African Art -- Kevin Wang, Tony Cao, Daniel Guan, David Niu, May Qin

Goal Sheet/Timeline Fri 11/16/12 -- Preliminary title/artist sheet (post on the Google Docs) Thanksgiving Break: 11/17/12 to 11/25/12 -- WORK ON GETTING NOTES FOR ALL THE PIECES ON THE TITLE/ARTIST SHEET Mon: 11/26/12 -- (tentatively) receive the title sheet back from Tanaka; make changes, and turn in a new copy for approval by 11/30/12 (Friday) Mon: 12/10/12 -- ALL NOTES FOR ART PIECES MUST BE FINISHED (post on Google Docs, email to Kevin) NOTES CONTRIBUTORS: Tony, David, Kevin, May Begin to work on a script for how you would like to present your notes. Mon: 12/17/12 -- DRAFT OF SCRIPT FOR ART PIECES MUST BE FINISHED (post on Google Docs, email to Kevin) Script: Kevin Winter Break: 12/22/12 to 1/6/13 -- WORK ON FILMING AND EDITING -- have a REVISED 2nd draft of script by 12/23/12 Recording: Kevin, David, Daniel, Tony, May 1/2/13 to 1/4/13 -- EDITING/PRODUCING OF THE VIDEO Editing: Tony 1/6/13 -- FINALIZE PROJECT/FILM ALL FILM DATES WILL TAKE PLACE AT 8335 ENTREKEN WAY (very close to MVMS) unless otherwise noted

Member Responsibilities: All members must contribute to the notes and research and video.

African Art -- Kevin Wang, Tony Cao, Daniel Guan, David Niu, May Qin

Works Cited Benjamin, Shayna. "Art of Ancient Africa." Lecture. Glasser, Laura. "Art of Ancient Africa." Lecture. History of Art I Curriculum Guide: African Art. Chicago: Columbia College Chicago, n.d. Print. Kleiner, Fred S. Gardner's Art Through the Ages: A Global History. 13th ed. Vol. 1. Boston: Thomson Higher Education, 2009. Print. - - -. Gardner's Art through the Ages: A Global HIstory. 13th ed. Vol. 2. Boston: Thomson Higher Education, 2009. Print. "Late African Art." Lecture. Lori, Dr. "African Art." Dr. Lori: Art Historian, Museum Curator, and Certified Art and Antiques Appraiser. Masterpiece Technologies, n.d. Web. 6 Jan. 2013. <http://www.drloriv.com/lectures/african.asp>. Nici, John B. AP Art History. 2nd ed. Flushing: Baroon's Educational Series, 2012. Print. "Picasso's African-influenced Period - 1907 to 1909." Pablo Picasso. N.p., n.d. Web. 6 Jan. 2013. <http://www.pablopicasso.org/africanperiod.jsp>. Stokstad, Marilyn. Art History: Combined Volume. 2nd ed. Upper Saddle River: Pearson Education, 2005. Print. White, Allie. "Ancient African Art." Lecture.

African Art -- Kevin Wang, Tony Cao, Daniel Guan, David Niu, May Qin

AFRICAN ART TITLES SHEET

Sahara --- (8000 to 500 BCE) Cattle Being Tended - 2500 to 1500 BCE, rock-wall painting, Tassili-n-Ajjerm Algeria Nok --- (500BCE-200CE) Nok Head - 500 BCE to 200 CE, Terra-cotta 14.2", Lagos Nigeria Ife --- (11th-12th Centuries) Head of a king - 13th century CE, zinc brass, Ife, Nigeria Head said to represent the Usurper Lajuwa - 1200-1300 CE, terra cotta, Ife, Nigeria Benin (13th to 19th Centuries) Memorial Head - 1400-1550 CE, brass, no location Mask representing an iyoba (queen mother) - 1550CE, brass, no location General and Officers (Warriors and Attendants) - 1550 to 1650 CE, brass, 21", Lagos Nigeria Head of an oba (king) - 1700-1897, brass, no location Shrine of Eweka II - clay, copper alloy, wood, and ivory, Benin City, Nigeria Djenne --- (200CE-Present) Horseman - 13th to 15th Century, Terra Cotta, 27.75", Mali Great Friday Mosque at Djenne - rebuilding of 1907, in style of 13th-century original Mali Zimbabwe --- (1000-1500CE) Conical Tower of Great Zimbabwe - 1200-1400 CE Bird, top part of a monolith - 1200-1400CE, soapstone Yoruba AKIODE - Twin figures - 20th century, wood, 8 tall Dance staff depicting Eshu - 20th century, wood, 17 tall OLOWE OF ISE - Door from royal palace in Ikere - 1925, wood and pigment, 72 tall OLOWE OF ISE - Veranda post from Akure - 1920s, wood and pigment, 146 tall Fang (19th Century) Reliquary guardian (bieri) - late 19th century, wood, 18 tall Reliquary guardian (nlo byeri) - 19th century, wood, 17 tall Kongo (19th-20th Centuries) Yombe mother and child - late 19th century, wood, glass, glass beads, brass tacks, and pigment, 10 tall Nail figure - 1875-1900, wood, nails, blades, medicinal materials, and cowrie shell, 310 tall Chair from Democratic Republic of Congo Ngombe culture, 20th century, wood, brass and iron tacks Contemporary African Art (20th Century-present) Spirit Mask in Performance - 1983 CE, polychrome wood, 18 tall, Cote dIvoire OUATTARA - Nok Culture - 1993 CE, acrylic and mixed mediums on wood, 98 x 67 Dogon Togu Na - wood and pigment, Dogon, Mali TRIGO PIULA - Ta Tele - 1988 CE, oil on canvas, 33 x 34 WILLIE BESTER - Homage to Steve Biko - mixed media, 38 x 38

African Art -- Kevin Wang, Tony Cao, Daniel Guan, David Niu, May Qin

Script/Notes:
General Culture Background Lets start with some cultural background. Despite the diversity of Africa and its many civilizations, there are some key ideas shared by most of the different cultures. Such ideas include the belief that ancestors never die and they can be addressed by the living. Hence, there is a sense of family and a respect for elders amongst the African people. Many sculptures are representations of family ancestors and carved to venerate spirits. Indeed, it can be said overall, African art is rarely decorative, but usually made for a purpose, often ceremonies. The art is centered on spirituality. Fertility, of individuals and of the land, is also high regarded. Spirits who inhabit the land are respected and worshipped. Its important to note that traditional Africans relied on oral tradition to record history, and most of the art are not signed or dated. The artists did work on commission from patrons, similar to the European cultures, and guilds existed as well. Both men and women did art, but in general men were the builders and carvers while women painted walls and created ceramics. In regard to the specific mediums, there isnt a lot of African painting, because again the art was meant to be more spiritual than decorative. Sculpture was very common throughout, and in general the African cultures preferred wood as their medium, using ivory and metal for royals more often. Due to the fragile nature of wood, little remains of wood sculpture before the 19 th century. In general, the African sculptures were portable, the figures were frontal and full-faced, and the heads were very large in proportion. The art was usually not naturalistic but rather there was a lot of geometry in the forms, to represent spirits in a timeless world. African architecture was usually made of mudbrick, which allowed the builds to be kept cool under the hot sun, but certain cultures like at Zimbabwe did use stone. Sahara: One of the earliest African civilizations was the hunters of the Sahara. At the time, 8000 BCE, the Sahara was a grassy plain filled with wildlife. But by 4000 BCE, the climate had become more arid and herding became the primary lifestyle. The people did scenes of sheep, goats, cattle, and the daily lives of people on Sahara rock art. Cattle Being Tended - 2500 to 1500 BCE, rock-wall painting, Tassili-n-Ajjerm Algeria -Here, you can see men and women gathered in front of their round, thatched houses; men tended cattle and women prepared meals - a depiction of everyday life -There is also a recession of space -- animals farther away are smaller -Horses are an indicator of time; different animals show at what different times they were introduced -Similar to the cave paintings of Altamira, these images may have been intended to ensure plentiful animals for food or symbolic of other life-enhancing activities -The Sahara culture died out as the land dried out, and they moved southward into the Sudan. Nok: - Around 500 BCE, the Nok culture arose in western Sudan, a region in Nigera that gave birth to many other civilizations that -Nok people were farmers. They grew grain and oil bearing seeds but were also known for having smelters for refining ore -The Nok produced the earliest sculpture of sub-Saharan Africa Nok Head - 500 BCE to 200 CE, Terra-cotta 14.2", Lagos Nigeria -heads surface is rough due to the erosion from the sculptures as they were flooded out of original location -the triangular shaped eyes are distinctive of Nok sculpture -holes in pupil, mouth, nose allowed air to pass as it was fired indicating a high level of technology for its time -the hair buns were likely to have held feathers -It is believed to represent an ordinary person dressed for fancy occasion, or person of high status--possible indication of early social stratification

African Art -- Kevin Wang, Tony Cao, Daniel Guan, David Niu, May Qin

Ife: -As the Nok culture disappeared, the region of Nigeria remained a vigorous cultural and artistic center. Many works of sculpture arose from Ife, the sacred city of Yoruba people. -sculptures were naturalistic, and said to represent the line of Ife kings called onis Head of a king - 13th century CE, zinc brass, Ife, Nigeria -The face is modeled with a sensitive transition from the nose to the mouth whose lips are shaped in a full and delicate fashion -The eyes of this head are similar in shape to those of modern Yoruba sculpture -The thin scarification on the face is common of the culture of that time and the head was formed with the lost wax technique -The sculpture contains holes that allow the head to be connected to different parts of the body/sculpture -The holes on the top of the head allow a crown to be attached to it and the holes on the neck allow it to be attached to the body -One of the possible functions of this head was to memorialize the Oni king Head said to represent the Usurper Lajuwa - 1200-1300 CE, terra cotta, Ife, Nigeria - Artists of ancient Ife also used terra-cotta, which were not fitted for attachments. As opposed to the previous piece, the artists of ancient Ife created this head from terra-cotta thats not fitted for attachments to other parts of the body -This piece, similar to the previous one, was probably places in shrines as memorial for kings -If compared, both heads seem similar so the features are probably more idealistically, not realistically -Even though the Africans usually believe that idealized sculptures were usually the houses of evil spirits, Ife sculptures suggest that they also believed that kings were immune to those evil spirits and made idealized models of them anyway. Benin: -Ife was also the artistic parent of the great city-state of Benin, which arose 150 miles to the SouthEast of Ife. -After a long period of misrule, the people of benin asked Ife for a new ruler and started a new dynasty Benin kings were the oba, and they had a memorial sculpture tradition as well, starting around 1370CE -Benin was a powerful civilization that traded with the Portuguese and can be divided into Early, Middle, and Late periods. Memorial Head - 1400-1550 CE, brass, from the Early Period - This piece is made of brass through the process of lost-wax casting -The rolled collar and beaded headdress provide a firm base for the sculpture and are coral regalia of the time, symbolizing the power of the kind and wealth through the cultures trades with Europe. -The head sculpture is that of a living leader and accentuates Oba as locus of responsibilities over Benin kingdom Mask representing an iyoba (queen mother) - 1550CE, ivory, brass, no location -Obas commissioned important works in ivory -iyoba was a senior female member of the court this iyoba was Idia, who raised an army and helped her son defeat his enemies -mask was carved as a belt ornament worn by the Oba -scarification on forehead, inlaid eyes with iron -necklace represents heads of Portuguese soldiers who helped the Oba -on crown, more Portuguese heads, and also mudfish figures believed that the Mudfish who lived on the river banks were semidivine General and Officers (Warriors and Attendants) - 1550 to 1650 CE, brass, 21", Lagos Nigeria -The art of Benin is royal art, for only the oba could commission works in brass. The palace courts of the Oba were filled with hundreds of brass plaques which decorated the walls and columns of the royal palace.

African Art -- Kevin Wang, Tony Cao, Daniel Guan, David Niu, May Qin

- a detailed plaque -helmets on officers show the ranks between the different officers -hierarchy of scale: the smaller (less important) characters are placed between the larger and more important 3 main figures -the geometric rhythms between the bodies of the king and his guards and the way they wield their weapons and shields brings an fell of aggression and creates a sense of power and military courage of the ruler Head of an oba (king) - 1700-1897, brass, -The Benin was influenced by the Ife during the Early and Middle Periods, but towards the Late Period the head sculptures became larger and heavier, as seen in this piece -Copper alloy; represents head of Oba. -Because the head leads the body, one of the honorifics that refer to the king is Great Head because the king leads the people. -Rituals to kings heads, seats of spiritual powers, were performed annually. -Individuals in Benin also performed their own rituals to their own heads, or spiritual powers -These heads representing Oba were placed on altars that were dedicated to deceased Benin kings--Every year current Oba perform rituals so he can strengthen his own connections to his divine ancestors to reinforce his power of rule -All heads include representations of coral bead collars and crowns with hanging strands of coral beads that were part of the royal costume. -Over time, the increase of the size and weight of the heads reflected the increase in wealth and power of the king. -Earlier period heads were smaller and more naturalistic -Benin commemorative heads were placed on altars and were dedicated to royal ancestors. -The heads were arranged in a symmetrical fashion and were identical to each other, each serving as support for an elephant tusk that was completely carved in relief of a symbol of the kings royal power -A tableau of figures that represent the Oba is placed at the center of the altar along with bells and rattle staffs whose sounds are used to call upon spirits of past Oba for their presence at rituals. Shrine of Eweka II - clay, copper alloy, wood, and ivory, Benin City, Nigeria -The Benin was a powerful civilization, but was sacked by the British in 1897. Today, only one 20 th century shrine remains, but it is reported to be similar to centuries-earlier versions. -Elephant tusk represent the kings themselves and ancestors and also function musically. -The white color signifies purity and goodness, and the tusks themselves represent the strength of elephants. -Rattle staff symbolize important events and people in Benin history. -Kings head was usually the central sculpture of such shrines because they are powerful and the center of the society Djenne: -Ife and Benin were two cities that arose in ancient Africa along the coast, but other civilizations grew in the interior of Africa. The Mali was a kingdom formed in the 12th century and their rulers adapted Islam, partly thanks to the frequent trader caravans. The region of Mali along the Niger River saw many famous cities, including Djenne. Hundreds of terra-cotta figures dating from the 13th to the 16th centuries. Horseman - 13th to 15th Century, Terra Cotta, 27.75", Mali -armed with weapons like bow/arrow -- very intricate -elaborate military equipment -- this is a guardian spirit or hero; not a normal person -highly detailed; engraved and carved clay to make markings -painted -found in sanctuaries -But such ceramic sculptures died out as the Mali cities were raided. Great Friday Mosque at Djenne - rebuilding of 1907, in style of 13th-century original Mali -It was converted into a mosque after the king of Djenne converted to Islam in the 13th century.

African Art -- Kevin Wang, Tony Cao, Daniel Guan, David Niu, May Qin

-largest mud brick building in the world -Sun baked bricks with clay and straw, called adobe -Powerful economic and religious islamic force in north-west africa -Austere furnishing because muslim leaders did not want extravagance -Was destroyed once and rebuilt by Sekou Amadou, replaced again in 1907 with original style -three tall towers, the mihrab is in the center -Finials are the crowning ornaments on top of each tower, egg symbol of purity and fertility -Engaged columns act as buttressing and support -The wood sticking out are called torons; wooden beams that protrude and provide support for scaffolding when the mosque is replastered -Vertical fluting to drain water easier Zimbabwe: -In Southeast Africa, an extensive trade network developed along several rivers. The Trade was controlled from a site called Great Zimbabwe, home of the Shona people. The word zimbabwe derives from the Shona word for houses of stone. -The buildings at Great Zimbabwe were built without mortar. Walls are battered or built so that they slope inward at the top. The biggest complex at Great Zimbabwe was begun and extended as labor and materials were more available. As builders grew more skillful, the later additions were distinguished by dressed stones, which are smoothly finished stones. Conical Tower of Great Zimbabwe - 1200-1400 CE -18 ft in diameter and 30 feet tall, and capped with 3 courses of ornamental stonework -thought to represent prosperity from alliance with the Great Zimbabwe -because it represents a grain silo, it is thought to symbolize successful harvests Bird, top part of a monolith - 1200-1400CE, soapstone -Other finds at Great Zimbabwe were a series of carved soapstone birds which originally crowned tall monoliths -bird is symbol for connection of sky and earth; messengers of a spirit world -bird and alligator are symbols of royalty -Expresses kings power, specifically the power to mediate between heaven and human society And with that, we begin to move into the modern era of Africa, which begins around the time of European exploration and colonization of Africa. While previously we saw how Islam culture had some influences, the Europeans brought a much more sudden contact between Africa and the modern world. The European exploration already began early, as we learned with the Portugese and the Benin, but by the 19 th century, the Europeans gave up slave trade and imperialism started over Africans various areas for its natural resources. By the beginning of World War I, various European governments had taken almost all of Africa under colonial rule. Nationalistic movement arose but the leaders of the cultures did not advocate a return to the earlier forms of organization. The cultures sought to transform into Western style nations. The contact with European nations also saw influences into European art, as we will see later. Yoruba: We begin with the Yoruba, who have a long history in southwest Nigeria. Yoruba artists were among the most skillful of Africa. This is the Twin figures - 20th century, wood, 8 tall believed to be done by AKIODE -Yoruba people have one of worlds highest twin birth rates twins were a joyful occasion, but also delicate -if a twin died, the Yoruba (and other African cultures) believed that it continued its life in the spirit world, and parents could reach them so this sculpture image (ere ibeji) of the twin was carved -by giving the artist food/gifts, the mother would be caring spiritually for the creation of her child the mother also fed the figure, dressed it, gave it cosmetic oils to honor the spirit and bring good luck

African Art -- Kevin Wang, Tony Cao, Daniel Guan, David Niu, May Qin

-figures emphasize good health rings of fat = well fed -overall, they represent hope for the future Dance staff depicting Eshu - 20th century, wood, 17 tall -nature spirits are often in African art, but major deities are considered too far from humans and are not depicted thus a lot of orisha (lesser gods) are represented -This is another example of Yoruba sculpture, illustrating the cultures representation of the gods. -Eshu is the messenger of the gods, and a trickster we all make mistakes, and then pay tribute to Eshu -associated with sex and money followers of the god paid offerings so that they may have fewer pitfalls -depicted here as a boy but usually inconsistent, can be male or female -two heads joined = dual nature on the right is a boy blowing a whistle to annoy elders act of defiance -on the left is a wise old man with wrinkles, joined at the hair -placed on a rod so that it may be used for dance rituals for Eshu, who is believed to enter bodies OLOWE OF ISE - Door from royal palace in Ikere - 1925, wood and pigment, 72 tall -kings of the Yoruba people manifested power with their palaces -in typical palace, principal rooms opened onto a veranda with elaborately decorated posts and doors -this door was created by Olowe of Ise leading Yoruba sculptor of the 20th century, wanted by all kings -asymmetrical composition, combines narrative and symbolic scenes in horizontal rectangular panels -tall figures carved in profile, but faces the viewer to confront them length is unlike typical short Yoruba figures -high relief figures, move energetically against the underlying decorative pattern -entire surface is painted -doors commemorate celebrations that honored the god Ifa -left hand panel is the future foretold by reading oracles: on top is a man with a sacrificial animal and palm nuts, then a priest on an oracle board with a cup for the nuts, and on the lower left are messengers and assistants -right: two columns of faces introduce the court king is in the 2nd panel between his guard and royal wives, chief wife wears a Euro top hat = symbol of power -above royals are musicians -below wives dance -bottom 2 registers are the people farmers and wrestlers OLOWE OF ISE - Veranda post from Akure - 1920s, wood and pigment, 146 tall -another sculpture by Olowe this is a veranda post for one of the chiefs palaces -greater height is achieved by stacking a weapon carrying warrior on a horse, which is supported on a platform from 4 attenuated figures with long necks and enlarged heads -large heads are typical of Yoruba, while Olowe is typical of long bodies -finely textured detail -subtly record presence of European though a European style cap on one of the supporting figures -overall design is more complex and open than posts by other carvers Fang: The Fang is another cultural, a group of migratory peoples living just south of the equator in Gabon and Cameroon. They shared the African belief in honoring ancestors who would then provide help for the living, and created many reliquary guardian figures which play an important role in ancestor worship. These portable pieces were ideal for African nomadic groups such as the Fang. Reliquary guardian (bieri) - late 19th century, wood, 18 tall -designed to sit on the edge of boxes that contained ancestral bones as protection -figures are symmetrical w/ proportions that emphasize the head -creates a rhythmic buildup of forms that suggest contained power -proportions of body resemble an infants, while the muscularity implies an adult; combination of these traits suggest cycle of life

African Art -- Kevin Wang, Tony Cao, Daniel Guan, David Niu, May Qin

Reliquary guardian (nlo byeri) - 19th century, wood, 17 tall -carved in a naturalistic style w/ carefully arranged hairstyle, fully-rounded torso, and heavy musculature -applied palm oil to produce a rich, glossy black surface -strong symmetry corresponds to symmetry of Fang villages, emphasizes necessity of imposing order on a disorderly world (immigration to a new area had been very disruptive and disorienting) -achieves balance between opposing forces and creates attitude of quiet composure through powerful symmetry -placed on top of container carrying bones of ancestors to guard relics and represent the ancestors -communicates calm and wisdom of ancestor, instills awe and fear for those not in the Fang religion Fang Mask Influence The Fang also did masks, which were common amongst most African tribes. This is a 19 th century Fang mask. This is not on your titles sheet, but pay attention to the geometry of the forms. Every mask had a purpose to represent a different spirit and were often worn in ceremonies of dancing as the masked dancer would connect to the spirit would. It is worth noting that this Fang mask, and others, is believed to have influenced Picasso in his Les Demoiselles d'Avignon. Note the similarities between the geometry of the form and Picassos approach to early analytical cubism on the two women on the right. Though that piece was primarily based on Iberian sculpture, the 2 women on the right are believed to been inspired after Picassos visit to an African art museum. Picassos interest in analytical cubism is also reported to be caused by Henry Matisse, who showed him a mask from the Dan region of Africa. Kongo: The Congo River was an important transportation route for the people of Central Africa, and the culture of people living there saw many exchanges in trade between Africans and Europeans Yombe mother and child - late 19th century, wood, glass, glass beads, brass tacks, and pigment, 10 tall -reflects influence of Christian Madonna and child imagery of the Europeans on the Africans similar to a Pieta -woman w/ royal cap, chest scarification, and jewelry, indicating royalty; would commemorate an ancestor or a legendary founding clan mother -called some of these figures white chalk, a reference to medicinal power of white kaolin clay -some owned by diviners, others used to treat infertility, function of this specific sculpture is unclear Nail figure - 1875-1900, wood, nails, blades, medicinal materials, and cowrie shell, 310 tall -as known as a Kongo power figure-a trained priest consecrated power figures using precise ritual formulas -embodied spirits who could either heal and give or life or inflict harm, disease, and death -wore a particular medicine, which protrudes from the abdomen, giving it a specific role -owners inserted nails/blades to prod the spirit to do its work; spirits also invoked by chanting, rubbing the figures, or applying special powders -was very large, giving it exceptional powers that aided entire communities -stood at the boundary of life and death, villagers held them at awe -relatively naturalistic, but its facial features are simplified and heads size is magnified for emphasis Chair from Democratic Republic of Congo Ngombe culture, 20th century, wood, brass and iron tacks -Well take a quick look at some African influences in sculpture. In some African cultures, elaborate stools or chairs were created as indications of status and altars for souls after death. They were carved from a single block of wood. Here, you see a chair from the Ngombe people who also lived along the Congo River. On the left is the Chair from Democratic Republic of Congo Ngombe culture, 20th century, wood, brass and iron tacks -the back is cantilevered out from the seat, supported by 4 massive braced legs -rich surface decoration from European brass carpet tacks and iron tacks arranged in parallel lines and diamond patterns -both copper and iron were precious materials used as currency, so this chair was a symbol of status and spirituality and power

African Art -- Kevin Wang, Tony Cao, Daniel Guan, David Niu, May Qin

-This chair in particular influenced Pierre Legrain, a sculptor of the Art Deco period. As you can see, Legrains chair, which is on the right, uses the Ngombe Chairs geometric simplicity. Legrains chair was exhibited at the International Exposition of Modern Decorative and Industrial Arts, which helped launch the Art Deco movement Contemporary African Art The art forms of contemporary African art are very varied even within cultures and cannot be easily classified. Lots of European influence from imperialism, but after World War I, more nationalistic themes. Blend of traditional technique and culture along with European style. Spirit Mask in Performance - 1983 CE, polychrome wood, 18 tall, Cote dIvoire -adapts modern materials to traditional forms -creates delicate masks dressed w/ costly textiles and other materials -painted w/ oil-based enamel paints, giving the traditional form more brilliant and ranged color -added inscriptions in French and depictions of contemporary figures to traditional sculptural forms, demonstrating the incorporation of outside influences on traditional art -In postcolonial Africa, African artists who have studied in Europe have combined their artwork with cultural traditions. One such artist is OUATTARA who did Nok Culture - 1993 CE, acrylic and mixed mediums on wood, 98 x 67 -synthesizes Western and African influences, dense w/ allusions to Africas artistic and spiritual heritage -name refers to a culture thrived in Nigeria, made natural works of terra-cotta sculpture that are some of the earliest known figurative art from sub-saharan africa -thickly applied paint builds a surface reminiscent of painted adobe walls of rural architecture -earth browns, black, and white appear to reference those in traditional African art, especially textiles -conical horns in upper corners refer to ancestral shines in rural communities and buttresses of West African adobe mosques -motif on concentric circles in center of composition looks like traditional bull-roarer sound maker used to summon spirits -lesson board used by muslim students is suspended, has graphic patterns from African initiation rituals and symbols from Christian, ancient Egyptian, and mystical Hebrew traditions, showing the multiple religions present in Africa Dogon Togu Na - wood and pigment, Dogon, Mali -unite traditionalism and modernism -togu na=mens house of words, held mens meetings that were vital to community welfare -considered the most important part of the community, so it is characterized w/ human attributes -built over time; earlier posts have schematic renderings of legendary female ancestors that are similar to ancient stylized couples or masked figures; recent posts have varied subjects of narrative and topical scenes w/ abundant descriptive detail, bright polychrome setting, and some writing -artists who made contemporary posts want to be recognized so they can sell their work to tourists TRIGO PIULA - Ta Tele - 1988 CE, oil on canvas, 33 x 34 -depicts a group of congolese citizens transfixed upon T.V.s, which shows colorful pictures of life beyond Africa -T.V. images show travel to exotic places, sports, love, earth from sa satellite, and Western worldly goods -traditional Kongo power figures (usually represents warfare and divination) stands between viewers and T.V.s, its feather headdress links it to the supernatural and powers from the sky, in this case refers to the power of airborn T.V. -usually have glass covering a medicine packet, in this case has a television showing a 2nd power figure to double his power -viewers have small white objects on the backs of their heads, shows how T.V. has reduced their minds to focused on modern thoughts and commodities -power figures stands on brown earth and has wires from speakers leading up to him; use of white and earth tones usually associated w/ the dead, suggesting that T.V. poisons the minds of the people WILLIE BESTER - Homage to Steve Biko - mixed media, 38 x 38 -tribute to gentle and heroic leader of South African Black Liberation Movement, who was killed by authorities in

African Art -- Kevin Wang, Tony Cao, Daniel Guan, David Niu, May Qin

prison, exoneration of the white doctors in charge sparked worldwide protest -has many references to death and injustice -places Bikos portrait in center, and near it is police minister James Kruger who transported Biko in a yellow ambulance seen to the left and below his portrait -Biko has chained fists raised in protesting gesture -memorializes antiapartheid activists in white graveyard above a blue sea of skulls, crosses stand out against inferno of burning towns -stop sign in lower left symbolizes attempts to stop apartheid, tagged foot above left ambulance refers to Bikos death, red crosses on ambulance door and Krugers glasses echo graveyard crosses -blood red and ambulance yellow painted in many parts of the work, unify the piece -writing and numbers both stenciled and painted throughout the composition, influence of Cubism -numbers refer to dehumanized life under policy of apartheid -found objects in various discards are objects that the poor use to make fragile and impermanent dwellings, remind viewer of the miserable lives of colored South Africans -oil-can guitar in bottom center symbolizes social harmony and joy provided through music and the control over peoples lives that apartheid exerts -radical and powerful critique of an oppressive sociopolitical system, highly involved w/ politics

African Art -- Kevin Wang, Tony Cao, Daniel Guan, David Niu, May Qin

Sahara --- (8000 to 500 BCE) One of the earliest African civilizations was the hunters of the Sahara. At the time, 8000 BCE, the Sahara was a grassy plain filled with wildlife. But by 4000 BCE, the climate had become more arid and herding became the primary lifestyle. The people did scenes of sheep, goats, cattle, and the daily lives of people on Sahara rock art. Nok --- (500BCE-200CE) Around 500 BCE, the Nok culture arose in western Sudan, a region in Nigera that gave birth to many other civilizations. Nok people were farmers. They grew grain and oil bearing seeds but were also known for having smelters for refining ore. The Nok produced the earliest sculpture of sub-Saharan Africa Ife --- (11th-12th Centuries) As the Nok culture disappeared, the region of Nigeria remained a vigorous cultural and artistic center. Many works of sculpture arose from Ife, the sacred city of Yoruba people. Sculptures were naturalistic, and said to represent the line of Ife kings called onis Benin (13th to 19th Centuries) Ife was also the artistic parent of the great city-state of Benin, which arose 150 miles to the SouthEast of Ife. After a long period of misrule, the people of benin asked Ife for a new ruler and started a new dynasty. Benin kings were the oba, and they had a memorial sculpture tradition as well, starting around 1370CE. Benin was a powerful civilization that traded with the Portuguese and can be divided into Early, Middle, and Late periods. Djenne --- (200CE-Present) Ife and Benin were two cities that arose in ancient Africa along the coast, but other civilizations grew in the interior of Africa. The Mali was a kingdom formed in the 12 th century and their rulers adapted Islam, partly thanks to the frequent trader caravans. The region of Mali along the Niger River saw many famous cities, including Djenne. Hundreds of terra-cotta figures dating from the 13th to the 16th centuries. Zimbabwe --- (1000-1500CE) In Southeast Africa, an extensive trade network developed along several rivers. The Trade was controlled from a site called Great Zimbabwe, home of the Shona people. The word zimbabwe derives from the Shona word for houses of stone. The buildings at Great Zimbabwe were built without mortar. Walls are battered or built so that they slope inward at the top. The biggest complex at Great Zimbabwe was begun and extended as labor and materials were more available. As builders grew more skillful, the later additions were distinguished by dressed stones, which are smoothly finished stones. Yoruba While previously Islam culture had some influences, the Europeans brought a much more sudden contact between Africa and the modern world. The European exploration already began early, as with the Portugese and the Benin, but by the 19th century, the Europeans gave up slave trade and imperialism started over Africans various areas for its natural resources. By the beginning of World War I, various European governments had taken almost all of Africa under colonial rule. Nationalistic movement arose but the leaders of the cultures did not advocate a return to the earlier forms of organization. The cultures sought to transform into Western style nations. The contact with European nations also saw influences into European art. The Yoruba, who have a long history in southwest Nigeria. Yoruba artists were among the most skillful of Africa. Fang (19th Century) The Fang is another cultural, a group of migratory peoples living just south of the equator in Gabon and Cameroon. They shared the African belief in honoring ancestors who would then provide help for the living, and created many

African Art -- Kevin Wang, Tony Cao, Daniel Guan, David Niu, May Qin

reliquary guardian figures which play an important role in ancestor worship. These portable pieces were ideal for African nomadic groups such as the Fang. Kongo (19th-20th Centuries) The Congo River was an important transportation route for the people of Central Africa, and the culture of people living there saw many exchanges in trade between Africans and Europeans. Contemporary African Art (20th Century-present) The art forms of contemporary African art are very varied even within cultures and cannot be easily classified. Lots of European influence from imperialism, but after World War I, more nationalistic themes. Blend of traditional technique and culture along with European style.