1. AFRICA AFTER 1800
GARDNER 34-2 PP

2. 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

3. 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

4. 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

5. 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

6. 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

7. 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

8. 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

9. 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

10. 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

11. 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

12. 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

13. 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

14. YORUBA
(180) Veranda post of enthroned king and senior wife (Opa Ogoga), Olowe of Ise (Yoruba peoples), c 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