1. African Art Masterworks from the Indiana University Art Museum
Text provided in notes section below each image.
Created by Hilary Cannon Anderson
Spring Semester 2009
under the supervision of the
Education Department of the Indiana University Art Museum

2. The images in this PowerPoint are for educational purposes only and are protected by copyright laws.
The museum provides free electronic image files of many of its 45,000 objects.
Request an Image:
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Please your request to Heather Hales, Office Assistant Registrar, Rights and Reproductions,
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Upon completion of the project, the requester will provide the museum with two complimentary copies of the publication.

3. Map of African Nations Map of African Nations
This map shows current political boundaries, most of which were established by European colonial governments without regard for African ethnic groups and their regions.
Physical map of Africa:
Map of African Nations

4. Map comparing area of the country the United States of America to the area of the continent of Africa
Africa is a continent consisting of 54 countries. The continent of Africa is about four times as large as the 48 contiguous United States.

5. Map of Vegetation of Africa
This map illustrates the several different ecosystems of the African continent. In addition to influencing people’s clothing, housing, and food supply, ecosystems affect the materials available to create art and help formulate a cultures’ mythology.

6. Art of Ethnic Groups of Western Africa
Mali
Art of Ethnic Groups of Western Africa
Bamana
Bukina Faso
Montol
Owo
Map of the Art of Ethnic Groups of Western Africa
Both political boundaries and ethnic regions are shown on this map. Lines connect thumbnail images of western African works to the ethnic regions where they were created.
Dan
Edo
Ijo
Côte d’Ivoire
Nigeria

7. Male Figure, Dogon peoples, Mali, 16th Century (. ), Wood, H. 44 in
Male Figure, Dogon peoples, Mali, 16th Century (?), Wood, H. 44 in. (111.8 cm), Raymond and Laura Wielgus Collection,

8. What do you think this person is doing?
Describe the person’s expression.
What decorations does the figure have?
What do you think this piece is made of? Why?
Male Figure, Dogon peoples, Mali, 16th Century (?), Wood, H. 44 in. (111.8 cm), Raymond and Laura Wielgus Collection,

9. 44” tall (taller than many Dogon figures)
Male Figure:
44” tall (taller than many Dogon figures)
Likely housed in a family or community shrine
Likely elder Dogon priest due to:
Beard
Scarification patterns from Dogon region
Belt worn
Bracelets
Arms raised in prayer, especially for rain critical for successful grain harvest
Male Figure, Dogon peoples, Mali
Figures were used in shrines found in family compounds or outside of villages. They were carved to honor ancestors and were used to request rain for crops as well as for aid in personal growth and strength. The figure’s beard indicates the figure is an elder, a position of power and respect due to their knowledge and wisdom and their strong connection to the world of ancestors and other spirits. The carved patterns on the figure’s torso and face are likely scarification patterns. Scarification involves cutting the skin and adding an irritant so that scars result. Creating specific patterns without serious infection requires skill and training. This figure also wears the belt traditionally worn by Dogon priests. The rings around the figure’s wrists probably represent the iron bracelets worn by priests and political leaders. The combination of scarification patterns, beard, belt, and bracelets suggest this figure is most likely an elder Dogon priest with arms raised in prayer, perhaps requesting the rain critical for a grain harvest.
Male Figure, Dogon peoples, Mali, 16th Century (?), Wood, H. 44 in. (111.8 cm), Raymond and Laura Wielgus Collection,

10. Antelope Headdress (Ci Wara), Bamana peoples, Mali, Wood, metal, H
Antelope Headdress (Ci Wara), Bamana peoples, Mali, Wood, metal, H. 26 in. (91.4 cm), Gift of Frederick Stafford, 60.10

11. What animal does this headdress represent?
How can you identify the animal?
Describe what lines and shapes you see in this works.
What adjectives would you use to describe this headdress?
Antelope Headdress (Ci Wara), Bamana peoples, Mali, Wood, metal, H. 26 in. (91.4 cm), Gift of Frederick Stafford,

12. Antelope Headdresses (Ci Wara):
Ci wara represent mythical creature that showed humans how to farm
Worn on top of the head by a dancer wearing raffia costume
Headdresses appear in pairs:
One male with intricate mane
(shown)
One female with baby on back
(not shown)
Dance performed to remind community of good spiritual and technical practices necessary for successful farming or as secular entertainment
Carved of light-weight wood by blacksmiths
Antelope Headdress (Ci Wara), Bamana peoples, Mali
Ci wara is a mythical antelope creature that is half-human half-animal who originally showed humans how to plant seeds by scraping the ground with its hoof. Annual celebrations are held to honor ci wara. Celebrations include masquerade, the wearing or displaying of masks usually with costume and accompanied by music and/or sound plus dance and/or movement.
Ci wara headdresses are worn on top of the head by a dancer wearing a costume of long raffia (dry grasses) that may cover the entire body. The dancer uses two sticks to scrape the ground much like the original ci wara scraped the ground to show humans how to plant seed. There are two contexts in which the dance is performed:
when the men’s ci wara association reminds community members of the spiritual and technical practices necessary for successful farming
when the Bamana Youth Association (unmarried young men and women) provide entertainment to the community.
The antelope headdresses always appear in pairs: one male with an intricate mane and one female with a baby on its back. They are carved from a very light-weight wood by specialist carvers of blacksmith clans. The region where a ci wara headdress was created may be discerned by its particular style.
Antelope Headdress (Ci Wara), Bamana peoples, Mali, Wood, metal, H. 26 in. (91.4 cm), Gift of Frederick Stafford,

13. Dancer with female ci wara headdress
Single ci wara dancer:
Two ci wara dancers:
Dancer with female ci wara headdress
Male and Female ci wara headdresses

14. Mask (Karanga), Mossi peoples, Burkina Faso, , Wood, pigment, fiber, H. 70 in. (177.8 cm), Gift of Rita and John Grunwald,

15. What materials has the artist used?
How tall is this mask?
What materials has the artist used?
How could the weight of the material it is made of affect how it is worn?
How do you think this mask is worn?
Describe the patterns on the mask.
Mask (Karanga), Mossi peoples, Burkina Faso, , Wood, pigment, fiber, H. 70 in. (177.8 cm), Gift of Rita and John Grunwald,

16. Karanga (masks of the Mossi people):
Nature spirits and ancestors honored
Made of light, soft wood
Geometric carvings indicate region of origin
Held in place by cloth cap attached to back of mask and by stick clenched in teeth
Worn and danced with costume that includes a fiber skirt and rattles (see next slide)
Mask (Karanga), Mossi peoples, Burkina Faso
This type of mask of the Mossi peoples is called a Karanga. These masks honor nature spirits and ancestors, the focus of Mossi religious practices. Masks belong to a clan. Clan elders select young men to wear and dance with them. Karanga are used:
To accompany the body of members of important families to the grave
During the annual funerary celebrations
To ensure ancestors’ blessings during annual rites
To request assistance of nature spirits and ancestors at times of drought and poor crops
As portable altars to receive sacrifices and to ensure ancestral blessings by functioning
The karanga are made of light, soft wood which is soaked in swamp or river water before carving to drown any bugs. Specific geometric carving indicates specific regional designs. After carving, masks are enhanced with white, red, and black pigment. A cloth cap is attached to holes behind the upper face portion of the mask to help hold it in place. A stick is placed through the holes near the mouth on either side of this portion of the mask. The wearer then clamps the stick with his teeth to help him balance the tall plank that looms overhead. The karanga is worn with a costume of pants, shirt, and fiber-fringed skirt with rattles that rustle as the wearer moves and dances.
As with Ci wara headdresses blacksmiths are traditional Mossi mask sculptors.
Mask (Karanga), Mossi peoples, Burkina Faso, , Wood, pigment, fiber, H. 70 in. (177.8 cm), Gift of Rita and John Grunwald,

17. Karanga masks in use at Mossi funerals
Mask worn, next to man in red (left):
Two masks in use at a funeral (top right):
Mask in use at a funeral (bottom right):

18. Feast Ladle (Wunkirmian or Wakemia), Dan peoples, Liberia/Côte d’Ivoire, Wood, H. 20 in. (52.1 cm),

19. What does this look like?
What body parts are represented? Which are not?
For what might this be used?
Who might own this kind of object?
What characteristics could this symbolize?
Feast Ladle (Wunkirmian or Wakemia), Dan peoples, Liberia/Côte d’Ivoire, Wood, H. 20 in. (52.1 cm),

20. Feast Ladle (Wunkirmian or Wakemia):
Symbol of generosity, prosperity, and labor
Owned by a woman considered most hospitable in her community
Owner responsible for hosting visiting musicians and performers, setting up, and preparing food for community events
Feet and legs represent visitors arriving on foot
Leg bracelets perhaps symbolize owners wealth
Feast Ladle (Wunkirmian or Wakemia), Dan peoples, Liberia/Côte d’Ivoire
The carved ladle is an emblem of honor, the embodiment of spiritual power, and a symbol of generosity and prosperity. The feast ladle is owned by the woman considered most hospitable in her community. The woman who receives the ladle dreamt of being accepted by it beforehand. Receiving the feast ladle from the previous owner is public confirmation of a woman’s hard work, generosity, and excellent farming and organizational skills. The owner is responsible for hosting itinerate (travelling) musicians and performers, setting up and preparing food for community events, and generously offering coins, peanuts, rice, candy, or treats during specific ladle processions through town. Communities compete to have the most generous ladle owner.
The ladle’s feet and legs are thought to represent the visitors who usually arrive on foot. In Dan society, husbands give their wives pairs of leg bracelets as indicators of wealth. The ankle bracelets here may refer to the owner’s wealth and/or may just add beauty.
Feast Ladle (Wunkirmian or Wakemia), Dan peoples, Liberia/Côte d’Ivoire, Wood, H. 20 in. (52.1 cm),

21. Mask (Goli Kpan), Baule peoples, Côte d’Ivoire, Early 20th Century, Wood, pigment, H. 19 7/8 in. (50.4 cm),

22. What do you notice about this mask? What is on the bottom of the mask?
What do you think the hairstyle and facial markings mean?
What expression or action is portrayed?
What do you think the mask is made of? Why?
What adjectives would you use to describe this mask?
Mask (Goli Kpan), Baule peoples, Côte d’Ivoire, Early 20th Century, Wood, pigment, H. 19 7/8 in. (50.4 cm),

23. Appears last in series of four male/female pairs of goli masqueraders
Mask (Goli Kpan):
Appears last in series of four male/female pairs of goli masqueraders
Wrapped beard indicates the “male” aspect of this female mask
This mask represents the highest status to the Baule peoples
Worn with costume of raffia (long grasses) and rattles (see next slide)
Scarification and fancy hairdo are signs of Baule beauty
Mask (Goli Kpan), Baule peoples, Côte d’Ivoire
Goli Kpan is one mask in a series of four male and female mask partners used in an important masquerade by the Baule peoples. This mask and its partner would appear last in the sequence of masks, a place of high honor. Both masks are considered female, though this particular mask has a wrapped beard, an element of the masculine. It complements it beardless, but also female partner. As the highest ranking goli mask, the kpan are only worn at important events, and the accompanying dance is slow and stately, appropriate to the dignity and honor that the mask’s status commands. Although goli masks are only worn by men, they are viewed by the entire community.
The scarification and hairdos of Kpan masks are considered signs of beauty and civilization. The dancer wears a netted shirt and pants with ankle and wrist fringe, a raffia skirt, and ankle rattles, all of which add sound to their dancing. The mask is held in place by a animal skin cap attached to the back and raffia which hangs down the wearer’s back like a cape. The wearer also stabilizes the mask by biting a stick that is placed through holes on the lower sides of the mask.
Mask (Goli Kpan), Baule peoples, Côte d’Ivoire, Early 20th Century, Wood, pigment, H. 19 7/8 in. (50.4 cm),

24. Dancer wearing Goli kpan mask and costume
Black and white:
Dancer wearing Goli kpan mask and costume

25. Staff for Esu/Elegba Cult (Ogo Elegba), Yoruba peoples (Oyo subgroup), Nigeria, Before 1930s (?), Wood, leather, cowrie shells, brass, bone, iron, H. 19 ¼ in. (50.7 cm), Raymond and Laura Wielgus Collection,

26. What is the figure holding?
How tall is this object?
List three materials of which the figure is made. What can we tell about the Yoruba considering the materials used?
What is the figure holding?
How might this object be used? What makes you think so?
Staff for Esu/Elegba Cult (Ogo Elegba), Yoruba peoples (Oyo subgroup), Nigeria, Before 1930s (?), Wood, leather, cowrie shells, brass, bone, iron, H. 19 ¼ in. (50.7 cm), Raymond and Laura Wielgus Collection,

27. Staff for Esu/Elegba Cult (Ogo Elegba): This piece is 19 ¼” tall
Esu is a deity of contrasts creating confusion and disorder while offering a way to find harmony and balance
Esu’s hairdo shows loyalty
Bumps in hair are containers for herbal medicines suggesting Esu’s supernatural power
Whistle shows Esu’s disregard for social norms
During celebration for Esu staff worn over right shoulder while doing exuberant, high- kicking dance
Staff for Esu/Elegba Cult (Ogo Elegba), Yoruba peoples (Oyo subgroup), Nigeria
Esu is one of hundreds of Yoruba deities. He is a deity of contrasts and contradictions and an intermediary between gods and people. Creating confusion and disorder, while offering a way to find balance and harmony, he stirs things up and then encourages people to make amends. The black carving and white cowrie shells signify Esu’s contrasts. The long hairdo matches that of his priests and refers to the loyalty, vanity, and sexuality Esu showed by shaving all but a tuft of his hair upon hearing of a friend’s death. The bumps along the hairdo refer to the calabashes (gourds used commonly as containers, utensils, or pipes), which hold herbal medicines that refer to his supernatural power.
During celebrations Esu staffs are removed from shrines and worn hooked over the right shoulder of a man while he dances with unusually high kicking and exuberance. During the celebration, a whistle is blown, much like the one Esu holds beneath his cape of cowrie shells. Whistling is further evidence of Esu’s unruly nature. Children are forbidden to whistle in fear of provoking evil spirits. Whistling also has sexual associations and is banned from palaces and other places of respect. Esu dances wildly and whistles happily, disregarding social norms.
Staff for Esu/Elegba Cult (Ogo Elegba), Yoruba peoples (Oyo subgroup), Nigeria, Before 1930s (?), Wood, leather, cowrie shells, brass, bone, iron, H. 19 ¼ in. (50.7 cm), Raymond and Laura Wielgus Collection,

28. Box, Yoruba peoples (Owo subgroup), Nigeria, 18th or 19th century, Ivory, L. 6 ½ in. (16.5 cm),

29. Describe the carvings on the box.
How big is this box?
What do you think the box is made out of? How could the material it is made of affect its size?
Describe the carvings on the box.
Which figure do think is most important? Why?
What might have been the original use for the box? How might the carvings be connected to the box’s use?
Box, Yoruba peoples (Owo subgroup), Nigeria, 18th or 19th century, Ivory, L. 6 ½ in. (16.5 cm),

30. Two figures on left probably in combat
Box:
Width follows the shape of the ivory tusk from which box is carved, 6 ½” long
Two figures on left probably in combat
Single figure on right probably King of Owo
Interlaced band and leopard spots on top refer to royalty, leadership, and authority
May have been owned by king or given by king as a gift
May have been used to store small gifts, personal belongings, or deity offerings
Box, Yoruba peoples (Owo subgroup), Nigeria
This box may have been owned by an Owo king or one of his family members or given by the king as a gift. It may have been used to hold small gifts, store personal belongings, or hold the king’s offerings to a deity.
The width of this 6 ½” long box tapers to match the tusk from which it was carved. The holes drilled in the box lid create a pattern of light and dark, and recalls the stpots of a leopard, an animal representing leadership and authority. The interlaced band across the center of the lid is a motif associated with royalty. The set of figures, one holding a club and wearing a sheathed sword, and the other holding an unsheathed sword, appear to be engaged in combat. The single figure fills the wider side of the lid. The headdress, band of coral beads, and sword probably indicate that this figure is the king of Owo.
The bottom and sides of the box are decorated with incised geometric patterns. This elaborate carving would have increased the value of the ivory. Carved ivory objects reflected wealth and prestige, and were often reserved for political leaders, elders of the men’s association known as Ogboni, and divination priests.
Box, Yoruba peoples (Owo subgroup), Nigeria, 18th or 19th century, Ivory, L. 6 ½ in. (16.5 cm),

31. Commemorative Head of an Oba, Edo peoples, Kingdom of Benin, Nigeria, Middle Period, , Brass, H. 11 ½ in. (29.2 cm),

32. How would you describe this person?
What might be around the person’s neck?
What is on the person’s head?
Describe the person’s expression.
What material is used to make this piece?
Commemorative Head of an Oba, Edo peoples, Kingdom of Benin, Nigeria, Middle Period, , Brass, H. 11 ½ in. (29.2 cm),

33. Commemorative Head of an Oba:
Made in 17th century when European trade increased the availability of brass
Commissioned by a new oba (king) to commemorate his predecessor
Honors specific king by depicting position and status, not a physical likeness
Indicators of king:
beaded crown
necklace
string of beads hanging from cap
large clusters of beads on hair
Created using lost-wax method
Carved altar tusk placed in hole on top (see next slide)
Commemorative Head of an Oba, Edo peoples, Kingdom of Benin, Nigeria
One of the first tasks of a new oba (or king) was to commission a commemorative head of his predecessor. The altar upon which the head was placed determined the specific oba the head commemorated. A large carved ivory tusk was placed in the hole at the top of the head.
Commemorative heads were first created as trade with Europe increased the availability of brass, a precious material reserved for kings. The brass glowed a lovely red when polished, it. The three scarification lines above the eyes indicate the person is a male. Commemorative heads depict position and status, and not Individual physical features. The beaded crown, stacked necklaces, and string beads hanging from the cap, indicate that a king or oba is portrayed. In addition the king’s face has stylized features that give the appearance of holding absolute authority while being unaffected by the daily activities, concerns, and tribulations.
Commemorative heads were made by the brass workers’ guild who worked exclusively for the oba. They were created using lost-wax casting. (Lost-wax casting- an exact beeswax model was created over a solid clay core. A layer of fine, smooth clay covered the beeswax model and was allowed to dry. Molten brass was poured between the layers of clay replacing the beeswax. Once the brass cooled, the external and internal clay was removed. The brass was cleaned, filed, and polished.)
Commemorative Head of an Oba, Edo peoples, Kingdom of Benin, Nigeria, Middle Period, , Brass, H. 11 ½ in. (29.2 cm),

34. Oba altar tusk Oba ancestral altar
Oba ancestral altar, commemorative heads of Oba with altar tusks in the holes on top:
Oba altar tusk:
Oba ancestral altar

35. Shrine (Ikenga), Igbo people, Anambra Valley, Nigeria, First half of the 20th century, Wood, pigment, H. 24 in. (61 cm),

36. What is on this figure’s head? What do you notice about all the eyes?
What do you notice about mouths?
What is the figure holding? What meaning might they have?
What might the figure’s posture tell us?
Who might this figure be?
How big do you think the piece is?
What might its size indicate about its use?
Shrine (Ikenga), Igbo people, Anambra Valley, Nigeria, First half of the 20th century, Wood, pigment, H. 24 in. (61 cm),

37. The word Ikenga means shrine
Shrine (Ikenga):
The word Ikenga means shrine
This elaborate Ikenga belonged to an older, successful man
Indicators of high status:
Iron staff in right hand
Ivory tusk in left hand
Forehead scarification marks
Three legged stool
Horns, snakes, and leopard
Younger men have simpler, while families have larger ikenga
Shrine (Ikenga), Igbo people, Anambra Valley, Nigeria
Ikenga means “shrine” and is a symbol an individual man’s drive for success. The Igbo believe that a person’s destiny is determined before birth, but personal characteristics are earned in part through interaction and competition. Carved from a single piece of wood, this ikenga is so elaborate that is must have been owned by an older, high-ranking member of Ozo, an Igbo men’s society.
The iron staff depicted in the right hand, the ivory tusk dedpicted in the left hand, the forehead scarification marks, and the three-legged stool all belong to men of distinction in Igbo society. The curved horns refer to masculine power, authority, and determination; snakes are messengers between the physical and spiritual realms; and the leopard, the animal depicted on the top of the shrine, represents the political power of a high-ranking Ozo.
Shrine (Ikenga), Igbo people, Anambra Valley, Nigeria, First half of the 20th century, Wood, pigment, H. 24 in. (61 cm),

38. Hippopotamus Mask (Otobo), Ijo peoples, (Kalabari subgroup), Degema area, Nigeria, Collected ca. 1916, Wood, metal, incrustation, pigment, H. 18 ½ in. (47 cm), Raymond and Laura Wielgus in honor of Rudy Professor Emeritus Roy Sieber,

39. What does this mask look like?
What animal might have tusks like these?
What shapes are found in the mask?
Describe the symmetry found in this work.
Why might the artist have placed the loops on the sides and top of this mask?
Hippopotamus Mask (Otobo), Ijo peoples, (Kalabari subgroup), Degema area, Nigeria, Collected ca. 1916, Wood, metal, incrustation, pigment, H. 18 ½ in. (47 cm), Raymond and Laura Wielgus in honor of Rudy Professor Emeritus Roy Sieber,

40. Hippopotamus Mask (Otobo): Otobo means “hippopotamus”
Displays human and hippopotamus characteristics
Otobo is danced as part of a 50 play cycle performed over 23 years
Mask is worn on top of dancers head facing the sky
The wearer dances in the aggressive unpredictable manner of a hippo
Spectacular dancers bring honor to the organizations of family members they represent
Hippopotamus Mask (Otobo), Ijo peoples, (Kalabari subgroup), Degema area, Nigeria
This mask is called Otobo, which means “hippopotamus.” These masks have the solid form, tusk-like canines and gray-brown coloring of a hippo. Otobo combines human and hippo features, reflecting the Kalabari belief that spirits have human and animal characteristics. The otobo performance is part of a 23-year cycle of up to fifty plays. The plots of these plays encourage viewers to consider daily life from different perspectives. Each character in a play has its own mask, costume, dance steps, and accompanying music. The otobo appears near the beginning of the cycle and again at the end when all dancers reappear.
The otobo masquerader (masquerader=dancer wearing a mask and costume) moves in the aggressive and unpredictable manner of a hippo. The dance honors the spirits responsible for inventing masks and ensuring the Ijo food supply and fertility. The masquerade is performed by members of the Ekine Society which is named for Ekineba, the woman who first saw the water spirits dancing and taught this dance, with its accompanying song and drumming, to her people. Powerful communities called “canoe houses” own the masks. Canoe houses are lineage-based (lineage-based= based on family of birth) economic units organized around families of relatives. Spectacular dancers bring prestige to their “canoe house” and relatives.
Hippopotamus Mask (Otobo), Ijo peoples, (Kalabari subgroup), Degema area, Nigeria, Collected ca. 1916, Wood, metal, incrustation, pigment, H. 18 ½ in. (47 cm), Raymond and Laura Wielgus in honor of Rudy Professor Emeritus Roy Sieber,

41. Female Figure, Montol peoples, Nigeria, ca. 1950, Wood, pigment, H
Female Figure, Montol peoples, Nigeria, ca. 1950, Wood, pigment, H. 15 in. (38.1 cm), Gift of Raymond and Laura Wielgus Collection, needs acquisition number.

42. What is the figure doing? What makes you think so?
What adjectives describe the physical appearance of figure?
What emotions does the figure communicate?
Female Figure, Montol peoples, Nigeria, ca. 1950, Wood, pigment, H. 15 in. (38.1 cm), Gift of Raymond and Laura Wielgus Collection, needs acquisition number.

43. Carved then covered with red-orange pigment Montol style:
Female Figure:
Carved then covered with red-orange pigment
Montol style:
Standing position
Simple features
Columnar body with broad shoulders
Minimally carved fingers
Likely used by men’s organization for healing
Female Figure, Montol peoples, Nigeria
This female figure was carved and then covered with a red-orange pigment. The standing position, simplified features, columnar torso (body in column shape), broad shoulders, minimally carved fingers, and arm position are all typical of Montol figures. Although there is an identifiable Montol style, there is also enough variation to indicate the personal style of individual carvers; in African carving, it is common for artists to develop variations on traditional forms.
Although the raised head, arched back, and position of the arms give the figure a pleading look, the function of this figure is unclear. In neighboring areas similar figures are used by men’s associations that focus on herbal medicines and healing. Often paired with male figures, female figures are likely used in connection with healing practices.
Female Figure, Montol peoples, Nigeria, ca. 1950, Wood, pigment, H. 15 in. (38.1 cm), Gift of Raymond and Laura Wielgus Collection, needs acquisition number.

44. Art of Ethnic Groups of Central Africa
Cameroon
Art of Ethnic Groups of Central Africa
Democratic Republic of the Congo
Kom
Bembe
Gabon
Punu
Map of the Art of Ethnic Groups of Central Africa
Both political boundaries and ethnic regions are shown on this map. Lines connect thumbnail images of the central African artworks to the ethnic regions where they were created.
Pende
Luluwa

45. Prestige Hat, Grasslands, Cameroon, 20th century, Cotton fiber, wood, Diam. 7 ¾ in. (19.7 cm), Gift of Budd Stalnaker in honor of William and Diane Itter,
Headdress, Grasslands, Cameroon, 20th century, Feathers, fiber, Diam. 26 in. (66 cm), Gift of Budd Stalnaker

46. What materials did the artist use?
Describe the texture and patterns found on the hat.
What mood does this hat create?
How do the colors of this hat compare to its neighbor?
What materials did the artist use?
Describe the texture of the hat.
What mood does this hat create?
What elements of the hats might indicate the wearer’s social status?
Prestige Hat, Grasslands, Cameroon, 20th century, Cotton fiber, wood, Diam. 7 ¾ in. (19.7 cm), Gift of Budd Stalnaker in honor of William and Diane Itter,
Headdress, Grasslands, Cameroon, 20th century, Feathers, fiber, Diam. 26 in. (66 cm), Gift of Budd Stalnaker

47. Prestige Hat and Headdress:
Free men in Cameroon were expected to wear hats
Ornamentation can indicate status and position
Hats made with materials controlled by the king indicate favor
Decorations used in these hats: Colorful stripes, burls (small 3D looped extensions, stiffened with pieces of wood), feathers
Other common decorations: Embroidered patterns, appliquéd patterns, beads, seeds, quills, elephant tail hair, coins
Prestige Hat, Grasslands, Cameroon
Headdress, Grasslands, Cameroon
In response to the expectation that free men in Cameroon cover their heads, a huge variety of daily and ceremonial headgear have been created. The amount of ornamentation (ornamentation = embellishment, decoration) can indicate the status and position of a wearer. Common decorations include: colorful stripes, embroidered and appliquéd patterns, beads, seeds, quills, elephant tail hair, and coins. Another popular decoration are burls of fiber that project from the surface. Sometimes burls are arranged to look like hairdos while other times they simply create texture and add color. The value and rarity of ornamentation materials increases the value and status of a hat. In particular, hats made with materials controlled by the king indicate his favor and the wearer’s position in the hierarchy of the kingdom.
It is difficult to match hat styles to specific locations since hat makers travel around Cameroon and trade and gift-giving of hats are common.
Prestige Hat, Grasslands, Cameroon, 20th century, Cotton fiber, wood, Diam. 7 ¾ in. (19.7 cm), Gift of Budd Stalnaker in honor of William and Diane Itter,
Headdress, Grasslands, Cameroon, 20th century, Feathers, fiber, Diam. 26 in. (66 cm), Gift of Budd Stalnaker

48. Bowl Figure, Kom Kingdom, Cameroon, Early 20th century, Wood, glass beads, fiber, iron, raffia cloth, H. 36 in. (91.4 cm),
Objects from the treasury of the fon of Kom in Laikom, Cameroon. The IU Art Musuem’s Bowl Figure is third from the left. Photo by Gilbert Schneider, courtesy of Evan Schneider.

49. What is the figure holding? What might the bowl be intended to hold?
What materials cover the figure?
What do you notice about the figure’s body proportions?
What social or occupational position might this figure represent? What indicators are there?
Where is the figure in the above photo?
Bowl Figure, Kom Kingdom, Cameroon, Early 20th century, Wood, glass beads, fiber, iron, raffia cloth, H. 36 in. (91.4 cm),
Objects from the treasury of the fon of Kom in Laikom, Cameroon. The IU Art Musuem’s Bowl Figure is third from the left. Photo by Gilbert Schneider, courtesy of Evan Schneider.

50. This bowl figure was part of the king’s treasury
The figure holds a king’s wooden bowl
Figure and bowl covered with imported glass beads, a prestigious material acquired through trade
Knobs on head indicate a prestigious hat
White bands on wrists and ankles indicate jewelry
Bowl Figure, Kom Kingdom, Cameroon
Objects from the treasury of the fon of Kom in Laikom, Cameroon. (The IU Art Musuem’s Bowl Figure is third from the left.)
Traditionally, much Cameroon art was tied to the king and signified rank, prestige, and wealth as well as having spiritual and ritual functions. This bowl figure holds a bowl like the bowl the king filled with kola nuts or palm wine as a sign of hospitality to guests. The figure was originally part of a king’s treasury so it is elaborately carved and decorated.
This figure is almost entirely covered with glass beads. Glass beads were imported from Italy, Bohemia (modern Czech Republic), and the Netherlands. The blue cylindrical beads, like those used on this piece, were especially prized. Beads were sewn onto a cloth which was then sewn tightly to cloth affixed to the sculpture. This technique allows for more elaborate patterns to be created and allowed for removal and reused should the sculpture be damaged. Additional decorations on this figure include knobs on the head which indicate prestigious hat and white bands of jewelry on the figure’s wrists and ankles.
Bowl Figure, Kom Kingdom, Cameroon, Early 20th century, Wood, glass beads, fiber, iron, raffia cloth, H. 36 in. (91.4 cm),
Objects from the treasury of the fon of Kom in Laikom, Cameroon. The IU Art Musuem’s Bowl Figure is third from the left. Photo by Gilbert Schneider, courtesy of Evan Schneider.

51. Reliquary Figure (Eyema Bieri), Fang peoples, Gabon, 19th or early 20th century, Wood, wicker, H. 17 ¼ in. (43.9 cm),

52. On what is the figure sitting?
What is the figure doing with its hands?
What do you notice about the figure’s body proportions?
Describe the figure’s expression.
Describe the decorative elements seen on this figure.
Reliquary Figure (Eyema Bieri), Fang peoples, Gabon, 19th or early 20th century, Wood, wicker, H. 17 ¼ in. (43.9 cm),

53. Stored in family shrines to protect relics
Reliquary Figures:
Figure is attached to a 5” shaft which was placed in a hole on top of a container holding relics
Stored in family shrines to protect relics
Occasionally used during initiation and other ritual ceremonies
Figure could be viewed by women and children, but they could not view the relics themselves
Figure’s infant-like proportion contrast with adult muscle tone
Reliquary Figure (Eyema Bieri), Fang peoples, Gabon
Reliquary figures were used by the cult of the dead in ceremonies where people sought guidance and assistance from ancestors’ spirits in living successful lives. (A reliquary is an object used to house relics. Relics are bones, clothing, or other belonging of an important deceased person.) Fang peoples placed this figure on top of a container holding relics such as the skull, arm, leg, or backbone of an ancestor. The figure is a reminder, though not a physical portrait, of the founder of the family lineage. Stored primarily in the family shrine where it protects the relics from harm, the figure was occasionally used during initiation and other ritual ceremonies. While women and children are allowed to view the reliquary figure, the cult of the dead is run by men and only they are allowed to view the relics.
The Fang believe that opposition and contradiction are basic to life. This figure contrasts a tense body with an expressionless face, body proportions of an infant contrast with adult muscle tone. In addition, there are style differences between the northern and southern Fang regions. This figure features elements characteristic of the southern region: rounded forms, similar-sized head and body, and a black lustrous surface from rubbing with resin and palm oil. The position of the figure’s hands look as if they hold something, most likely an offering to an ancestor.
Reliquary Figure (Eyema Bieri), Fang peoples, Gabon, 19th or early 20th century, Wood, wicker, H. 17 ¼ in. (43.9 cm),

54. Musical Instrument, Punu or Lumbo peoples (
Musical Instrument, Punu or Lumbo peoples (?), Ngounié River area, Gabon, 19th or early 20th century, Wood, fiber, pigment, H. 26 in. (66.6 cm),

55. What do you think this object is? Why? How many strings are there?
How might this instrument be played?
How it is decorated?
Describe the face.
Musical Instrument, Punu or Lumbo peoples (?), Ngounié River area, Gabon, 19th or early 20th century, Wood, fiber, pigment, H. 26 in. (66.6 cm),

56. Decorated with head symbolizing idealized female beauty:
Musical Instrument:
African bow lute
May have been played at ceremonies of societies interested in healing and secret spiritual learning
Decorated with head symbolizing idealized female beauty:
Rounded forehead
Coffee-bean-shaped eyes
Arched brows
Small nose
Full lips
Elaborate braided hairdo
Musical Instrument, Punu or Lumbo peoples (?), Ngounié River area, Gabon
Bow lutes are distinguished by:
Multiple necks, each holding a single string
Strings parallel to the sounding board
Tones determined by neck length
Not fretted
No tuning pegs
Difficult to tune due to neck flexibility
Instrument plucked not bowed
This instrument is decorated with a head typical of the Ngounié River area in southwestern Gabon. The placement of a face on the instrument serves as a reminder of the importance of the original female ancestor from which all Lumbo descend. The face depicts idealized female beauty with the rounded forehead, coffee-bean-shaped eyes, arched brow, small nose, and full lips. The braided hairstyle was popular in the early 20th century when this piece was created. The delicate carving style, with a serene face and elaborate hair, is similar to masks in this area.
There is limited information about the uses of bow lutes by the Punu or Lumbo peoples. In other areas of Gabon, these instruments are played at ceremonies by societies interested in healing and secret spiritual learning.
Musical Instrument, Punu or Lumbo peoples (?), Ngounié River area, Gabon, 19th or early 20th century, Wood, fiber, pigment, H. 26 in. (66.6 cm),

57. Mask for Elanda Society (‘Amgeningeni or ‘Acwe), Bembe peoples, Democratic Republic of the Congo, Hide, beads, feathers, quills, shells, buttons, fiber, H. 27 in. (68.5 cm),

58. What do you notice about this mask?
How many different materials can you find?
List them.
What colors do you see?
Describe the textures found on this mask.
How do you think this mask is worn?
Mask for Elanda Society (‘Amgeningeni or ‘Acwe), Bembe peoples, Democratic Republic of the Congo, Hide, beads, feathers, quills, shells, buttons, fiber, H. 27 in. (68.5 cm),

59. Mask for Elanda Society:
Worn by the leader of the community’s branch of the Elanda society
Worn with a costume:
Hat of chicken feathers
Python skin trimmed with feathers
Monkey skins
Accompanied by percussion, trembling movement, and harsh voice
Only viewed by members of men’s Elanda society, first seen at initiation
Protects members from illness and danger; as well as remind them of fellowship and unity
Mask made of animal hide, beads, cowrie shells, buttons, chicken feathers, and quills
Mask for Elanda Society (‘Amgeningeni or ‘Acwe), Bembe peoples, Democratic Republic of the Congo
The Elanda Society is a men’s group that enforces community laws and moral customs. Each branch has one leader who wears the branch’s mask. This mask is worn with a costume that consists of a hat made of chicken feathers and pythons skin and monkey skins. While wearing the mask, the leader trembles as he moves, is accompanied by percussion instruments, and speaks in a harsh voice which cannot be clearly understood. For community members who don’t belong to the Elanda society, hearing the leader’s voice without seeing him causes awe and fear. Young men first see the mask as they are initiated into the group when they reach around years old, the age of marriage and circumcision.
When not in use, the mask hangs in a special building outside the village where a high-ranking Elanda member cares for it. Although only members of the male Elanda society are allowed to see the mask, it is the heart of the Elenda Society. It protects members from illness and danger, and reminds them of the fellowship and unity society brings.
The mask does not represent a specific being. It is an ebu’a, “something hidden, unseen, unrecognizable, undefinable.” This mask is made of an animal hide covered with beads, cowrie shells, buttons, and chicken feathers. The additional chest piece makes this particular mask especially elaborate.
Mask for Elanda Society (‘Amgeningeni or ‘Acwe), Bembe peoples, Democratic Republic of the Congo, Hide, beads, feathers, quills, shells, buttons, fiber, H. 27 in. (68.5 cm),

60. In what ways are these masks similar? In what ways are they different?
Hippopotamus Mask (Otobo), Ijo peoples, (Kalabari subgroup), Degema area, Nigeria, Collected ca. 1916, Wood, metal, incrustation, pigment, H. 18 ½ in. (47 cm), Raymond and Laura Wielgus in honor of Rudy Professor Emeritus Roy Sieber,
In what ways are these masks similar?
In what ways are they different?
Compare the decorations on the masks.

61. Divination Instrument (Galukoji), Pende peoples, Democratic Republic of the Congo, Mid-20th century, Wood, fiber, feathers, H. approx 9 in. (22.9 cm); H. of face 3 ½ in. (8.9 cm), Gift of Mr. and Mrs. Kelley Rollings in honor of Raymond and Laura Wielgus,

62. What does this remind you of? How do you think it constructed?
What do you think it is used for?
Describe the expression on the face.
Divination Instrument (Galukoji), Pende peoples, Democratic Republic of the Congo, Mid-20th century, Wood, fiber, feathers, H. approx 9 in. (22.9 cm); H. of face 3 ½ in. (8.9 cm), Gift of Mr. and Mrs. Kelley Rollings in honor of Raymond and Laura Wielgus,

63. Divination Instrument (Galukoji):
Diviners use a divination instrument to receive messages from the spirits of the dead
It is held folded in lap, diviner’s fingers between crossbars, face looking up at the diviner
Face suddenly pops up in response to question or statement by diviner
Face similar to Pende masks which combine male and female elements
Divination Instrument (Galukoji), Pende peoples, Democratic Republic of the Congo
Many Pende people believe some women past the age of child-bearing have been chosen by the dead and can communicate with them. For a fee, diviners use special divination instruments to receive messages from the dead. This particular instrument is no longer used, but was once folded in the diviner’s lap with their fingers between the crossbars with the face at the top looking up at them. The diviner then posed statements and questions until the face popped upward, giving a positive answer.
Similar to Pende masks, faces on divination instruments display both masculine and feminine elements. While Pende consider men more aggressive and capable of violence, women’s social skills are considered more advanced. Thus, the face reflects the social ideal of the feminized male, combining idealized male and female beauty. Ideal male beauty: bulging forehead, prominent cheekbones, bulging eyes, upper lip pointed in the middle, and no teeth showing. Ideal female beauty: smooth flat forehead, smooth cheeks, gently curving hairline, half shut eye lids, flat upper lip, teeth showing (suggesting that women are more likely to laugh in public), and nose not turned up at the end.
Divination Instrument (Galukoji), Pende peoples, Democratic Republic of the Congo, Mid-20th century, Wood, fiber, feathers, H. approx 9 in. (22.9 cm); H. of face 3 ½ in. (8.9 cm), Gift of Mr. and Mrs. Kelley Rollings in honor of Raymond and Laura Wielgus,

64. Cup (with head), Kuba peoples, Democratic Republic of the Congo, 19th or early 20th century, Wood, H /16 in. (27.2 cm),
Cup, Kuba peoples, Democratic Republic of the Congo, Wood, cowrie shells, copper, W. 7 in (17.8 cm), Raymond and Laura Wielgus Collection,

65. In what ways are these cups the same? In what ways are they different?
Describe the patterns on each cup.
Describe the decorations on the face to the right.
Why might there be faces on the cups?
Cup, Kuba peoples, Democratic Republic of the Congo, 19th or early 20th century, Wood, H /16 in. (27.2 cm),
Cup, Kuba peoples, Democratic Republic of the Congo, Wood, cowrie shells, copper, W. 7 in (17.8 cm), Raymond and Laura Wielgus Collection,

66. Made largely with an axe-like tool called an adze
Kuba Cups:
Made largely with an axe-like tool called an adze
Contrasts complex textures and patterned surfaces with broad, smooth areas
Two popular styles
Incised geometric patterns (above)
Head and neck of person (right)
Scarification and hairstyle indicate a person’s high rank in society
Horns and scarification indicate royalty
Used to drink palm wine as part of social and ritual life
Cup, Kuba peoples, Democratic Republic of the Congo
Kuba art often contrasts complex textures and patterned surfaces with broad smooth areas. These cups are examples of the two most popular styles. One has incised (incised = cut or carved into a surface) geometric patterns that are similar to Kuba textiles and beadwork. The other has a head and neck. A person’s rank in society is indicated by scarification patterns and hairstyle. (Scarification involves cutting the skin and adding an irritant as it heals such that raised scars result. Creating specific patterns without serious infection requires skill and training.) The horn-shaped carving on the head of the figure depicts a hairstyle called “buffalo horns.”
The more finely carved the cup, the higher the status of the cup’s owner. Created on commission, these cups were used to drink palm wine which was part of social and ritual life and was enjoyed in a group setting. Ironically, men of the highest status could pay to commission the finest carved cup, yet they usually ate and drank in private.
Cup, Kuba peoples, Democratic Republic of the Congo, 19th or early 20th century, Wood, H /16 in. (27.2 cm),
Cup, Kuba peoples, Democratic Republic of the Congo, Wood, cowrie shells, copper, W. 7 in (17.8 cm), Raymond and Laura Wielgus Collection,

67. Female Figure (Lupingu lwa Bwimpe or Bwanga bwa Bwimpe), Luluwa peoples, Democratic Republic of the Congo, Second half of the 19th century, Wood, incrustation, kaolin, H. 17 in. (43.2 cm), Raymond and Laura Wielgus Collection,

68. What do you notice about this figure?
What aspects might be considered beautiful by the Luluwa people? Explain.
What do you notice about the figure’s hair?
What do you notice about the figure’s belly?
What decorations do you see on the figure?
What might the figure be holding?
Female Figure (Lupingu lwa Bwimpe or Bwanga bwa Bwimpe), Luluwa peoples, Democratic Republic of the Congo, Second half of the 19th century, Wood, incrustation, kaolin, H. 17 in. (43.2 cm), Raymond and Laura Wielgus Collection,

69. Female Figure (Lupingu Iwa Bwimpe or Bwanga bwa Bwimpe):
Considered Luluwa sculpture at its best
Depicts most admirable moral and physical traits in women
Used by organization for mothers and their newborns
When cared for and offered to, brings assistance of ancestors
In more recent history given to wives of high ranking political leaders as charm to benefit entire community
Female Figure (Lupingu lwa Bwimpe or Bwanga bwa Bwimpe), Luluwa peoples, Democratic Republic of the Congo
Female figures like this one are considered Luluwa sculpture at its best. The name lupingu lwa bwimpe means “figure of beauty” while bwanga bwa bwimpe means “charm of beauty.” The sculpture depicts moral and physical traits admired in women:
Large head = intelligence
Long neck, muscular arms, powerful legs = capacity for hard work
Prominent navel = sign of beauty and a link between mother and child and between as well as link between generations
Scarification = ornamentation for beauty
Hairstyle and feet = beauty
The figure holds a cup which held kaolin, a white chalk, which was rubbed on mothers and their babies as well as on the figure. Rubbing on the kaolin powder was a form of veneration.
These figures were originally used in organizations for mothers and their newborns and for mothers who recently lost a baby to ensure continued fertility of mothers and health and beauty of babies. Caring for and making offerings to the figure helped bring the assistance of ancestors. During the second half of the 19th century, figures such as this were owned by wives of high-ranking political leaders, symbolic mothers of the community, as charms to benefit the entire community.
Female Figure (Lupingu Iwa Bwimpe or Bwanga bwa Bwimpe), Luluwa peoples, Democratic Republic of the Congo, Second half of the 19th century, wood, incrustation, kaolin, H. 17 in. (43.2 cm), Raymond and Laura Wielgus Collection,

70. Chief’s Chair (Ngunja), Chokwe peoples, Democratic Republic of the Congo/Angola, , Wood, antelope hide, brass, H. 31 ¼ in. (79.3 cm),

71. How is this chair different from chairs you sit on?
How is it decorated?
What are the carved figures doing?
What story or stories do they remind you of?
For whom or for what purpose do think this chair was created? Why?
Chief’s Chair (Ngunja), Chokwe peoples, Democratic Republic of the Congo/Angola, , Wood, antelope hide, brass, H. 31 ¼ in. (79.3 cm),

72. Adaption of European imported chairs
Chief’s chair:
Adaption of European imported chairs
Used as symbols of leadership by Chokwe people
Figures depicts scenes from Chokwe history, religion, and daily life
Figures metaphors for chief’s:
Ancestry, power, wealth, and position as mediator between the heavenly and the earthly.
Chief’s Chair (Ngunja), Chokwe peoples, Democratic Republic of the Congo/Angola
This chief’s chair is an adaption from a European imported model and was a symbol of leadership to the Chokwe people when they were powerful in the late 19th and early 20th centuries. A person’s status permitted them to sit in a chair higher than those of lower of status, seated on the ground or low. Elaborate carving symbolizing leadership indicates that this chair is a highly prized object.
The figures on the chair depict scenes from Chokwe history, religion, and daily life without forming a continuous narrative. Interwoven in the figures are symbols for community and leadership beliefs and ideals. The seat back features Cihongo the original ancestor who symbolized masculine power and wealth associated with the chief and his lineage. Between the front legs the woman Lweji is depicted with her two brothers jealously fighting to usurp her right to rule the kingdom, inherited from her father. The three bats, hanging between the two back legs, have the ability to move accurately in the dark and refer to the chief’s awareness of even hidden words and actions within the community. Other figures refer to the chief’s ancestry, his right to rule, and his position as intermediary between earthly and heavenly realms.
Chief’s Chair (Ngunja), Chokwe peoples, Democratic Republic of the Congo/Angola, , Wood, antelope hide, brass, H. 31 ¼ in. (79.3 cm),

73. Art of ethnic groups of Southern Africa
South Africa
Art of ethnic groups of Southern Africa
Map of the Art of Ethnic Groups of Southern Africa
Both political boundaries and ethnic regions are shown on this map. Lines connect thumbnail images of the one work from southern Africa to the ethnic region where it was created.

74. Wedding Train (Nyoka), Ndebele peoples, South Africa, Early 20th century, Glass beads, cotton thread, Total L. 77 in. (195.6 cm), Gift of Claire and Michael Oliver,

75. What colors do you see? How do the colors compare to previous works?
What words describe the pattern?
What is it made of?
How long do you think this piece is?
What do you think this is?
Wedding Train (Nyoka), Ndebele peoples, South Africa, Early 20th century, Glass beads, cotton thread, Total L. 77 in. (195.6 cm), Gift of Claire and Michael Oliver,

76. Ndebele Wedding Train (Nyoka):
Called nyoka = snake (wedding train looks like a snake trailing behind dancing bride)
Worn with beaded veil, married women’s beaded apron, and goatskin cape
White background and geometric pattern indicate made late 19th or early 20th century
Modern brides marry in Western dress
Modern Ndebele beadwork includes modern motifs such as planes, houses, or telephone poles
Modern beadwork is made for art and tourist markets
Wedding Train (Nyoka), Ndebele peoples, South Africa
Traditional Ndebele bridal outfits include a beaded wedding train, a beaded veil, a married woman’s beaded apron, and a goatskin cape or blanket. The wedding train, pictured here, is called nyoka which means “snake,” referring to the snake-like movement it replicates trailing the dancing bride. Today more women marry in Western dress and beadwork is created for art and tourist markets.
Ndebele beads are linked together individually rather than woven or sewn onto a backing of fiber or skin. In the late 19thcentury, white was the common background color, but became less common as a background color by the 1960s. Traditional Ndebele beadwork features geometric patterns without specific symbolism. Modern beadwork includes modern motifs like houses, planes, telephone poles, and other images common to women’s experiences and aspirations. Ndebele beadwork is regarded as women’s work, which girls learn from their mothers and other female relatives.
Wedding Train (Nyoka), Ndebele peoples, South Africa, Early 20th century, Glass beads, cotton thread, Total L. 77 in. (195.6 cm), Gift of Claire and Michael Oliver,

77. Image Information
Male Figure, Dogon peoples, Mali, 16th Century (?), Wood, H. 44 in. (111.8 cm), Raymond and Laura Wielgus Collection, Antelope Headdress (with large intricate mane) (Ci Wara), Bamana peoples, Mali, Wood, metal, H. 26 in. (91.4 cm), Gift of Frederick Stafford, Mask (Karanga), Mossi peoples, Burkina Faso, , Wood, pigment, fiber, H. 70 in. (177.8 cm), Gift of Rita and John Grunwald, Feast Ladle (Wunkirmian or Wakemia), Dan peoples, Liberia/Côte d’Ivoire, Wood, H. 20 in. (52.1 cm), Mask (Goli Kpan), Baule peoples, Côte d’Ivoire, Early 20th Century, Wood, pigment, H. 19 7/8 in. (50.4 cm), Staff for Esu/Elegba Cult (Ogo Elegba), Yoruba peoples (Oyo subgroup), Nigeria, Before 1930s (?), Wood, leather, cowrie shells, brass, bone, iron, H. 19 ¼ in. (50.7 cm), Raymond and Laura Wielgus Collection, Box, Yoruba peoples (Owo subgroup), Nigeria, 18th or 19th century, Ivory, L. 6 ½ in. (16.5 cm), Commemorative Head of an Oba, Edo peoples, Kingdom of Benin, Nigeria, Middle Period, , Brass, H. 11 ½ in. (29.2 cm), Shrine (Ikenga), Igbo people, Anambra Valley, Nigeria, First half of the 20th century, Wood, pigment, H. 24 in. (61 cm), Hippopotamus Mask (Otobo), Ijo peoples, (Kalabari subgroup), Degema area, Nigeria, Collected ca. 1916, Wood, metal, incrustation, pigment, H. 18 ½ in. (47 cm), Raymond and Laura Wielgus in honor of Rudy Professor Emeritus Roy Sieber, Female Figure, Montol peoples, Nigeria, ca. 1950, Wood, pigment, H. 15 in. (38.1 cm), Gift of Raymond and Laura Wielgus Collection, needs acquisition number. Prestige Hat, Grasslands, Cameroon, 20th century, Cotton fiber, wood, Diam. 7 ¾ in. (19.7 cm), Gift of Budd Stalnaker in honor of William and Diane Itter, Headdress, Grasslands, Cameroon, 20th century, Feathers, fiber, Diam. 26 in. (66 cm), Gift of Budd Stalnaker Bowl Figure, Kom Kingdom, Cameroon, Early 20th century, Wood, glass beads, fiber, iron, raffia cloth, H. 36 in. (91.4 cm), Objects from the treasury of the fon of Kom in Laikom, Cameroon. The IU Art Musuem’s Bowl Figure is third from the left. Photo by Gilbert Schneider, courtesy of Evan Schneider. Reliquary Figure (Eyema Bieri), Fang peoples, Gabon, 19th or early 20th century, Wood, wicker, H. 17 ¼ in. (43.9 cm), Musical Instrument, Punu or Lumbo peoples (?), Ngounié River area, Gabon, 19th or early 20th century, Wood, fiber, pigment, H. 26 in. (66.6 cm), Mask for Elanda Society (‘Amgeningeni or ‘Acwe), Bembe peoples, Democratic Republic of the Congo, Hide, beads, feathers, quills, shells, buttons, fiber, H. 27 in. (68.5 cm), Divination Instrument (Galukoji), Pende peoples, Democratic Republic of the Congo, Mid-20th century, Wood, fiber, feathers, H. approx 9 in. (22.9 cm); H. of face 3 ½ in. (8.9 cm), Gift of Mr. and Mrs. Kelley Rollings in honor of Raymond and Laura Wielgus, Cup, Kuba peoples, Democratic Republic of the Congo, 19th or early 20th century, Wood, H /16 in. (27.2 cm), Cup, Kuba peoples, Democratic Republic of the Congo, Wood, cowrie shells, copper, W. 7 in (17.8 cm), Raymond and Laura Wielgus Collection, Female Figure (Lupingu Iwa Bwimpe or Bwanga bwa Bwimpe), Luluwa peoples, Democratic Republic of the Congo, Second half of the 19th century, Wood, incrustation, kaolin, H. 17 in. (43.2 cm), Raymond and Laura Wielgus Collection, Chief’s Chair (Ngunja), Chokwe peoples, Democratic Republic of the Congo/Angola, , Wood, antelope hide, brass, H. 31 ¼ in. (79.3 cm), Wedding Train (Nyoka), Ndebele peoples, South Africa, Early 20th century, Glass beads, cotton thread, Total L. 77 in. (195.6 cm), Gift of Claire and Michael Oliver, Photography by Michael Cavanagh and Kevin Montague, unless otherwise noted.