ART OF ANCIENT WEST AFRICA
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ART OF ANCIENT WEST AFRICA
WEST AFRICA
Societies with their own
customs and artistic
traditions & styles
WEST AFRICA
ANCIENT WEST AFRICATribal Architecture Diverse architectural styles
using natural materials (mud, wood, palm leaves, …)
– Adobe structures, made of earth mixed with water, have been built in the countries of Mali, Niger, Nigeria, Togo, Benin, Ghana, and Burkina Faso Dogon villages built on the sides
of cliffs along the Niger river - Mali
Adobe mud brick house - Ghana Timbuktu - Mali
ANCIENT WEST AFRICA
Architecture Use of fractal scaling: small parts
of the structure tend to look similar to larger parts, such as a circular village made of circular houses
African architecture has been subject to numerous external influences (western and Islamic)
Earthen brick houses – Benin, Nigeria
Djenne marketplace - Mali
Wood ribbed house - Cameroon
WEST AFRICA
ArchitectureArchitecture Today, modern western
styles, Islamic styles, and contemporary African tribal styles based on earlier traditions can be found throughout West Africa
Zaria, Nigeria: clay houses
Nigeria: movie house
Djenne Mosque, Mali
ANCIENT WEST AFRICA
Similarities: Largely agricultural
societies composed of farmers, metal workers, traders, artisans, hunters, & warriors– Yams, grains, plantains,
corn, beans main crops
Societies ruled by powerful royal families and elders Yoruba – Nigeria
Man carving dried gourds used to serve food or drink
ANCIENT WEST AFRICA
Similarities: Reverence of ancestors Structured beliefs with gods
and spirits linked to the forces of nature– Belief in spirits that
influence existence & environment
– Belief that death is not final and in a world of ancestral spirits
Emphasis on the human figure
Ancestral FigureSenufo - Mali
ANCIENT WEST AFRICA
Similarities: Emphasis on performance art Tradition of oral literature
passed on from generation to generation through ritual, ceremony, and spoken word
• Folktales & proverbs• Mythologies• Poetry• Drama Racing Mask
Dan – Ivory Coast
ANCIENT WEST AFRICA
Artists: Worked on commission from
ruler, cult, healer, secret society Followed framework of local
beliefs and traditions– Symbolic shapes– Symbolic colors– Depiction of human form
Bobo Antelope Mask
Burkina Faso
Role of Art in West Africa Not seen as art but something
to connect people with the unseen audience of spirits of dead and the spirits and forces of nature– Intervened– Offered advice– Channeled energies
Mossi Fetish Figure
Burkina Faso
Role of Art in West Africa
Assisted and maintained physical & spiritual well-being of community– Helped organize society– Helped solve problems
Identified status within society
Carved DoorDogon - Mali
Works were not seen as an piece of artbut as an item with a societal purpose
Mende Helmet MaskSierra Leone
WEST AFRICAN ARTImagery often abstract or
highly stylized Represented abstract concepts (a
spirit, a force, …) Prevailing belief: a likeness of an
individual would trap part of his/her spirit/essence
Reliquary Figure, Gabon
SCULPTURE Main form of artistic expression Full-round and relief Part of ritual and celebration Made of wood and cast metals
Bronze relief panel
Wooden full-round figure
Chiwara or Tyi Wara Figure
Bambana - Mali
SCULPTURE Concerned with aspects
of existence– Continuity of life– Initiation into adulthood– Influence over spirits to
control health and the environment
– Death and ancestral spirits
Chiwara a mythical farming god in the form of an antelope. Carved figures worn on the head as part of a ritual when crops are to be planted to teach young Bamana men social values as well as agricultural techniques.
SCULPTURE
They were danced in pairs and celebrate the union of male (sun), female (earth) and fiber costume (rain), signifying the cooperation needed for a successful harvest and community survival
SCULPTURE
9 main forms Masks Ancestral figures Fetish (power) figures Reliquary figures Royal portraits Warrior/Hunter figures Womanhood figures Thrones and stools Carved doors Bamum Mask
Cameroon
MASKS Part of a costume to
“mask” one’s identity– Believed to transform
the wearer to interact with and hopefully control supernatural spirits and forces
– Can be worn in three different ways: vertically covering the face: as helmets, encasing the entire head, or as a crest, resting upon the head
MASKS Most made of wood Human and animal forms Sometimes painted and other
materials added (shells, fibers, feathers, metals, …)
Igbo Funerary MaskNigeriaBaule Monkey Mask
Ivory Coast
MASKS Changed individuals
into a spirit, force, or figure with power
Part of a performance or ceremony involving costume, music, and movement
Ritual ceremonies generally depict gods, spirits of ancestors, mythological beings, good and or evil, the dead, animal spirits, and other beings believed to have power over humanity
The Dama ceremony is part of funerary rituals that ends mourning and transitions the spirit of the dead from the village to the spirit world
Bwa leaf masks are used once in ceremonies to encourage the cycles of nature and then discarded
Bwa Leaf Mask
Burkina Faso
MASKS Some masks are
permanent, some for one use only
The masks represent or embody bush spirits, who are called upon to benefit mankind and the forces of nature on which life depends
MASKS
Bwa Initiation Ceremonial Masks, Burkina Faso
Crescent = Cycle of moon; start of the initiation Black = AdultsWhite = Initiates“X” marks = ScarificationWavy lines = Paths of ancient ancestorsCheckerboard = Teaching of wisdom
Rules were followed locally regarding:– Shapes– Colors– Patterns
MASKS
Bwa Initiation Ceremonial Masks, Burkina Faso
Scarification served as a symbolof strength, fortitude, or couragein both men and women
MASKS
Yoruba Gelede Ceremonial Mask
Nigeria and Benin
MASKS
Dan Social Arbitrator Mask
Ivory Coast & Liberia
Senufo Ceremonial Mask
Ivory CoastBaule MaskIvory Coast
FIGURAL SCULPTURES
Used to channel spirits
toward human goals: Protection Stimulate fertility Mark initiations Commemorate event or
individual
Ashanti fertility figures(Akuaba dolls)
Ghana
Akuaba dolls are carried and cared for by Ashanti women who wish to become pregnant and also after pregnancy to assure that their child would be born beautiful
ANCESTRAL FIGURES Housed the spirit of
a dead ancestor– Full-round stylized
or abstract human forms
– Usually carved from wood
– Followed traditions• Forms• Materials
Allowed the ancestral spirit to remain as a vital force within the community
Dan (L) -- Baule (R) - Ivory Coast
RELIQUARY FIGURES
Protected the remains
of the dead Placed in basket with
skeletal remains Very abstract
representations of the human form
Reliquary Figures, Gabon
Used to scare off evil forces and individuals who may tamper with the remains
FETISH /POWER FIGURES Fetishes were protective
figures used by individuals, families, or communities to destroy or weaken evil spirits, prevent or cure illnesses, repel bad deeds, and decide arguments
Some figures were used to hunt out wrongdoers and to avenge their crimes
A diviner or holy person would activate the statue, using magical substances
FETISH /POWER FIGURESBelieved to be able to givespirits physical form & tochannel their energies Full-round stylized human
form Carved from wood & nails,
pins, mirrors, blades, … added to release power within figure
Nkisi Figure, Congo
ROYAL FIGURES
Portraits to honor kings,queens, & high-rankingdignitaries
– Naturalistic & stylized human forms
– Full-round– Made of wood,
terracotta, or cast metals Bronze Head of an Oba
Benin Kingdom -Nigeria
Terracotta Head of a QueenIfe Kingdom -Nigeria
HUNTER/WARRIOR FIGURES
Honored individuals who have helped to preserve or protect the society
– Highly stylized human forms
– Full-round– Made of wood or cast
metals
Male Figure, MaliBronze
WOMANHOOD FIGURES
Female Figure, NigeriaFemale figure, Baule
Ivory Coast
In many regions, African mothers have always owned the land, which is why the land is referred to as the motherland
Honored women as leaders within the society and as givers and nurturers of life
– Highly stylized/abstract human forms
– Full-round– Made of wood or cast metals
THRONES & STOOLSRoyal thrones or seatssymbolize power, status,heritage, prestige, and authority within the society
– Made of wood– Often believed to house the
soul of the owner – Thrones used for coronations
and for special ceremonies• Precious metals (silver,
gold) often added
Asante Throne, Ghana
THRONES & STOOLS Only those who own
the stools or thrones are allowed to sit on them
DOORS Carved wooden doors
contained images & markings that represented traditional tribal beliefs, icons of ancestors, or told stories of village history
Indicators of status within the community
Dogon door covered with the spirits of past ancestors who protect and watch
over the family
MUSIC Usually associated with ceremonies,
rituals, and celebrations Polyphonic Drums and percussion instruments,
the balafon (xylophone), stringed and wind instruments, such as the reed flute, the kora and the kontingo
Beat and rhythm are the two main elements
balafon
kora
kontingo
DANCE Ritual dance enforces and
affirms the belief system of the society
Dances play a role in religious rituals; they mark rites of passage, including initiations to adulthood and weddings; they form a part of communal ceremonies, including harvest celebrations, funerals, & coronations;
Dances also offer entertainment & recreation
Dogon stilt dancers, Mali
Ceremonial wedding dance, Nigeria
African Fabric Art Valued trade commodity Communicated a wearer’s
kingship, group, or status within the community
African Fabric Art
Woven on looms Stenciled Block (Stamp) printed Screen-Printed Painted Batiked/Resist Tie Dyed Embroidered
African Fabric ArtAdinkra cloth - Asante, Ghana Designs first used to decorate
funereal clothing Today it is used to make clothing
for such special occasions as festivals, church-going, weddings, naming ceremonies and initiation rites
Printed by block-printing (symbol stamps carved from gourds) printed with black dye made from tree bark
African Fabric Art
Adinkra– A symbol or design that tells
a story or stands for an idea also used to refer to the kind of cloth that is decorated with adinkra symbols; the word adinkra means farewell or goodbye
An official of the court of theking of the Asante people
African Fabric Art Stamp Symbolism
Abe-Dua – Palm TreeSelf-sufficiency, Resilience,
Vitality, Wealth, & Causation
Adwera – Watery ShrubPurity, Sanctity, Chastity, Cleanliness
Cleanliness, Good Fortune
Adwo – PeacePeace, Calmness, Continuity,
Spiritual Coolness
Akoko Nan – Hen’s FeetParental Discipline, Care,
Tenderness Discipline, Protection
African Fabric Art Kente Cloth - Ghana Made from cotton or silk dyed
yarn Woven on narrow horizontal
loom Strips 3-5 inches wide & 5 feet
long sewn together to make wider pieces of cloth
Patterns and colors have a symbolic meaning
King wearing adwinasa kente
African Fabric Art
black -- maturation, intensified spiritual energy blue -- peacefulness, harmony and love green -- vegetation, planting, harvesting, growth, spiritual renewal gold -- royalty, wealth, high status, glory, spiritual purity grey -- healing and cleansing rituals; associated with ash maroon -- the color of mother earth; associated with healing pink -- assoc. with the female essence of life; a mild, gentle aspect of
red purple -- assoc. with feminine aspects of life; usually worn by
women red -- political and spiritual moods; bloodshed; sacrificial rites and
death. silver -- serenity, purity, joy; assoc. with the moon white -- purification, sanctification rites and festive occasions yellow -- preciousness, royalty, wealth, fertility
Color symbolism in Kente Cloth
African Fabric Art Wax resist
– Traced back to Javanese batiks brought to Africa by European traders in 17th century designs created by stepped applications hot wax and dye
Tie-Dye– Designs created on fabric
by stitching or tying areas to resist dye
African Fabric Art
African Fabric Art Bogolan Mud Cloth
– Bamana peoples of Mali– Linear geometric
designs drawn on dyed cotton cloth using a process of applied fermented mud from ponds and bleaching
African Fabric Art Yoruba Adire Cloth
– Indigo dyed cloth– Dye resist processes
• Tie-dye• Batik with metal
stencil stamps or hand painted with wax
African Fabric Art Kuba embroidered
and appliqué raffia cloth – Congo– Fiber made from
palm trees is dyed and woven into cloth
– Additional designs are sewn on the cloth
ANCIENT WEST AFRICAEmpires Ghana (750-1200 CE) Mali (1200-1500 CE) Songhay (1350-1600 CE)
City States Ife Hausa Benin Ashanti Oyo
AFRICA
ANCIENT WEST AFRICA
Ghana (750-1200 CE) the “land of gold”;
an economic intermediary within the gold trade from south to north
Mali (1200-1500 CE) encompassed most
of West Africa north of the forested region and also relied on trade of gold and salt
Songhay (1350-1600 CE) centered along
the Niger river was once part of Mali empire but broke away. The city of Timbuktu intensified as a center of Islamic learning, attracting scholars from around the world
Akan Gold Staff
ANCIENT WEST AFRICA
A center for trade with Northern Africa, Egypt, and Europe
ANCIENT WEST AFRICA
A center for trade with Northern Africa, Egypt, and Europe
NOK CULTURE Nigeria (500-200 BCE) Center of agriculture and
ore refining Created high stylized
terracotta human figures– Standing– Seated– Kneeling
NOK CULTURE Terracotta figures made
using addition and then carving (subtraction)– abstract – triangular eyes– perforated pupils– elaborate hair styles and
jewelry
Seated Figures, 250 BCE
NOK CULTURE Terracotta heads once
part of entire human figure sculptures
IFENigeria (1300-1600 CE) First of Yoruba city-states or kingdoms,
established government under a priestly oba, ('king' or 'ruler')
Powerful political center
Sacred/Holy city
IFENigeria (1300-1600 CE) Developed lost-wax
metalworking traditions Created naturalistic
human portrait heads of royal individuals– Cast bronze– Terracotta
IFE
Bronze Royal Portraits and Royal Figure 1300-1400 CE
IFE
Terracotta Head 1300 CE
Bronze Head1500-1600 CE
The kingdom of Benin was made up of the capital city, and the outlying districts– Benin City, the capital,
was a fortified city that consisted of ramparts and moats, call iya, enclosing 2485 square miles of community lands
The Oba of Benin directed the control of these districts from the central government at the capital
The King's court was entirely surroundedby a special wall and was divided into
many magnificent palaces, houses, and apartments
BENIN 1400-1600 CE
BENIN Nigeria (1400-1600 CE)
Benin City - Seventeenth-century engraving illustrating a court ceremony
BENINNigeria (1400-1600 CE) Created stylized human portrait
heads placed on the altars of kings and free-standing figures– Cast bronze and brass– Terracotta
Created cast bronze relief plaques and doors
Altars functioned as a tribute to the deceased and a point of contact with his spirit
BENIN
Portrait Head of an ObaBrass & Zinc 1700-1800 CEEdo peoples, Benin - Nigeria
Portrait Heads1700-1800 CE
BENIN
Mounted WarriorBrass 1700-1800 CE
Entrance Panel to Royal PalaceBrass 1700-1800 CE
Benin - Nigeria
BENINPlaques were mounted on the walls of the Oba's Palace and recorded the history of the Benin kingdom
Most depict the kingor warrior chiefs
BENIN
Oba with AnimalsBrass Altar
1700-1800 CEEdo peoples
BeninNigeria
BENIN
Bronze Oba Portrait
Bronze Male Portrait
Cast Bronze Leopard
Oba with Attendants