ART OF ANCIENT WEST AFRICA

WEST AFRICA Societies with their own customs and artistic traditions & styles

WEST AFRICA

ANCIENT WEST AFRICA Tribal 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

Djenne marketplace - Mali Earthen brick houses – Benin, Nigeria 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) Djenne marketplace - Mali Earthen brick houses – Benin, Nigeria Wood ribbed house - Cameroon

Zaria, Nigeria: clay houses WEST AFRICA Architecture Today, modern western styles, Islamic styles, and contemporary African tribal styles based on earlier traditions can be found throughout West Africa Architecture Nigeria: movie house Djenne Mosque, Mali Zaria, Nigeria: clay houses

Man carving dried gourds used to serve food or drink 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 Figure Senufo - 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 Works were not seen as an piece of art but as an item with a societal purpose Assisted and maintained physical & spiritual well-being of community Helped organize society Helped solve problems Identified status within society Carved Door Dogon - Mali

Reliquary Figure, Gabon WEST AFRICAN ART Imagery 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 Mende Helmet Mask Sierra Leone

SCULPTURE Main form of artistic expression Full-round and relief Part of ritual and celebration Made of wood and cast metals Wooden full-round figure Bronze relief panel

Chiwara or Tyi Wara Figure SCULPTURE Chiwara or Tyi Wara Figure Bambana - Mali 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 Igbo Funerary Mask Nigeria Most made of wood Human and animal forms Sometimes painted and other materials added (shells, fibers, feathers, metals, …) Baule 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 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 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

MASKS Some masks are permanent, some for one use only Bwa Leaf Mask Burkina Faso 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 Bwa leaf masks are used once in ceremonies to encourage the cycles of nature and then discarded

MASKS Rules were followed locally regarding: Shapes Colors Patterns Crescent = Cycle of moon; start of the initiation Black = Adults White = Initiates “X” marks = Scarification Wavy lines = Paths of ancient ancestors Checkerboard = Teaching of wisdom Bwa Initiation Ceremonial Masks, Burkina Faso

Bwa Initiation Ceremonial Masks, Burkina Faso Scarification served as a symbol of strength, fortitude, or courage in both men and women Bwa Initiation Ceremonial Masks, Burkina Faso

MASKS Yoruba Gelede Ceremonial Mask Nigeria and Benin

Dan Social Arbitrator Mask Senufo Ceremonial Mask Ivory Coast & Liberia Senufo Ceremonial Mask Ivory Coast Baule Mask Ivory Coast

Ashanti fertility figures FIGURAL SCULPTURES Used to channel spirits toward human goals: Protection Stimulate fertility Mark initiations Commemorate event or individual 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 Ashanti fertility figures (Akuaba dolls) Ghana

Dan (L) -- Baule (R) - Ivory Coast 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, Gabon Protected the remains of the dead Placed in basket with skeletal remains Very abstract representations of the human form Used to scare off evil forces and individuals who may tamper with the remains Reliquary Figures, Gabon

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 FIGURES Believed to be able to give spirits physical form & to channel their energies Full-round stylized human form Carved from wood & nails, pins, mirrors, blades, … added to release power within figure Nkisi Figure, Congo

Benin Kingdom -Nigeria ROYAL FIGURES Portraits to honor kings, queens, & high-ranking dignitaries 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 Queen Ife 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, Mali Bronze

WOMANHOOD FIGURES Honored women as leaders within the society and as Female Figure, Nigeria Female figure, Baule Ivory Coast 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 In many regions, African mothers have always owned the land, which is why the land is referred to as the motherland

THRONES & STOOLS Royal thrones or seats symbolize 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 kora kontingo balafon

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 Art Adinkra 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 An official of the court of the king of the Asante people 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

African Fabric Art Stamp Symbolism Adwera – Watery Shrub Purity, Sanctity, Chastity, Cleanliness Cleanliness, Good Fortune Abe-Dua – Palm Tree Self-sufficiency, Resilience, Vitality, Wealth, & Causation Adwo – Peace Peace, Calmness, Continuity, Spiritual Coolness Akoko Nan – Hen’s Feet Parental Discipline, Care, Tenderness Discipline, Protection

King wearing adwinasa kente 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 Color symbolism in Kente Cloth 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

African Fabric Art Wax resist Tie-Dye 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 AFRICA Empires City States Ghana (750-1200 CE) Mali (1200-1500 CE) Songhay (1350-1600 CE) City States Ife Hausa Benin Ashanti Oyo

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

NOK CULTURE Terracotta heads once part of entire human figure sculptures Seated Figures, 250 BCE

IFE Nigeria (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

IFE Nigeria (1300-1600 CE) Developed lost-wax metalworking traditions Created naturalistic human portrait heads of royal individuals Cast bronze Terracotta

Bronze Royal Portraits and Royal Figure 1300-1400 CE IFE Bronze Royal Portraits and Royal Figure 1300-1400 CE

IFE Bronze Head 1500-1600 CE Terracotta Head 1300 CE

BENIN 1400-1600 CE The King's court was entirely surrounded by a special wall and was divided into many magnificent palaces, houses, and apartments 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

BENIN Nigeria (1400-1600 CE) Benin City - Seventeenth-century engraving illustrating a court ceremony

BENIN Nigeria (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

Edo peoples, Benin - Nigeria Portrait Heads 1700-1800 CE Portrait Head of an Oba Brass & Zinc 1700-1800 CE Edo peoples, Benin - Nigeria

Entrance Panel to Royal Palace BENIN Entrance Panel to Royal Palace Brass 1700-1800 CE Benin - Nigeria Mounted Warrior Brass 1700-1800 CE

BENIN Plaques were mounted on the walls of the Oba's Palace and recorded the history of the Benin kingdom Most depict the king or warrior chiefs

BENIN Oba with Animals Brass Altar 1700-1800 CE Edo peoples Benin Nigeria

BENIN Cast Bronze Leopard Bronze Male Portrait Bronze Oba Portrait Oba with Attendants