1. Family Grouping
subthemes: Maternal Bonds, Feminine Power, & Ancestry
Bonding
and developing strong familial ties were essential to many tribes
living in the Central and Western regions of Africa. Strong connections
were made not only within one’s immediate family, but also within one’s
tribe.
There were a diverse array of rituals performed with the intent of cultivating a stronger bond with a myriad of family members. From honoring the bond between mother and son, or acknowledgment of adulthood, rituals were performed by many tribes. In many of said rituals, masks and apparel were utilized during performances and successions of dances. Often, the masks worn in said rituals were of unique significance, and were worn by dignified members of the tribe. Specially carved figurines and objects were also used by tribes, during these rituals, or even during the daily life of members.
There were a diverse array of rituals performed with the intent of cultivating a stronger bond with a myriad of family members. From honoring the bond between mother and son, or acknowledgment of adulthood, rituals were performed by many tribes. In many of said rituals, masks and apparel were utilized during performances and successions of dances. Often, the masks worn in said rituals were of unique significance, and were worn by dignified members of the tribe. Specially carved figurines and objects were also used by tribes, during these rituals, or even during the daily life of members.
The Mblo portrait mask was worn by a distinguished, specially chosen member of the community by the Baule peoples in Africa and was part of a special succession of aesthetic performances and dances known as "Mblo." Occasionally, the mask would be worn by special visitors to the village. Artists creating the mask would refine it and detail it to resemble that whom it was honoring. This mask in particular represents the maturity of the elder woman for whom it was cultivated.
The Chokwe peoples placed great significance on their maternal lines, and traced their ancestry in this way. Thus, the Pwo masks were of paramount significance to them as they were utilized in a myriad of different rituals, each honoring feminine beauty. The masks also record traditional Chokwe facial scarification patterns.The Pwo masks vary as one transcends their maternal lineage, and even is so detailed as to be specific to the type of female who wears one (ie. immature, young, wise). The Pwo masks varied from region to region, but ideally represent the feminine motif of beauty and maternal significance.
The Bundu mask is one worn only by women, whose purpose ranges from the adoration of feminine beauty to an embodiment of ancestral spirits. The mask presents an ideal of feminine beauty admired by the Mende: elaborate hairstyle, full forehead and small facial features. The gleaming surface signifies healthy, glowing skin. The swelling fleshy rolls alternating with deep incised lines at the neck or back of the head are considered marks of beauty and a promise of fecundity. The neck is broad to fit over the head of the woman who will wear it. Sande officials commissioned male carvers to produce the mask in secret, because it was very rare at the time to have a mask exclusively for women.
Utilized primarily by the Luba peoples, the Lukasa is a memory board whose beads and symbols present a conceptual map of fundamental aspects of their culture. It possesses illustrations of the Luba political system, and historical chronicles of the Luba state, as well as territorial diagrams of local chiefdoms. While the object does possess political functions, in that it is utilized primarily by the Mbudye Society (a council of men and women charged with sustaining and interpreting the Luba state), a large aspect of its primary purpose is the tracing of the ancestry of the entire Luba state. Each tribe possesses their own Lukasa, and they are each made with tender care, and are of paramount importance.
The nlo byeri is an object whose purpose was primarily related to ancestral devotion and worship. The figurine assumed many purposes for the family who possessed it, from luck, to prayer, to be a guardian to frighten away intruders. Meant to represent the ancestral lineage of one particular family (each would have had their own nlo byeri), it was an object whose significance was quite profound, and would either represent one particular ancestor, or the collective group.
2. Power and Authority
Many of the artworks commissioned in Africa possessed a purpose that underscored the apparent concentration of power and authority in the region where they were located.
From figurines, to apparel, to architecture, these artworks embodied the ideals of power in their use and appearance. Certain commissioned works would display the propaganda of a great, "wonderful" ruler, whilst others were built as sacred, for only few people of importance to touch. However, like many facets of the world and their respected artworks, the pieces each depict a unique emblem of African culture and history.
From figurines, to apparel, to architecture, these artworks embodied the ideals of power in their use and appearance. Certain commissioned works would display the propaganda of a great, "wonderful" ruler, whilst others were built as sacred, for only few people of importance to touch. However, like many facets of the world and their respected artworks, the pieces each depict a unique emblem of African culture and history.
The Aka Elephant Mask signified kingship and wealth by those who wore it. Beautifully stitched into mesmerizing geometric patterns, the mask symbolized important leaders, and was meant to support political authority. The masks were occasionally worn during Bamileke masquerades, and would have been worn during rituals. They were almost exclusively for authoritative figures, and people who were deemed to be of "paramount importance."
Both the Portrait figure of King Mishe miShyaang maMbul and the Wall Palque from Oba's Palace depict political importance through commissioned artworks whose function is primarily propaganda. The Wall Palque was commissioned by Oba himself, who was the King of Benin. Believed to be related to the primary founder of his dynasty, Oba saw himself as an individual whose importance was like that of a god. His palace was adorned with many high relief tablets and depictions of him as a ruler, surrounded by servants. King maMbul was in a position similar to his political counterpart, in that he believed his rule as an authoritative figure was so profound and important that it was necessary to cultivate a figurine to celebrate it. The figurine depicts him as a strong ruler, and authoritative.
3. Religion and sanctity
As is common throughout the history of artwork, many of the objects and locations cultivated and loved by African tribes were those of religious importance.
From mosques to sacred figures, many tribes looked to objects of devotion for hope and prayer. Whether it was praying for a gracious crop outcome, or simply for protection, many people believed that faith in a higher power granted them with a more rewarding lifestyle. And, it was through alternative forms of artwork that they found what they were seeking.
From mosques to sacred figures, many tribes looked to objects of devotion for hope and prayer. Whether it was praying for a gracious crop outcome, or simply for protection, many people believed that faith in a higher power granted them with a more rewarding lifestyle. And, it was through alternative forms of artwork that they found what they were seeking.
An architecturally fascinating building, the Great Mosque of Djenne in Mali is a mosque whose primary function is Islamic worship. A place of profound cultural significance, the mosque possesses many of the classic features of a gathering place for Muslim temple, including a qibla (prayer wall) facing towards Mecca, and overlooking a marketplace. Religious devotion is so important to the Mosque, that only practicing Muslims may be allowed entry.
In many African cultures, particularly the Igbo peoples, ikenga are used in male cults as an object for personal devotion and prayer. Placed upon mantles or in shrines, the ikenga are used to praise individual achievement, and are often looked to when one seeks divine power and help. They are each personal, and unique to the individual. When an individual seeks for protection in a battle, for example, they will turn to their ikenga as a method of security and help for them. Because these objects were sacred, and turned to often for prayer, they are an object of importance.