2. CONTENT AREA 6: AFRICA
C.E.
(13 WORKS)

3. Student presentations

4. Unit sheet #3 Africa
Central ideas: Performance and Ritual Tradition and Craftsmanship Realism vs. abstraction

5. ENDURING UNDERSTANDING 6-1.
Human life began in Africa and radiated outward.

6. ESSENTIAL KNOWLEDGE 6-1A.
Early rock art shows human pursuits of animals, contact with other groups, and developing technology.

7. ESSENTIAL KNOWLEDGE 6-1B.
The arts, major world religions, and international trade routes followed migration paths and are seen in Africa today.

9. Bundu mask
Sande Society Mende peoples (Sierra Leone) 19th to 20th century C.E. Wood, cloth, and fiber

10. Bundu mask
Bundu - masks used by the women’s Sande society to bring girls into puberty Female initiation, female mask danced by a woman Mende - large ethnic group in Sierra Leone Sande society - women’s secret society who train girls and initiate them into womanhood.

11. Bundu mask
Patron deity is Sowo, the water spirit, and this mask “becomes” her when danced
3 structural components- the neck, face, and coiffure
Hairstyle - person beauty and symbol of social prestige

12. Bundu mask
Small closed mouth = compsure, gossip or flirt or speak without thinking.
Blackened raffia (fibers from palms) completely covers body of dancer.
Rings around neck reflects ideal beauty, fertility, and good health.

13. Bundu mask
Mask is performed/danced, dancer leaves her body so that Sowo can inhibit it.
Identify of dancer completely concealed.
Reflect the Mende ideals of both appropriate behavior and physical beauty.
This is a rare example of a mask that is danced by a woman - other African masks danced by men.

15. Female (Pwo) mask
Chokwe peoples (Democratic Republic of Congo) Late 19th to early 20th century C.E. Wood, fiber, pigment, and metal

16. Female (Pwo) mask
Poro = male secret society for male initiation rituals called mukanda
Female mask danced by a man
Pwo = founding mother, female ancestor of Chokwe people
Represents fertility, generative power, she watches over fertility of future generations

17. Female (Pwo) mask
The Chokwe are matrilineal, mother’s line most important
Teach honor of women to Chokwe
Honor of mothers both (ancestral + living)
Appropriate behavior toward & relationship with women
Standards of both male and female behavior.
Pwo symbolizes ideal Chokwe woman whom the male initiates should seek as wives.

18. Female (Pwo) mask Mwana Pwo, as young, beautiful, ready for marriage.
Broad, clear forehead.
Half closed eyes with horizontal lines, white powder = spiritual ability, power of giving birth.
Almost closed mouth with lines like eyes, concave chin.
Rich, reddish-brown color.
Braided, headband, heavy fringe below.
Tattoos next to and extending down from eyes.

19. Female (Pwo) mask
Performed by a man who becomes the vessel for the spirit to inhabit during the dance.
Dancers wear a knitted fiber costume that covers whole body along with false breasts.
Males would dance with sensuous movements to emphasize message of fertility.

24. CONTENT AREA 6: AFRICA
C.E.
(13 WORKS)

25. ENDURING UNDERSTANDING 6-2
African arts are active; they motivate behavior, contain and express belief, and validate social organization.

26. ESSENTIAL KNOWLEDGE 6-2A
Art in Africa features a variety of media made by specialists (ex: wood, ivory, metals, ceramic, fiber, and elements of nature)

27. ESSENTIAL KNOWLEDGE 6-2B
Art reveals belief systems These arts are expressive rather than representational African art is concerned with ideas rather than the with objects

28. ESSENTIAL KNOWLEDGE 6-2C
Performances of objects are accompanied by costumes and music.
Cultural protocols dictate artistic experience.
African art is sung, danced, and presented to produce expected results.

30. Aka elephant mask
Bamileke (Cameroon) c. 19th to 20th century C.E. Wood, woven raffia, cloth and beads

31. Aka elephant mask Mask status symbol of power to honor King
Bamileke people, several small kingdoms.  
King, fon, is believed to be given his power by the Supreme Being.  
Representative of the gods and ancestors and he has supernatural, religious and political powers
Kuosi Society tightly restricted.  

32. Aka elephant mask
Kuosi - secret association of warriors to protect king → wealthy class who maintain social order in society
Only the Kuosi may own and perform Aka Elephant Masks, closest to the King.

33. Aka elephant mask Elephant ears
Human face: padded protruding eyes, nose, mouth, elephant trunk
Complex and abstract patterns represent symbols of royal power, symbolize myths and fables of their community

34. Aka elephant mask
ELEPHANTS - most powerful creatures in the grasslands, have strength and intelligence, qualities of leadership, so they are associated with the king.
Alter egos of the king.
Costumes are extremely expensive, glass beads and rare feathers

35. What do the following symbolize?
Leopard –
Elephant –
Glass beads –
Complex abstract designs -

36. What do the following symbolize?
Leopard - authority, leadership
Elephant - wisdom, strength, intelligence
Glass beads - wealth
Complex abstract designs - narratives of history and culture

38. Portrait Mask (Mblo)
Baule peoples (Ivory coast) Early 20th century C.E. Wood and pigment

39. Portrait Mask (Mblo) Female mask danced by a man
Sculpture has the power to act, to make things happen, communicate with ancestors/spirits, interact with invisible world
Row of antennae-like prongs (no symbolic meaning)
Textured zones, smooth curving surfaces, reflective copper plates.

40. Portrait Mask (Mblo) Lustrous surfaces suggesting health
Textured zones, coiffure
Row of antennae-like prongs (no symbolic meaning)
Inner state of beauty and morality
Half slit eyes and high forehead suggest modesty, and wisdom

41. Portrait Mask (Mblo) exclusively for entertainment
A mask like this is usually commissioned by a man to honor his wife or female relative.  
Spirit double
Never appear in public unless accompanied by person or relative.  
Specific to individual, hairstyle

42. Portrait Mask (contextual photograph)
Moya Yanso & stepson, he danced this mask, originally worn by her husband.  
Combines Baule ideals of physical beauty of youth and wisdom

43. What visual vocabulary suggests what it means to be good, honorable, respected, and beautiful in each work’s respective society? Compare all three masks… ready GO

44. Template groups

46. How does African Art influence modern art? Why?

48. CONTENT AREA 6: AFRICA
C.E.
(13 WORKS)
Monday

49. ESSENTIAL KNOWLEDGE 6-2B
Art reveals belief systems
African art is concerned with ideas rather than the with objects of the natural or physical world
Art is created for both daily use and ritual purposes

50. ESSENTIAL KNOWLEDGE 6-2C
. Cultural protocols dictate art.
African art is sung, danced, and presented in holistic experiences to produce expected results.

53. Wall plaque, from Oba’s palace
Edo peoples Benin (Nigeria) 16th century C.E. Cast brass

55. Wall plaque, from Oba’s palace
Benin empire
Oba, King
Hierarchical scale – power & authority
Lost-wax casting technique
Trade w/Portugal – brass/coral
Punitive Expedition of 1897

56. Wall plaque, from Oba’s palace
Benin empire
Oba, King
Hierarchical scale – power & authority
Lost-wax casting technique
Trade w/Portugal – brass/coral
Punitive Expedition of 1897

58. Ndop of King Mishe miShyaang maMbul
Kuba peoples (Democratic Republic of the Congo) c C.E. Wood

59. Ndop of King Mishe Asserts power Idealized statue of niym (king)
Oral narrative records history
Sculpture freezes time
Represents ideal king, not individual king

60. Ndop of King Mishe Geometric motif and emblem (ibol)
Gives identity (drum)
Royal regalia
Left hand knife, right hand on knee
Preserve accomplishments
Posterity – future generations
Marker of culture ideals
Chronological lineage

61. Art + ownership:

62. Where do you stand on this controversial and unresolved issue?
Art + ownership:
Many believe that objects such as the plaque from Oba’s palace should be returned to the people of Benin, who remain deeply connected to their history and cultural traditions. However, there are others who feel that these remarkable objects are part of the world’s heritage, and thus should remain in museum collections around the world as testament to this artistically rich culture.
Where do you stand on this controversial and unresolved issue?

64. CONTENT AREA 6: AFRICA
C.E.
(13 WORKS)
Wednesday

66. ENDURING UNDERSTANDING 6-3
Sculptures and masks are by nature meant to be performed rather than simply viewed.

67. ESSENTIAL KNOWLEDGE 6-3A
Artistic expression in Africa is an integral part of social life
African arts mark status, identity, and cycles of human experience.

68. ESSENTIAL KNOWLEDGE 6-3B
Art is used for education, initiation into adulthood, and civic responsibility.
Art is used to communicate power and authority of leaders.

69. Veranda post of enthroned king and senior wife (Opa Ogoga)
Olowe of Ise (Yoruba peoples) Nigeria c C.E. Wood and pigment

70. Veranda post of enthroned king and senior wife
180. Veranda post: equestrian figure and female caryatid. Olowe of Ise (Yoruba peoples). Before 1938 C.E. Wood and pigment.
Veranda Post of Enthroned King and Senior Wife (Opo Ogoga) Opo ile, veranda post Medium: wood and pigment Artist/Culture: Olowe of lse for Aafin Ogoga; Yoruba, lkere, Nigeria Date: c. 1910, photographed in 1938This 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.
SHORT VIDEO ON OLOWE’S PALACE DOORS, Detroit Museum of Art (2:48) In The Frame: 125 Years: Olowe of Ise Palace Doors
Veranda post of enthroned king and senior wife

71. Sika dwa kofi (Golden Stool)
Ashanti peoples (south central Ghana) c C.E. Gold over wood and cast-gold attachments

72. Sika dwa kofi (Golden Stool)
Ashanti peoples (south central Ghana) c C.E. Gold over wood and cast-gold attachments

73. Complete themes for works we have covered so far
Themes in African Art
Complete themes for works we have covered so far

74. CONTENT AREA 6: AFRICA
C.E.
(13 WORKS)
Thursday

75. Complete themes for works we have covered so far
Themes in African Art
Complete themes for works we have covered so far

79. ENDURING UNDERSTANDING 6-4
Outsiders have often characterized African arts as primitive.

80. ESSENTIAL KNOWLEDGE 6-4A
African histories follow oral tradition but have been shared by foreigners since the 19th century.

81. Lukasa (memory board)
Mbudye Society Luba peoples (Democratic Republic of the Congo) c. 19th to 20th century C.E. Wood, beads, and metal

82. Lukasa (memory board)
Mbudye Society Luba peoples (Democratic Republic of the Congo) c. 19th to 20th century C.E. Wood, beads, and metal

83. Power figure (Nkisis n’kondi)
Kongo peoples (Democratic Republic of the Congo) c. late 19th century C.E. Wood and metal

84. Now identify themes for two recent works
Themes in African Art
Now identify themes for two recent works

85. Select a theme of African Art for each work
Select a theme of African Art for each work. Identify both works using at least 2 identifiers. Describe the visual and contextual evidence for both works that transmit that theme. Explain in what ways both works are similar and different.

86. (1) Select a theme of African Art for each work
(1) Select a theme of African Art for each work. Identify both works using at least 2 identifiers (2,3). Describe the visual and contextual evidence for both works (4,5) that transmit that theme. Explain in what ways both works are similar (6) and different (7).

87. Templates due & Africa Quiz on Monday
CONTENT AREA 6: AFRICA
C.E.
(13 WORKS)
Happy Friday!
Templates due & Africa Quiz on Monday

90. Naturalism in art refers to the depiction of realistic objects in a natural setting. Scarification – scarring of the skin for identity + enhancing beauty Zimbabwe – big houses of stone
Talisman – object with supernatural properties that protects from evil or brings good luck Ikenga – personal shrine Reliquary – container holding body parts of deceased

91. Reliquary figure (byeri)
Fang peoples (southern Cameroon) c. 19th to 20th century C.E. Wood

92. Ikenga (shrine figure)
Igbo peoples (Nigeria) c. 19th to 20th century C.E. wood

93. Conical tower and circular wall of Great Zimbabwe
Southeastern Zimbabwe Shona peoples c C.E. Granite blocks

94. 167. Conical tower and circular wall of Great Zimbabwe
167. Conical tower and circular wall of Great Zimbabwe. Southeastern Zimbabwe. Shona peoples. c. 1000–1400 C.E. Coursed granite blocks.

95. Now identify themes for the most recent works
Themes in African Art
Now identify themes for the most recent works

96. 1100-1980 C.E. (13 WORKS) Friday Templates due & Africa Quiz Monday
CONTENT AREA 6: AFRICA
C.E.
(13 WORKS)
Friday
Templates due & Africa Quiz Monday

97. 167-2. Conical tower and circular wall of Great Zimbabwe
Southeastern Zimbabwe
Shona peoples
c C.E.
Coursed granite blocks

98. 168-1. Great Mosque of Djenne
Mali
Founded C.E.; rebuilt C.E.
Adobe
Great Mosque of Djenne

99. 168-2. Great Mosque of Djenne
MONDAY MARKET AT THE GREAT MOSQUE OF DJENNE
Mali
Founded C.E.; rebuilt C.E.
Adobe
Great Mosque of Djenne

100. 173. Female (Pwo) mask Chokwe peoples (Democratic Republic of Congo)
Late 19th to early 20th century C.E.
Wood, fiber, pigment, and metal

101. 174-1. Portrait Mask (Mblo) Baule peoples (Cote d’Ivoire)
Early 20th century C.E.
Wood and pigment

102. 171-2. Ndop (portrait figure) of King Mishe miShyaang maMbul
CONTEXTUAL PHOTOGRAPH
Kuba peoples (Democratic Republic of the Congo)
c C.E.
Wood

103. 174-2. Portrait Mask (Mblo) CONTEXTUAL PHOTOPGRAPH
Baule peoples (Cote d’Ivoire)
Early 20th century C.E.
Wood and pigment

104. 175-2. Bundu mask Contextual photograph Sande Society
Mende peoples (West African forests of Sierra Leone and Liberia)
19th to 20th century C.E.
Wood, cloth, and fiber

105. 178-2. Aka elephant mask CONTEXTUAL PHOTO
Bamileke (Cameroon, western grasslands region)
c. 19th to 20th century C.E.
Wood, woven faffia, cloth and beads