1. ART OF ANCIENT WEST AFRICA

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

3. WEST AFRICA

7. 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

8. 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

9. 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

10. 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

11. 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

12. 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

13. 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

14. 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

15. 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

16. 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

17. 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

18. 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.

19. 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

20. 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

21. 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

22. 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

23. 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

24. 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

25. 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

26. 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

27. MASKS
Yoruba Gelede
Ceremonial Mask
Nigeria and Benin

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

29. 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

30. 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

31. 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

32. 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

33. 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

34. 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

35. 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

36. 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

37. 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

38. THRONES & STOOLS
Only those who own the stools or thrones are allowed to sit on them

39. 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

40. 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

41. 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

42. African Fabric Art Valued trade commodity
Communicated a wearer’s kingship, group, or status within the community

43. African Fabric Art Woven on looms Stenciled Block (Stamp) printed
Screen-Printed
Painted
Batiked/Resist
Tie Dyed
Embroidered

44. 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

45. 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

46. 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

47. 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

48. 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

49. 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

50. African Fabric Art

51. 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

52. African Fabric Art Yoruba Adire Cloth Indigo dyed cloth
Dye resist processes
Tie-dye
Batik with metal stencil stamps or hand painted with wax

53. 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

54. ANCIENT WEST AFRICA Empires City States Ghana (750-1200 CE)
Mali ( CE)
Songhay ( CE)
City States
Ife
Hausa
Benin
Ashanti
Oyo

55. ANCIENT WEST AFRICA
Ghana ( CE) the “land of gold”; an economic intermediary within the gold trade from south to north
Mali ( CE) encompassed most of West Africa north of the forested region and also relied on trade of gold and salt
Songhay ( 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

56. ANCIENT WEST AFRICA A center for trade with Northern Africa,
Egypt, and Europe

57. ANCIENT WEST AFRICA A center for trade with Northern Africa,
Egypt, and Europe

58. NOK CULTURE Nigeria (500-200 BCE)
Center of agriculture and ore refining
Created high stylized terracotta human figures
Standing
Seated
Kneeling

59. NOK CULTURE
Terracotta figures made using addition and then carving (subtraction)
abstract
triangular eyes
perforated pupils
elaborate hair styles and jewelry

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

61. IFE
Nigeria ( CE)
First of Yoruba city-states or kingdoms, established government under a priestly oba, ('king' or 'ruler')
Powerful political center
Sacred/Holy city

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

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

64. IFE
Bronze Head CE
Terracotta Head
1300 CE

65. BENIN 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

66. BENIN Nigeria ( CE)
Benin City - Seventeenth-century engraving illustrating a court ceremony

67. BENIN
Nigeria ( 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

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

69. Entrance Panel to Royal Palace
BENIN
Entrance Panel to Royal Palace
Brass CE
Benin - Nigeria
Mounted Warrior
Brass CE

70. 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

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

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