Asante, State swords and caps, Ghana.

·         Gold

·         Cacophony of images, animals, kingdom-related

Akan, Linguist staffs, Ghana, 20th c.

·         Carved of wood and decorated in goldwork

·         Shows high status and power of the ruler they served

·         Elephant with a buffalo represents “adage” – everyone has a superior

·         Man eating from a bowl as another watches hungrily- refers to ideas of power and economic difference

Asante, Golden Stool displayed next to the Asantehene, Ghana, 1986.

·         Alludes to important ideas of power and independence

·         Stood became a symbol of the kingdom’s unity and vitality

·         Gold used to represent the essence of the sun and to symbolize life’s vital force or “soul”, along with endurance

·         Very sacred, could never touch the ground, placed on own special European-style chair and elephant skin-mat

·         Reinforces Asante ideas of political hierarchy with the ruler surpassing both European and natural forces

·         Stool carried the soul of the entire nation

·         Associated with stool was new set of laws, new national ideology, and new Asante ruling council

·         Wooden core and hammered gold covering

·         Revolt led by Asante queen when colonial officials sought to remove it

·         Lavish in gold

·         Expensive fabric

·         Gold stool at same level or even higher- has its own regalia 

Akan, Royal Stool, Ghana, late 19th c.

·         Wood and silver

·         Bears a wealth of anthropomorphic symbolism: support symbolizes neck, seat for the face, protrusions at the lower ends of the seat for the ears, the bottom of the seat for the back of the head, and holds carved in the seat top for the mouth

·         Holes allude to the ability of ancient stools to communicate power and well-being to living chiefs- capacity to speak

·         Political function

·         Most common form incorporates 5 support posts- suggests the king and four subsidiary chiefs of the zenith sun and four cardinal points (one at center and four at each corner)

Akan, Soul Washer's Disk, Ghana, 19th c.

·         One of most important gold regalia

·         Worn by ruler, queen mother, and certain members of the court

·         Believed to protect wearer from danger

·         Radiating rosette designs like radiating sun, which is the ultimate source of each person’s kra (spirit essence)

·         Worn around neck

Akan, Gold Ornaments on state swords.

·         Attached to handle or blade of swords

·         Portrays a wide range of royal themes, including lions (ruler’s bravery), powder kegs (ability of Asante kings to travel widely with their armies, European serving vessels (responsibility of the king for the material wealth of his subjects), night bird (refers to dilemma of making state decisions), crocodile devouring mudfish (ruler’s strength as a war leader)

·         Supplemental gold heads head special meaning for the Asante royal and military history

Asante, Kente textile, Ghana, 19th-20th c.

·         Type called Sika Futura “Gold Dust Aweaneasa” but each kente pattern has its own name

·         Some designs honor specific people, especially rulers, queen mothers, artists, and their families- alluded to identity (lineage, family)

·         Other patterns may refer to plants, animals, everyday objects, wealth, poverty, well-being, etc

·         Status and ritual associations of regalia are complemented in traditions of royal textiles like these

·         Narrow-loom weaving, strips woven together

·         Complex designs,

·         Article of high status

·         Used in ceremonial context- worn by both men and women

·         Marks of heritage

Akan, Airplane-shaped Coffin, Ghana, 1989.

Artist: Kane Kwei (1924-1992).

·         New development of art tradition

·         Individualized coffins

·         Expensive since personalized but important symbols of status in Ghana

·         Made for a frequent traveller 

Sukuma, Bujora Church, Tanzania, late 20th c

·        Religion and royal power

·        Father Clement together with local chiefs built the church

·        In the shape of a Sukima family enclosure, blown up in size

·        Hoe- mark of agriculture

·        Ciwara harvest

·        Conflation of religion (god) and royalty (chiefs)

·        Images of royalty brought into religious space---- still, altars as stools, hoes

Lalibela, Cruciform church of St. George, Ethiopia, late 12th c.

·        Representation of glory of god and King

·        Lalibella is considered the Jerusalem of Africa

·        In contact with Byzantium and Rome

·        Carved out of solid rock

Our Lady Mary, Apostles, Saints George and Theodore, Ethiopia,15th c.

Artist: Fere Seyon (?).

·        George and Theodore- apostles on horses

o   Most important to Ethiopia

·        Picking figures that relate to local concerns

·        Flatness- many frontal

·        Similar to byzantine icons 

Great Mosque at Djenne, Djenne, Mali. Orig. 14th c., rebuilt 190

·        Courtyards surround hypostyle mosque

·        Elaborate architecture

·        View of the roof

·         Ostrich eggs on top

·        Askia Mohamed’s pupils poured water on it in order to destroy it and build a new one

o   Political tool- to put a different group to power

·        This bldg carries power

o   An image of Sedanic architecture

Jami Masjid, Nairobi, Kenya, 1935.

·        Elaborate architecture

·        Onion domes like Taj Mahal

·        Large scale

·        Influences from India and morocco

·        Merger of local concerns and local elements

·        Shows status, religious piety, cosmopolitanism

Great Mosque, Dingueraye, Guinea, 1849-83.

·        Rectangular plan within

·        Different but looks familiar

·        This form is familiar

·        Benin, Python head, Nigeria, 18th c.

·        Python is the symbol of transitory figures (can live on land and in water)

·        Associated with the power of the ruler

·        Benin, Oba Akenzua II (1933-1978) in coral regalia during a palace ceremony, Nigeria, 1964.

·        The king’s body is covered, his arms are bent while he is supported during the  ceremony

·        He wears coral red beads which recalls the deadly power of the king and the close kin-like bond btw the ruler and the populace

·        Benin, Royal head, Nigeria, c. late 16th c.

·        Portrays Benin royalty

·        Has coral bead covering – symbol of power and wealth

·        These heads reinforced the authority of the ruler. Serve as visual references to authority, wisdom, success of each ruler. 

·        Benin, Queen mother head, Nigeria, c. 1500-50.

·        This head represented the queen mother and was placed on a special altar dedicated to these women.

·        Made of expensive red brass

·        Two iron bars by the nose, eyes are inlayed with iron

[image]

[image][image][image]

·        Benin, Leopard vessel, Nigeria, late 16th c.

·        Ritual vessel identified with King Eware.

·        Used for ritual washing

·        Eware fell asleep under the tree and when a leopard attacked him, he killed it.

·        From now on ruler is identified with leopard

·        Benin, Palace in the form of a box, Nigeria, 17th-18th c.

·        Representation of the great palace of Benin.

·        Hornbills on the roof symbolize kings role as overseer of human destiny

·        Python- icon of transition

o   Also symbolizes wealth

·        The palace is highly decorated

·        Benin, Ivory hip mask, Nigeria, c. 1520.

·        Worn on hip to commemorate Idea during royal memorial ceremonies

·        Believed to represent king Esigie’s mother Idia, who helped end civil war

·        Iron marks in the eyes signify wealth and power

·        Top of the mask is a representation of Portuguese

o   They are transitory figures because the walk on land and swim in the  water (on ships).

o   This image is incorporated with the mudfish

·        Benin, Plaque with warrior and attendants, Nigeria, late 17th-early 18th c.

·        Image of King as warrior in full royal regalia

·        Portuguese ppl that have mudfish heads

·        Shows how water and wealth are sources of a kings power

[image]

[image]

Kongo, N'Kondi figure, Democratic Republic of the Congo (DRC), before 1878.

• most powerful type of nkisi (empowered sculpture), hunter of danger
• protective figures used to destroy punish wrongdoers or those who were believed to have caused diseases
• activated by a diviner or holy person using magical substances
• also empowered by speech and saliva
• with each request that is fulfilled, the figure gets more material added to it, making it more powerful
• intentionally threatening expression that is supposed to be both aggressive and defensive
• drawing back of lips suggests devouring or spiritual cannibalism

Kongo (Yombe), N'kisi N'kondi figure, Democratic Republic of the Congo (DRC), collected c. 1905.

• figure was both invoked using bloodthirsty language, and provoked by exploding gunpowder in front of it, or hammering nails into it
• arm raised, with knife: gesture suggests challenge and readiness to attack
• medicine pack in belly identifies the stomach with well being and sorcery (sorcery swells the intestines)
• enclosed mirror/shell said to serve as portal into world of sorcery and antisorcery
• loss of will suggested by binding of hands or feet
• open mouth refers to feeding of nkisi to arouse it to take action
• male nkisi are supposed to be more dangerous than female, but many are shown sexless

[image]

[image]

Kongo, Figure of St. Anthony with the Christchild, Democratic Republic of the Congo (DRC), c. 19th c.

• combination of both local elements and western influence
• red palm oil rubbed on his face represents a local practice
• wide religious shawl corresponds to special net capes worn by Kongo nobles
• this figure is a toni malau, a personal guardian to safeguard users from ill health
• asymmetric posture of jesus is characteristic of kongo art
• royal fly whisk in jesus’ hand
• left hand placed over shoulder, where medicinal bundles are usually secured

Kongo, Ivory horn, Democratic Republic of the Congo (DRC), collected before 1553.

• sent to king of Portugal
• roles: played at court and placed on royal graves, sounded at war, signaling warriors and calling supernatural aid
• horn players are naked to the waste, body painted white in memory of ancestors
• repeat song 12 times to honor 12 generations of kings
• early kongo thought of Portuguese as voyages from land of the dead
• the music notes are supposed to be understood by the dead
• open spiral or serpentine form – winding route to world of ancestors. indicates that king is all knowing

Kongo, Royal hat, Democratic Republic of the Congo (DRC), collected before 1674.

• cruciform icon symbolizing chiefly authority
• symbol also found on royal knives
• in other similar caps, fangs or claws of leopards are attached to suggest cardinal directions
• spiral composition
• constructed from single thread, beginning at the center of the crown. reinforces ideas of health and longevity
• zinga, aka spiral, means long life
• sometimes the hats have snakes, which represent fecundity

Kongo (Bwende), Niombo funerary mannequin, Democratic Republic of the Congo (DRC), acquired in 1938.

• artist makoza went to bedside of dying person to note distinguished facial features
• built sculpture over the mummified cloth covered body of the deceased
• people of greater status  have more textile covering
• chiefly hats and brass armrings are also status markers

Kongo, Mintadi guardian figure, Democratic Republic of the Congo (DRC), c. 19th c.

• made of soft dense schist, carved under aristocratic patronage
• after the ruler died, this was placed on the burial ground to represent him
• when he dies, he is said to be embodied in stone
• some legends say the mintadi could walk and talk
• the statue has attributes of royalty, such as the cap and jewelry
• it usually has an asymmetric pose (tilting head, diagonal arms)
• the posture is one of sorrow, and the lowered eyelids suggest he is deep in thought

Kongo (Yombe), Mother and child effigy figure, Democratic Republic of the Congo (DRC), 19th c.

• possesses icons of royal power, including cap, leopard claw necklace, raised box throne
• cross legged posture said to evoke respect, continuity, and stability
• linked to married women and their roles in assuring continuity in the lineage
• had cross gender identity: the Kongo word for mothers also applied to chiefs and male figures
• shows scarification

Kuba, King Kot a-Mbweeky in his royal attire, Democratic Republic of the Congo (DRC), 1971.

·         Finery- this isvery grand!

·         Makes Yoruba’s royal outfit look small

·         Could weigh over 200

·         Layering of cloth, shells, skins, spears thus movement is very restricted

·         Expensive textile, objects, fur, leopard skin, feathers- built up upon each other

·         The drum and vessel- built in similar ways as the king is dressed

·         King  is like a vessel of royal power, Kuba values, high status

·         ON RIGHT SHOULDER: is a spider- motif and power symbols

·         Red tongue references king/royal speech - also analogy for elephant

·         On a box like form- cowries and leopard

·         Textile on the ground- abstract patterns

·         King is metaphor for different animals.

·         Feathery fabulousness- on head- articulates different connections with other things.

·         Also thought to have some kind of mystical power- human yet more than that

o   Makes sense: the heaviness of clothing and the ability to wear this outfit and still show power and strength = supernatural power

Kuba, Statue attributed to Prince Myeel, Democratic Republic of the Congo (DRC), c. 17th c.

·         Formed around formation of the empire

·         Does not articulate natural form of a human

·         It is not an exact representation --- Not idealized

·         Hands-ARE HUGE/ CRAZY

o   what is being articulated: ability to make work, to work iron, is important through exaggerated forms

o   being able to do work is a significance of kingship – ARTISTRY is important in royal status

·         Prince Myeel- in charge of iron lines (IRON STATUE)

o   Became an artist- artist kings like those in the GRASSLAND

o   King smith – works with iron, artist

Kuba, Royal ndop portrait commemorating the early 17th c. dynastic founder King Shyaam the Great, Democratic Republic of the Congo (DRC), late 18th c.

·         Represent KUBA king

·         Make made after king’s death, but no uniform way of why object was commissioned

·         Could be seen as CARICATURE

·         Forms- position of ruler on dase * is UNIFORM

·         Sitting, hands, arms, calm, eyes look like cowries

·         The things that varies in these objects are the hats – which may differ

o    This hat represents a hoe- object to cultivate- identified with primordial rulers

·         Sword right hand, represents Shyaam

·         The game of Lele represents the king ( this game he is holding in his hand)

o    The game of skill – represents intellectual prowess, assume that king attribute would need to be smart

·         Different kings have different symbols- LIKE the FON – that represent different attributes that symbolize them = that define person and their rule

·         Body scarification: mark of beauty and status- on arm and bellies

·         Mimicked by pattern on DASE?)

·         UNLIKE the Kuba, Statue attributed to Prince Myeel, Democratic Republic of the Congo (DRC), c. 17th c.

o    This object is IDEALIZED- composure represents idealized values of beauty while PRINCE Myeel has abstract and NOT IN proportion representations like the crazy hands

§  THIS OBJECT IS IDEALIZED: just right- model of composure and beauty

§  Correct in proportion

o   IDEALIZED like Yoruba, IFA – represent KINGSHIP in aesthetic of an idealized person

Kuba, Mask representing the woman Ngady aMwaash, Democratic Republic of the Congo (DRC), before 1917.

·         Refers to primordial women

·         Patterns: see how gender is configured

·         Geometric patterns are important and distinct

·         Black and white triangles- agriculture, domesticity, women’s work

·         Shows the hardships of women’s role in society- their responsibilities

·         Strips coming down from eyes-tears, look like eyes from ndops

·         Women’s lives are hard – pain of living

o   Also for funerary ceremonies

o   Hardness of leaving- difficulty of leaving

·         Colors that talk about suffering

·         White – sign of mourning, religious piety

·         Blue points to individuality 

Kuba, King's sleeping room.

·         No monumentality

·         Sleeping room- defined by straw patterns that make up house and walls

·         Analogy to the symbols seen on other forms i.e. the king mask

·         Variations of the designs are common although they all have an amount of articulation of royal status

·         Architectural model that does not change much from other lay outs

·         Mentality- no towers, no stone, house on hill 

Kuba, Cut raffia cloth, Democratic Republic of the Congo (DRC), late 19th-20th c.

·         Little pieces sown together

·         Valuable because rarity!

o   Designs have names work for natural environment—way in textile

·         Geometric patterns again are important  

Eastern Pende, Kipoko mask, Democratic Republic of the Congo (DRC), collected before 1946.

·         A more popular community mask (eastern and central)

·         Performs at rituals for community- good mask, ONE owned by the village chief

·         Articulates the good qualities of the chief and issues of fertility and progenitor

·         Related to food- so while it dances the audience will feed it.

·         Represents ideas of ancestry- script as a meeting of ancestors- and living who are the younger relatives, expanded community- family reunion. Is a continuance of the community!

·         Kipoko has a certain type music and that character

·         All masks are just characters--- the dances do not transform they keep their identity but portray a character- this character is made through their costume, their dancing, and their music!

·         We can presume that some masks are popular in one area and not in other

·         If character is successful, then the mask will stay – some appear a few decades and then some disappear- others are popular in certain places etc 

Eastern Pende, Pumbu mask, Democratic Republic of the Congo (DRC).

·         Evil- harmful mask

·         Aggressive because of its LARGE EYES

o   Large- intimidating with whites around the pupil – cannot escape its threatening gaze 

·         Large—can be about 3 feet

·         Used also in CENTRAL Pende but does not look like this

·         Some masks that appear in one area may not be around in another- colonization affects shelf life of some masks 

Eastern Pende, Panya Ngombe mask, Democratic Republic of the Congo (DRC), collected c. 1938.

·         Represents circumcision- goes around and collects gifts for those getting done

·         Changed styles with colonization

Central Pende, Mbangu Mask, Democratic Republic of the Congo (DRC).

·         Most well known –recognized by its half moonface

·         Physiognomy- relationship between physiognomy (study of anatomy features) and connection between what we see outside and what you are inside.

·         Representation of a man who has been wounded- burned

o    Top of right eye- disfigured marks

o    Nose shifts to right

o    Not idealized- deformed

o    Tells us that – something isn’t quite right

·         A class of character

·         Variation but people would recognize these masks as these characters no matter what

·         You cannot just have a mask you have to have a dance

·         It is the dancer that constructs the character—we need to come up with a dance FIRST!

·         Equate with certain moves with certain characters- dance has to be unique but still recognizable as category of character

·         He is the victim of sorcery

·         Slouched, back has a hump where arrow comes out

o    Arrow- this character having been wounded – black and white, marks of eye

·         In the dance shows the wounds as well- an identifiable character

·         TUNDU- comic court jester- follows Mbangu- might articulate some value of humor talking about absurdity of talking about whatever

·         Luba, Bowstand, Democratic Republic of the Congo (DRC), 19th-20th c.

·         These objects are attached to secrecy, they contain powers that commoners would not know, or could not know

·         May have begun as practical objects, but they are also potent reminders of Mbidi Kiluwe, the culture hero who was a masterful hunter and blacksmith.

·         Furthermore, they held (and may still hold) active powers to stand in for the king, mobilize action, stimulate memory, validate claims to authority, impart knowledge, and harness reserves of spiritual strength.

·         Luba, Lukasa Board, Democratic Republic of the Congo (DRC), 19th c.

·         Used in structural divination, a way of remembering Luba culture

o   Often times called memory boards, we often see female heads

o   Memory aid, using the board would help to elaborate the power of a local kingdom

·         Mbudye association oversee divination and oversee the secrets of kingship

o   Preserve and transmit Luba royal histories, safeguard heirlooms of the kings, enforce rules and regulations of nobility

·         What kind of stories could it tell?

o   You can hold this on one hand, the other hand would touch different beads, the touching of the bead would incite some part of the story

o   With this board, the way in which you would touch it would dictate the story that gets told

o   Touch and sight are imp’t with these memory boards

o   There are many different ways to tell the story, not just one

·         Hourglass shape of lukasa refers to a human torso, and the beads and other incised details on the board’s surfaces are analogous to scarification

·         Luba, Headrest, Democratic Republic of the Congo (DRC), before 1936.

Artist: Master of the Cascade Coiffure.

·         Cascade hairdos would often be ornamented with iron pins

o   Headrests are objects that would protect hairdos

§  We see often beads that put around the waist and the neck

o   People would rest on these to take care of their hair

o   Hair becomes that mark of status and way to depict royalty

o   Hairdos might mark your status, but might also mark your profession

§  fisherman have one kind of a hairdo,

§  other hairdos might come in and out of fashion

·         Luba, Stool, Democratic Republic of the Congo (DRC), 19th c.

Artist: The Buli Master.

·         Body of a women holding up a seat

o   Women bodies are the only bodies strong enough to hold/protect the power of kingship

·         Shape of the face, slight tilt of the head distinguishes this object as a Buli Master carving

·         Scarification are marks of history; not only talk about history and cultural memory, they are also a nod to rules and regulation

·         Marks around the buttox, a very elaborate detailing of the hair

o   One of the most decorative parts of the body is the hair

o   Kings often times had the hairdo of women

·         Become symbols of royal authority, marks of cultural history, nodes of cultural memory

·         Basotho, Wall Mural, South Africa, 1990.
Artist: Popi Thalpo

·         Rhythmic forms and designs, Inactive rhythmic prayer

o   prayers for good agriculture and rain

·         Walls are there as female identity

o   her ability to do work, her role in this world

·         Emphasis on doors and windows,

o   transitional zones

o   metaphors for plenty and the womb

Basotho, Wall Mural, South Africa, late 20th c.
Artist: Betty Mohapi

Professor Nelson did not speak about this image in lecture, but the same themes/characteristics are present in these two murals.  Rhythmic forms, emphasis on the architecture, etc.

·         Basotho, Wall Mural, South Africa, 1992.
Artist: Emah Motlaung

·         Murals in a sense are inseparable from their environment

o   Relationship between the natural world and the made world

·         Certain things may point to things in the world

o   may refer to grinding of grain or a mask, mountains, earth and sky

·         Tells us that home might be a kind of center of a very large world, but at the same time home is connected to a very wide world

·         Connection between world of domestic world and socialized world of the village

·         Mural follows the shape of the house

Basotho, Wall Mural, South Africa, late 20th c.
Artist: Sanna Motaung

Professor Nelson did not speak about this image in lecture, but the same themes/characteristics are present in these two murals.  Rhythmic forms, emphasis on the architecture, etc.

Zulu, Beer Vessel, South Africa, 19th c.

• made with clay using the coil method
• a neck was added to avoid spillage when things are carried
• beer is traditionally made and served by women
• consuming beer was an important part of their diet, so beer vessels were common
• painted with a slip, then fired and cooled in a reduced atmosphere to turn black

Zulu, Woman's Beaded Waistband, South Africa, 1960s.

• worn by unmarried women around their waist, over their skirt
• in the zulu culture, beads are valued as decoration, as currency, and as a marker of identity
• Shaka (ruler) had a monopoly over the bead trade
• the colors all had meaning to the Zulu, and the color combination used in this belt (green, black, pink, red, yellow, turquoise) are a common choice
• positioning of colors (what color they are next to) influences meaning

Zulu, Dolls representing pregnant women, South Africa, 1989.

• hung over the bed of a woman hoping to have babies
• apron over belly is characteristic of pregnant woman, who usually wore one of antelope skin to signify that their baby would be born swiftly, and be agile and full of grace
• the doll is destroyed when the baby is born

Zulu, Headrest, South Africa, 19th-20th c.

• function: elevate head so that elaborate hairstyles can be protected while sleeping
• household pieces associated with the person whom it is made for
• usually used by married men or women
• carved from one piece of wood

Ndebele, Homestead of Franzina Ndimande, South Africa, 1990s.

Design associated with artist

·         Mixture of abstract and representational designs

Ndebele, women wearing beaded blankets, South Africa, 1990s.

·         Tells about status

·         Identifies them as married by the train

·         Can have multiple designs

Ndebele, Decorated Homestead, South Africa, 20th c.

·         Architecture as identity of the maker

·         Read people by their yards

·         Make family look good by amount of decoation

·         Political dimension

·         Tells which group affiliated with by color, not design

Ndebele, artist Esther Mahlangu with the BMW she painted, South Africa 1990s.

·         Women sometimes went from mothers to artists