AFRICA AFTER 1800 GARDNER 34-2 PP. 895- 906

AFRICAN SCULPTURE African art is basically portable -> large sculptures like those that graced the plazas of ancient Egypt or Rome do not exist Wood is the favorite material; ivory is used as a sign of rank or prestige; metal shows strength and durability, and is restricted to royalty; stone is extremely rare Figures are basically frontal, drawn full face Africans did no preliminary sketches and worked directly on the wood Heads are disproportionately large, sexual characteristics are also enlarged, bodies are immature and small Multiple media are used -> common to see wood sculptures adorned with feathers, fabric, or beads Prefers geometrization of forms -> generally avoids physical reality

CHOKWE (173) Female (Pwo) mask, Chokwe peoples (Democratic Republic of Congo), late 19th to early 20th century C.E., wood, fiber, pigment, and metal Female masks used by men in ritual dances -> *watch Khan Academy video* Male dancers are covered with their identities masked, dresses as women with braided hair Ritual in which men move like women Chokwe is a matriarchal society Depicts female ancestors Characteristics -> large eye sockets, pushed in chin, slender nose, high forehead, balanced features, almost closed eyes

MENDE (175-1) Bundu mask, Sande Society, Mende peoples (West African forests of Sierra Leone and Liberia), 19th to 20th century C.E., wood, cloth, and fiber -> *watch Khan Academy video* Carved by a man, but the only African wooden masks worn by women -> for girls initiation Idealized female beauty -> serious face, small mouth and ears Elaborate hairstyle symbolizes wealth; worn by women of status Large forehead, small eyes in the shape of slits, tight lipped mouth symbolizing secrets not revealed Sande society is a secret society of women who prepare girls for adulthood

MENDE: CONTEXTUAL PHOTOGRAPH (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 Costumed women wear a black gown made of raffia that hides the body Costumed as a Sowei, the water spirit; rings around the neck symbolize concentric waves from which Sowei breaks through the surface Mask rests on her head; head not placed inside the mask Mask coated w/palm oil for lustrous effect Black color symbolizes water, coolness, and humanity Individuality of each mask is stressed

IGBO (176) Ikenga (shrine figure), Igbo peoples (Nigeria), c. 19th to 20th century C.E., wood Ikenga means “strong right arm,” thus physical prowess Honors the right hand, which holds weapons or tools, makes sacrifices, conducts rituals, and alerts to speak at public forums Traditional masculine associations of strength and potency Carved from hardwoods considered masculine Personal god/personal object of achievement and success Enormous horns symbolize power

Ikenga (Igbo peoples) Maintained in a man’s home It is not a portrait It is a symbolic representation of the power, authority, and accomplishment of the owner

LUBA (177-1) Lukasa (memory board), Mbudye Society, Luba peoples (Democratic Republic of the Congo), c. 19th to 20th century C.E., wood, beads, and metal History was performed not read -> performative with song and dance - > memory boards are used by experts in the oral retelling of history Carved from wood in an hourglass shape -> adorned with shells, beads, or metal Back resembles a tortoise Each lukasa is unique and different

MEMORY BOARD (LUKASA): CONTEXTUAL PHOTOGRAPH (177-2) Lukasa (memory board), Mbudye Society, Luba peoples (Democratic Republic of the Congo), c. 19th to 20th century C.E., wood, beads, and metal Memory board, or lukasa, helps the user remember key elements in a story -> court ceremonies, migrations, heroes, kinship, genealogy, lists of kings Reader holds the lukasa in left hand and traces designs with right index finger Ability to read the board is limited to a few people MBUDYE SOCIETY (“men of memory”) use the lukasa to recount history, diviners also use it

BAMILEKE (178-1) Aka elephant mask, Bamileke (Cameroon, western grasslands region), c. 19th to 20th century C.E., wood, woven raffia, cloth and beads Only important people in society can own and wear an aka, or elephant mask; used at a royal court Elite Kuosi masking society owns and wears the masks; worn on important ceremonial occasions Beadwork is a symbol of power Symbolizes features of an elephant - > long trunk and large ears Human face

VOCABULARY Adobe – building material of earth and straw or clay Aka – an elephant mask of the Bamileke people of Cameroon Bieri – a reliquary guardian of the Fang people Bundu – masks used by the women’s Sande society to bring girls into puberty Cire perdue – the lost wax process Fetish – an object believed to have magical powers Ikenga – a shrine figure symbolizing male attributes of the Igbo people Lukasa – memory board of the Luba people of central Africa Mblo – a commemorative portrait of the Baule people Ndop – a Kuba commemorative portrait of a king in an ideal state Nkisis n’kondi – a Kongo power figure Pwo – a female mask worn by women of the Chokwe people Scarification – scarring of the skin in patterns by cutting with a knife Torons – wooden beams projecting from walls of adobe buildings

BAMILEKE: CONTEXTUAL PHOTOGRAPH (178-2) Aka elephant mask, CONTEXTUAL PHOTO, Bamileke (Cameroon, western grasslands region), c. 19th to 20th century C.E., wood, woven raffia, cloth and beads Mask fits over the head and two folds hang down in front and behind the body Performance art -> maskers dance barefoot to a drum and gong; they wave spears and horsetails

FANG (179) Reliquary figure (byeri), Fang peoples (southern Cameroon), c. 19th to 20th century C.E., wood Figures placed on top of cylinder-like containers made of bark that hold skulls and other bones of important clan leaders Feet dangling over the rim in a gesture of protecting the contents The reliquary figure guards the head box against the gaze of women or young boys Bieri figures display tranquility, introspection, vitality -> all qualities the Fang peoples value Surfaces rubbed with oils add luster and protect from insects Prominent belly button and genital = life prayerful gesture and somber look = death

YORUBA (180) Veranda post of enthroned king and senior wife (Opa Ogoga), Olowe of Ise (Yoruba peoples), c. 1910-1914 C.E., wood and pigment Olowse of Ise carved posts for the rulers of the Ekiti-Yoruba kingdom in Nigeria One of four carved for the palace at Ikere Negative space creates an openness in the composition King is the focal point in relationship between his figure and others represented on this post Behind him his large-scale senior wife supporting the throne She crowns the king during coronation; protects him during his reign Small figures -> junior wife; flute player is Esu, the trickster god Most veranda posts were painted; traces of paint remain