robert Goldwater, the Museum of Primitive Art's first director, recommended the acquisition of this Benin masterpiece, from New York gallerist John J. Klejman in 1957. At the time, Klejman claimed it was "the most important plaque which ever appeared on the market." It was the first of three exceptional masterpieces from the Kingdom of Benin acquired under Goldwater’s guidance that dramatically transformed the collection. The 16th century commemorative head of an Oba, and the Queen Mother ivory pendant mask from the same period were purchased the following year. Shortly after its acquisition, the plaque was prominently featured on the cover of the MPA’s 1958 exhibition Primitive Sculpture in Metal: Bronzes from Benin and Gold from the Americas. Met Museum website

6. 170. Sika dwa kofi (Golden Stool). Ashanti peoples (south central Ghana). c.1700 CE Gold over wood and cast-gold attachments. (2 images). Form Function Themes Content Context Terms

7. 171. Ndop (portrait figure) of King Mishe miShyaang maMbul. Kuba peoples (Democratic Republic of the Congo). c.1760-1780 wood. (2 images). Brooklyn Museum Form Function Themes Content Context Terms

8. 172. Power Figure (Nkisi n’kondi). Kongo peoples (Democratic Republic of the Congo). c. late 19 th century CE Wood and metal Form Function Themes Content Context Terms

9. 173. Female (Pwo) mask. Chokwe peoples (Democratic Republic of the Congo). Late 19 th to early 20 th century CE. Wood, fiber, pigment, and metal. National Museum of African Art, Smithsonian Institution Form Function Themes Content Context Terms

10. This mask represents a beautiful young woman adorned with tattoos, earrings and an elaborate coiffure. The original Chokwe name (pwo) referred to an adult woman who had given birth. The more recent name, mwana pwo, probably adopted under European influence, emphasizes youthful, feminine beauty. The artist carved this mask with very delicate, even, thin walls from the wood Alstonia (probably congensis). The surface is a rich, reddish brown color, probably obtained from a mixture of red clay and oil, and has a beautiful patina, a sign of long use. The half-closed eyes placed in large, concave sockets are covered with white clay (kaolin). The eyes, slender nose, elliptical mouth and hemispherical ears are delicately carved on a face delineated by a softly modeled forehead and concave chin. The major components of the fiber coiffure are a braided headband and a heavy fringe at the rear. Chokwe women typically wore a hairstyle entirely coated with red earth and known as tota. The artist carved several different representations of tattoos on the mask. On the left cheek and forehead are the triangles of the tattoo known as cingelyengelye. Originally, cingelyengelye occurred as a necklace in the form of a cross, cut from tin plate and worn by the Chokwe as an amulet. During the 17th century, Capuchin monks from the Order of Christ of Portugal had distributed medals in the form of a cross throughout Chokwe country, and this cross was probably the prototype for cingelyengelye. On the right cheek of the mask is the tattoo known as cijingo, in combination with a cross. Cijingo denotes a spiral brass bracelet. On the forehead and extending to the temples is the tattoo known as mitelumuna, or "knitted eyebrows," an allusion to discontentedness or arrogance. Under the eyes are tattoos known as masoji, signifying tears. Pwo or mwana pwo is one the most popular dancing masks among the Chokwe. Because they follow matrilineal descent, the Chokwe dance pwo to honor the founding female ancestor of the lineage. A male dancer is dressed like a woman in a costume of braided fiber that completely covers his body and hides his identity. He wears a loincloth, carries a fan and moves in slow, precise steps to emulate a woman. When the mask becomes unusable, it is discarded. When a masquerader dies, the mask is buried with the dancer. Dark brown oval shaped female face mask with a broad forehead. The eyes are horizontal slits placed within large eye sockets coated with white pigment, the nose is long with pierced nostrils and the mouth is long and cut horizontally to form the lips. The back of the head is covered with a knotted, corded fiber coiffure.

11. 174. Portrait mask (Mblo). Baule peoples (Cote d’Ivoire). Early 20 th century CE Wood and pigment. (2 images). Baule Portrait Mask of Moya Yanso (ca. 1890-1973), by Owie Kimou (d. 1948) Height: 14 1/4 in (36.2 cm) Form Function Themes Content Context Terms

12. As the names of most traditional African artists did not survive, it is exceptionally rare to know the name of an artist, and rarer still to know both his and the name of the subject represented. The Kunin Mask is such an exceptionally rare case. Based on field research conducted by Susan Vogel between 1971 and 1996, the Kunin Mask was created by Owie Kimou of Kami (d. 1948) as portrait of Moya Yanso (ca. 1890 – 1973), a woman renowned throughout Kami for her ideal beauty. Vogel (loc. cit.: 137) notes: “This mask was carved around 1913 by Owie Kimou, Kami’s most celebrated artist (d. 1948) on a commission from Moya Yanso’s new husband, a famous dancer who originally wore it. The mask was later danced by Yanso’s son, Soule and later still by Ndri (ca. 1939-1995), and by his older brother, her husband’s two sons by another wife. Yanso continued to accompany the mask for many years, until she was no longer physically able. Later, her granddaughter accompanied it, in increasingly rare performances, until it was sold in the mid- 1990s.” http://www.sothebys.com/content/sothebys/fr/auctions/ecatalogue/2014/ myron-kunin-collection-african-art-n09225/lot.32.html

13. 175. Bundu Mask. Sande Society, Mende peoples (West African forests of Sierra Leone and Liberia). 19 th to 20 th century CE Wood, cloth, and fiber. (2 images). Schomburg Center for Research in Black Culture, The New York Library Form Three zones, Function Masquerade or performance called Bundu or Sowei, Life Transition, Moral Guidance Content Idealized beauty and moral goodness combined, danced by a young woman, knowledge of dance. Zone 1: neck rolls Zone 2: face (small mouth, high forehead, nearly closed eyes, scarification on cheeks (though not found on Mende people) Zone 3: complex coiffures, many elements can be added (horns, animals, Themes Gender Beauty Ritual Water Context Kept private until performed, Terms Bundu/Sowei Mende Raffia Sande

14. 176. Ikenga (shrine figure). Igbo peoples (Nigeria). c.19 th to 20 th century CE Wood. Origin: Nigeria. Material Size: Wood. Credit Line: Werner Forman Archive / Tara Collection, New York. Location: 10. Photo Credit: HIP / Art Resource, NY Image Reference: AR9177853 Image size: 2152 X 4196 px Terms Igbo Ikenga Shrine Content Male Power, Personal Large horns (often ram), right hand often holds sword, left hand often holds severed head, often seated, surfaces encrusted from, can be attended to daily with offernings Context Personal Shrine, Igbo public shrines such as Form Tall, abstracted male figure Function Igbo Personal Shrine Figure Themes Religion/Sacred Moveable Shrine Male Power

15. Among many Igbo and neighboring cultures men would establish Ikenga, shrines to the power of their right hand, either to give thanks for their success and pray for more, or as a way of resisting failure in life. Among many Igbo and neighboring cultures men would establish Ikenga, shrines to the power of their right hand, either to give thanks for their success and pray for more, or as a way of resisting failure in life. Ikenga represent individual achievement not that of the lineage or the gods. Country of Origin: Nigeria. Culture: Igbo. Date/Period: 19th-20th C.

16. 177. Lukasa (memory board). Mdudye Society, Luba peoples (Democratic Republic of the Congo). c.19 th and 20 th century CE Wood, beads, and metal. (2 images). Content Context Form Wood, beads, metal Function Divination Board Royal History Themes History Terms Luba Lukasa Mdudye Society

17. 178. Aka elephant mask. Bamileke (Cameroon, western grassfields region). c.19 th to 20 th century CE wood, woven raffia, cloth, and beads. (2 images) Met Museum Content Form Geometric beading on long, vertical fabric, large round ears, highly stylized Function Royal Power Themes Royal Power Performance of Power Men Society Context Performance Terms Aka Bamileke

18. 179. Reliquary figure (byeri). Fang peoples (southern Cameroon). c.19 th to 20 th century CE wood Brooklyn Museum Content Context Form Bilateral Symmetry, Stylized Geometric shapes, Function Guardian of ancestral bones in container Themes Death Ancestral Spirits Terms Byeri Fang Reliquary Figure

19. Artist: Master of NtemMaster of Ntem Culture: Fang (Mvai subgroup)Fang (Mvai subgroup) Medium: Wood, iron Place Made: GabonGabon Dates: mid-18th to mid-19th century Reliquary Guardian Figure (Eyema-o- Byeri) ART OF THE BODY These five artworks from throughout the African continent display the range of approaches artists have taken to figural representation. They prove that the Western tradition of naturalism— depicting the body precisely as observed in life—is not even remotely the only possibility open to an artist. The Mossi mask celebrates the female form. While it is not an exact replica of the body, the proportions are relatively balanced. The Yoruba tapper, used with a board to draw images during divinations, was carved with more exaggerated proportions, partly in order to contain it within the functional form of a tapper and the shape of the ivory from which it was carved. The Fang figure, a masterpiece by a known artist or workshop, has primarily been reduced to a series of basic shapes—cylinders and circles. The legs and hips are conceived as the intersection of two perpendicular cylinders, echoing the cylindrical reliquary box on which the figure sat. The small Nsapo-Nsapo work and the Chamba figure take the abstraction of the human form even further by greatly exaggerating the proportions. The Nsapo-Nsapo example's stretched arms and the Chamba sculpture's outsized hands suggest different emotional states for these two protective figures—a tense anxiety, perhaps, in one and a lumbering aggression in the other. Brooklyn Museum website Dimensions: 23 x 5 7/8 x 5 in. (58.4 x 14.9 x 12.7 cm)

20. 180. Veranda post of enthroned king and senior wife (Opo Ogoga). Olowe of Ise (Yoruba peoples). c.1910-1914 CE Wood and pigment. Art Institute of Chicago Form Terms Esu/Eshu Olowe of Ise Opo Ogoga Palace at Ikere Yoruba Function Architectural Sculpture Themes Royal Power Royal Family Content King seated on throne, senior wife behind, junior wife at his feet, trickster Esu playing the flute Context Was one of four carved posts by Olowe of Ise for the royal palace at Ikere

21. This veranda post is one of four sculpted for the palace at Ikere by the renowned Yoruba artist Olowe of Ise. It is considered among the artist's masterpieces for the way it embodies his unique style, including the interrelationship of figures, their exaggerated proportions, and the open space between them. While the king is the focal point, his portrayal suggests a ruler's dependence on others. The stately female figure behind the king represents his senior wife. Her large scale and pose, with hands on the king's throne, underscore her importance. She had the critical role of placing the power- invested crown on the king's head during his coronation. Moreover, the senior wife used political acumen and spiritual knowledge to protect the king's interests during his reign. The small figures at the king's feet represent a junior wife, the flute-playing trickster-god Esu, and a fan bearer, now missing. AIC website (see additional information at site)