Art of Africa in the Modern Era

Anna TorosyanAP Art HIstory

“Political power is like an egg, grasp it too tightly and it will shatter, hold it too loosely

and it will slip from your grasp”

-Ashanti proverb.

Second largest continent

Geography: vast deserts,tropical grasslands, mountains, and rift valleys

Most important outside influence was theIslamic religious culture.

Europeans sought to claim every African territory that they could claim.

By 1914, almost all of Africa was under European control.Why? potential wealth of Africa’s natural resources

25-1. Kojo Bonsu (?). Finial of a spokesperson's staff (okyeame poma), from Ghana. Ashanti culture, 1960's-

70s. Wood and gold, height 11 ¼ (28.57 cm). Sarah Vanzo Collection, Johannesburg, South Africa.

- A universal symbol, which usually stands for authority or leadership: a staff or rod

- okyeame: spokesperson

- the first Europeans first explored Africa in the 15th century, shipped artworks, such as this finial, to western museums

-finial: top portion of a staff

5

What about Africa after World War I?

What about influence of African art on Picasso and other Western artists?

6

What about the box entitled “Foundations of African cultures” on p.877?

Chair, from Democratic Republic of Congo. Ngombe culture, 20th century. Wood, brass, and iron tacks, height at tallest point 25

'5/8” (65.1 cm). National Museum of African Art, Washington, D.C.

Pierre Legrain. Tabouret. c. 1923. Lacquered wood,

horn, gilding, length 20 ½ x 10 ½ x 25 ¼ (52 x 26.6

x 64.1 cm). Virginia Museum of Fine Arts,

Richmond.

Stools and chairs served for two purposes: to indicate the

owner's status and to serve as an alter for their souls, once

they have died.

Pierre Legrain. Tabouret. c. 1923. Lacquered wood,

horn, gilding, length 20 ½ x 10 ½ x 25 ¼ (52 x 26.6 x

64.1 cm). Virginia Museum of Fine Arts, Richmond.

Copper and iron were precious materials

Missingformal andcontextual analysis of these two works

25-2. Nankani compound, Sirigu. Ghana. 1972.

Men built the structure, while

women decorated the surfaces.

Women lived in the rounded

buildings in the courtyards; men

lived in rectangular flat-roofed houses.Houses were

decorated with horizontal ridges

called yidoor.

•Tell us we are now discussing living areas•What was the purpose of the vidoor?•tell us about protection

Children and The Continuity of Life

In traditional societies children were important. They guaranteed that parents would have someone to care for them in

their old age.Life was hard; very few children survived

into adulthood.Average life expectancy was 40 years.

Women that had children, reached thegoal of continuing their husbands

lineage.Women that had difficulty bearing

children would seek help with offerings and prayers, which often involved art.

25-3. Doll (biiga), from Burkina Faso. Mossi culture,

mid 20th century. Wood, height 11 ¼ (28.57 cm.). Collection Thomas G. B.

Wheelock.

Biiga: childThe Mossi people of Burkina carved these

dolls little girls to play with.

The doll represents an ideal Mossi

woman; one that has provided children in

order to continue her husbands lineage.How do you know? Contextual analysis

pleaseThe doll is carried by women as an aid to

fertility.If she is having

trouble bearing her first child, she carries the doll on her back.

25-4. Akiode (?). Twin figures (ere ibeji), from Nigeria. Yoruba culture,

20th century. Wood, height 7 7/8 (20 cm).

The highest rates of twin births occurs

within Nigeria, among the Yoruba

people. When a twin dies,

the parents consulted a diviner, that would tell them that an image of the twin must be carved.The figure would be placed on a shrine, where the woman

would feed and dress it.

More contextual analysis please,, also formal

InitiationThe Bwa people of central Burkina Faso initiatechildren into adulthoood when they hit puberty.They are separated from the younger kids by being “kidnapped”.They are stripped of their clothing and are forced to sleep on the ground without blankets.After gaining new knowledgewhat new knowledge?, the initiates return to their community as adults and are now ready to start farms, get married and have lives of their own.

25-5. Two mask in performance. From Dossi, Burkina Faso. Bwa culture,

1984. Wood,mineral pigments,and fiber, height

approx. 7' (2.13 m).

These masks depict spirits, which

take an animal form.

Most spectacular masks are the ones

that have a tall, narrow plank, and

are entirely abstract.

They do not takethe spirit ofa

human nor animal.The white cresent on top represents the quarter moon.

The triangles stand for sacred sound makers that are

swung around the head, known as bull

roarers.what does the “x”

represent?

25-6. Female ancestral mask. (nowo), from sierra

Leone. Mende culture, Sowei mask which

embodies the guardian spirit for the Women's

Sande Society. c. 1906. Wood, height 18 7/8 (47.7

x 21.9 cm).

In West Africa,the initiation of young girls

into adulthood is organised by a society of

women called the Sande.

The girls culminate with a ritual bath in a river

and return to the village to meet their future

husbands.The Sande women

wear all black and wear black masks, called

nowo.missing formal and contextual

analysis

The political system among the Lega people, which is based onvoluntary association is known as bwami.-Women can belong in the bwami, but cannot have a higher grade than their husband.-In order to get to the next level, you had to pay large amounts of money.-The mask belonged to the 2nd highest grade of bwami.

25-7. Bwami mask, frm Democratic Republic

of Congo (Zaire). Lega culture, early 20th

century. Wood, kaolin, and hemp fibers,

height 7 5/8(19.3 cm).