AFRICA AFTER 1800 GARDNER 34-1 PP. 888- 895

AFRICA AFTER 1800 - BACKGROUND African affairs were largely internal struggles -> outsiders held back by natural barriers like the Indian Ocean and Sahara desert African politics was complicated by the Asian and European incursion on both the east and west coasts of the continent in the 15th century Outsiders restricted themselves to coastal areas -> interior of Africa undisturbed until the 19th century In the late 19th century industrial technology and demands led to a “New Imperialism” The “Scramble for Africa” divided the continent into European controlled colonies Colonial control lasted less than a century -> most colonies achieved independence in the 1960’s and 70’s

PATRONAGE AND ARTISTIC LIFE Africans rely on an oral tradition to record their history African objects are unsigned and undated African artists worked on commission Apprenticeships and guilds Men were builders and carvers Women painted walls and created ceramics Both sexes were weavers African art was imported into Europe during the Renaissance -> as curiosities not as artistic objects It was not until the 2oth century that African art began to find true acceptance in European artistic circles

KUBA (171-1) Ndop (portrait figure) of King Mishe miShyaang maMbul, Kuba peoples (Democratic Republic of the Congo), c. 1760- 1780 C.E., wood The Kuba live in the Democratic Republic of the Congo on the southern fringes of the equatorial forest -> over a period of three centuries of movement and exchange beginning in the 17th century, this loose confederacy of people formed into a durable kingdom

Ndop figures are commemorative portraits of Kuba rulers -> presented in an ideal state Not an actual representation of the king , but his spirit Each king is commemorated by symbols on base of the figure (drum with a severed hand) -> this king has a sword in his left hand in a non-aggressive pose, handle facing out One of the earliest existing wood sculptures Characteristics of ndop figures -> cross- legged pose, sits on a base, base seems uninvolved and above mortal affairs Exaggerated 1 to 3 scale of the head -> the seat of intelligence Royal regalia = bracelets, armbands, belts, headdress Designed to preserve the ruler’s accomplishments for posterity -> especially useful in a culture of oral traditions

CONTEXTUAL IMAGE: KUBA NYIM (RULER) (171-2) Ndop (portrait figure) of King Mishe miShyaang maMbul, CONTEXTUAL PHOTOGRAPH, Kuba peoples (Democratic Republic of the Congo), c. 1760-1780 C.E., wood Photo of a Kuba ruler enthroned wearing royal regalia Headdress Necklace of leopard teeth Sword and lance Drums and basket of reign Photo made in 1971 capturing a royal event Continuous tradition of honoring a Kuba king Costuming was elaborate; needed help to move; represents the splendor of his court, his greatness, and his responsibilities Symbolizes ruler’s wealth, status, and power

POWER FIGURE (N’KISI N’KONDI) (172) Power figure (Nkisis n’kondi), Kongo peoples (Democratic Republic of the Congo), c. late 19th century C.E., wood and metal These images embodied spirits believed to heal and give life, or others to inflict harm, disease, or even death Each figure had its specific role and each wore its particular medicines -> here a large cowrie shell in the abdomen Every image was activated differently -> in this case a nail or blade was inserted into it Roles of the power figures varied -> curing ailments, stimulating crop growth, punishing thieves, weakening enemies

BUALE Portrait mask (Mblo), late 19th to early twentieth century, wood and pigment Presented at Mblo performances in which an individual is honored buy having ritual dances and tributes are performed in someone’s honor Honoree receives mask as a gift that reflects an artistic double Masks commissioned by a group of admirers, not by an individual Dancer who wears the mask and wears the clothes of the honored person is accompanied by the actual person

CONTEXTUAL IMAGE: (174-2) Portrait Mask (Mblo) Idealized representation of the real person; not a portrait in the modern sense of the term Portraits of real people, even if commemorative, are rare in African art Broad foreheads, pronounced eye sockets, column shaped nose Quiet faces; introspective look; peaceful face; meditative; eyebrows in an arch