AP AH Content Area 6

Portrait Mask (Mblo)

Baule People

Ivory Coast

Early 20th Century

Wood and pigment

Asymmetric- shows subtle individuality within idealized features

Oval face, elongated nose, small mouth = honorable

Small mouth- don’t talk too much (oral tradition valued)

High forehead = smart

Arched eyebrows and downcast eyes = modesty

Head piece adds beauty

Expression = intense self reflection

Dark skin = health

Realistic hair = beauty

Moya Yanso - great dancer, face of mask

Owie Kimou- her stepson, artist of mask

Used in a performance to pay tribute to most important people in community- only used by experienced dancers (men)

Embodies inner beauty and character

More rare and important than animal masks- not hung as art

Bundu Mask

Sande Society, Mende People

West African Forests of Sierra Leone and Liberia

19th to 20th century ce

Wood, cloth, and fiber

Idealized female beauty

Dark black patina = inner beauty portrayed by outer mask

Downcast eyes = reserved

Small ears and mouth = don’t listen or spread gossip

Elaborate hairstyle = wealth; worn by women of status

Neck rolls (juicy/plump) = have enough fat to bear children

References to a cocoon (not a caterpillar anymore, not quite a butterfly yet)

Made by men

Worn on top of head (not face) by women- person covered by raffia

Used by elder women who prepares girls for adulthood (initiation)

Costumed as a Sowei, female water spirit

Message conveyed through dance

Female (Pwo) Mask

Chokwe People

Democratic Republic of the Congo

Late 19th to early 20th century ce

Wood, fiber, pigment, and metal

Closed eyes = doesn’t have to open them because she’s already knowing

Closed mouth = doesn’t have to talk, deserves respect

Elaborate hairstyle

Broadest part: eyes, ears, and forehead

Big eyes- draw attention

Carved and dance by men (in honor of fertile woman who had given birth)

Matrilineal society- family line passed down through mother

Honor founding female ancestors

Outfit: wooden breasts, men covered in raffia

Dancers had to act like women = walk gracefully

White eyes = spiritual realm

Aka Elephant Mask

Bamileke: Kuosi (elephant) Society

Cameroon

19th to 20th Century ce

Wood, woven raffia, cloth, and beads

Highly stylized

Triangles- leopards

Front long panel- elephant’s trunk

Large discs- elephant ears

Embroidered and almost completely covered with beads

Used in masquerade to honor king (fon)

Worn with red feather head dress, leopard skin pelt, and full body costume

Leopard and elephant- symbolizes king’s power

Belief: Fon could turn to an elephant, leopard can turn to human

Expresses political stability- only worn by people with great power (never by king)

Beads- wealth (black: night and dead, white: bone, ancestors, red: fon, life)

Conical Tower and Circular Wall of Great Zimbabwe

Shona People

Southeastern Zimbabwe

1400 ce

Coursed Granite Blocks

32 foot tall walled fortress- entrances only wide enough for one person

Placed highly on ground- ideal for surveillance

Slope inward- stones stacked without mortar

Bird (shaped as male bit)- symbolizes power

Tower- food storage (granary)

Function: City/capitol, not military

Where the government is held and food is kept

Symbolizes power- Shona was abundant in gold and excellent in trading

Great Mosque of Djenńe

Islam

Mali

Founded: 1200 ce; Rebuilt: 1906-1907 ce

Adobe (Mud brick)

Hypostyle hall (hall with rows of columns)

Mihrab (interior niche)

A series of minarets (towers)- ostrich eggs on top

Elevated on platform

Made with mud brick

Torons (beams)- project outward

Largest mud brick mosque in the world

Hypostyle hall- organize worshippers in rows

Mihrab- directs prayers towards Mecca

Minarets- where muezzin (crier) calls to pray

Elevation- makes mosque stand out

Mud brick- insulates well, easily accessed after rainy season; promotes unity (people gather once a year to repair mosque)

Ostrich egg- fertility and abundance

Torons- acts as ladders for people

Ndop

Kuba People

Democratic Republic of the Congo

1780 ce

Wood

Freestanding

Polished wood surface

One to three portion used- head is one third the size of statue (emphasized because it symbolizes intelligence)

Generalized features

Serve as important markers of cultural ideas (physical history instead of oral)

Identified by geometric patterns and ibol (symbol) chosen by ndop: drum with severed hand and clothes

Show regalia attributed to ruler

Displayed publicly to honor ruler

Rubbed with oil to protect from insects

Benin Plaque

Edo People

Kingdom of Benin

16th century ce

Cast brass

High relief

Brass- lost wax casting technique

Symmetrical figure composition: Oba (king)- largest and centered

Two attendants shielding/protecting oba

Small figure being stepped on- enemy

Generalized features

Shows off trade with Portugal (brass)

Identifies oba by placement of plaque along post- hung to tell history and lineage

Lukasa (Memory Board)

Luba People

Democratic Republic of the COngo

19th to 20th century ce

Wood, beads, and metal

Hourglass figure- easier to hold

Mixed media

Variety of patterns and designs

Large beads surrounded with small ones (dictates info)

Mnemonic device- memory aid

Used in oral retelling- read by touching surface

Traditionally performed with a dance and song

Used to recount history in rituals (read by diviners)

Golden Stool

Ashanti People

South Central Ghana

1700 ce

Gold over wood and cast gold attachments

Covered in gold (wealth and royalty)

Has charms added by each chief

Disk shaped base

Cylindrical column and two diagonal arms like altars of sky god Nyame

Bells- contacting dead and warn ruler of danger

Chain- secure nation

Human form bells- defeated enemies

“Soul of Asante Nation”

Falls from sky and on the lap of Osei Tutu (first king): “miracle”

Belief: made in heaven

More important than any king- sacred and has its own stool (no one allowed to sit on it)

Ikenga (Shrine Figure)

Igbo People

Nigeria

19th-20th century

Wood

Human face with animal attributes

Very abstract, sometimes more anthropomorphic

Ram horns- fight with head first

Dots and lines- scarification

Ikenga- power of the right hand

Not a portrait, but a symbol of power

Right hand- sword (power)

Left hand- personalized based off owner’s occupation

“Place of strength”

Reliquary Figure

Fang People

Southern Cameroon

19th-20th century

Wood

Elongated torso, large rounded head, downcast eyes

Closed mouth, arms clasped together = balance between calmness and contemplation + power and strength

Emphasis on belly button- umbilical cord

Tube like limbs and body

Function: Guards reliquary (relics container)

Wards off evil/ serves as warning that content might be harmful

Guarded content: bones of important people and their objects (sacred)

Belly button = human life (guards dead waiting for rebirth)

Used as puppets- educate young men about ancestors

Power Figure

Kongo People

Democratic Republic of the Congo

19th century

Wood and metal

Nails/ metal pieces- reminder of oath taken

Hands on hips, knees bent = aggressive (ready to act when needed- “hunter”)

White eyes = spirit world (he can see)

Open mouth, tilted head- threatening appearance

Hole- container of “medicine” (activates figure)

Mnemonic device- anyone who breaks their oath will be punished by “hunter”

Function: to bless or harm someone, cause death or give life

Veranda post of enthroned king and senior wife (Opo Ogoga)

Olowe of Ise

Yoruba People

1910

Wood and pigment

Complicated and elaborate use of negative space

Large standing figure = senior wife (suggests her support and unknown power) Blue = spiritual power and connection with the other world

Bird= female ancestors of king; “our mothers” (matrilineal)

Crown= has faces of ancestors, packed with medicine inside (soak into his head= power)

King leaning forward (known power) and long neck= artist’s style

Figure next to king (Eshu)= trickster god (maintains stability)

Kneeling woman= junior wife (smaller= lower status)

King is the focal point

Function: palace decoration