friday –turn in: ch. 15 & ch.34 worksheet (to me) 1.beginning (5 min) finish putting together...

Friday– TURN IN: Ch. 15 & Ch.34 worksheet (to me)

1. Beginning (5 min) finish putting together posters.

2. (3 min) presentations (everyone take notes).please write down name/ short description of artwork

3. (Last 15 min: Jeopardy Review Game)– If we run out of time, I’ll put this on my website

so you can review at home.

• Will only have 1 or 2 questions relating to African Art.– Based on the 4 images I gave you.

Test is Primarily Ancient Near East & Egyptian.

UNIT 1 TEST• TEST Monday, STUDY!

– UNIT 1 Image Packet– UNIT image P.P. on my website– My WEBSITE: Online Resources: Image P.P. by Darrocott

• ( ARTWORK BY THEMES)

– STUDY VOCAB FROM QUIZZES!

• The FORMAT (will have some images)

– Identification– Multiple choice– Short answer– Short essay (2)– Long essay (1)

There will be chance for extra credit points

Will use bell curve if needed

DO NOT SKIP CLASS!MAKE-UP TEST IS ALL LONG ESSAYS.

Art of Africa

Core Beliefs

• Honor Ancestor• Worship Deities• Elevate Rulers to Sacred Status

Nomadic vs. Farmers

• Nomadic Art: – Personal adornment, rock engravings, animal/

ritual paintings

• Settled Farmers: – Figures (wood, clay, metal) shrines to ancestor

deities. Pray for good crops.

THE ART• THEMES: Images of Identity/ Status/

Worship/ Power/ and Gender Roles

• Naturalism &/or Extreme Stylization (abstract/ exagerations)

• Materials: wood, terrecotta, ivory, brass (casting), textiles

Below: Head from the Nok culture, c. 500 BCE-200 CE,

terracottaRight: Standing Nok figure

Nok culture/ problems of preservation of African art/ stylization vs. naturalism

style characteristics: piereced eyes, mouth, & ear holes. Let heat get out during firing.

Broken bands on neck, ~ indication of elevated status

Head of a King (Ife), c. 13th century CE, brass

naturalistic sculpture in the city of Ife/

scarification on the face

of an oni “King”/ holes along the neck

Right: King (Ife, Nigeria), eleventh to twelfth century, zinc

brassBelow: Memorial Head (Benin,

Nigeria), c. 1400-1550 CE, brass

• Belief: – Head is the Location

of Wisdom, Destiny, Essence of Being, & ability to communicate with spiritual forces in the ancestral world.

• Casting Tradition

• Memorial Heads• “Rolled Collars”

Head of an oba (Benin), c. 1700-1897

CE, brass

kingdom of Benin/ an “oba” with

identification marks (ikharo)/ appearance

of casting due to contact with

Portuguese traders/ coral-bead necklaces

threaded with elephant hair/ eyes

with pupils inset with iron

Brass commemorative head with tusk from the

altar for Oba Ovonramwen,

photographed in 1970

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Mounted King and Attendants (Benin), c. 1550-1680, bronze

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Mounted King and Attendants (Benin), c. 1550-1680, bronze

high relief cast sculpture created for a door/ use of hierarchical proportion/ flanking figures used to create a symmetrical

composition suggesting order reinforced by cosmic imagery or

symbolism

Oba wearing coral-beaded regalia and seated on a dais

Africa after 1800

• Europeans :– Exploration– Trade– Influences to African Cultures (christianity)

Children & Continuity of Life

Children- – symbolize the future.– social security (for parents)

•Yoruba- 1 of highest rates of twin births• Often birth complications (deaths)

Left and Right: Twin figures (ere ibeji) from the Yoruba (Nigeria), 20th century, wood

Art forms of deceased honored. (dress, dance, sing to it)

Belief: honoring will bring good fortune to the surviving members.

Twin figures of the Yoruba (Nigeria), early twentieth century, cowrie shells and wood

Spirit World

• Many cultures believe there are many different spirits involved for human offers

• Nkisis: objects that harness spirit forces

• Diviner: specialist in ritual & spiritual practices

Power figures of the Kongo culture (Zaire), 19th century, wood, nails, pins,

blades, and other materials

power figures (nkisi nkonde) of the Kongo

culture/ bilongo ingredients drawn from

plants, animals, and minerals (includes human hair, nail clippings, etc…) to bring a “neutral figure”

to life

Nails or pointed objects driven in (or removed) to provide a particular function

(oath-taking, healing, etc…)/

“pakalala” pose, a stance of alertness, ready to strike or

attract/ problematic issues regarding

Western concepts of “art” and “artist”

Abogunde of Ede. Shango shrine figure holding a dance staff, Yoruba (Nigeria), nineteenth

century, wood and beads

large number of orisha of the Yoruba/ Shango, god of thunder/

oshe shango staff used in a ritualistic hypnotic state/ balancing a double axe,

carrying the burden of child-bearing and child rearing/

suggestion of purity through nudity

A figure of Eshu of the Yoruba

(Nigeria), twentieth century, wood and

cowrie shells

Eshu (disorder) and Orunmila (order) / mediator between gods and humans/

long braids of cowrie shells,

referencing his role as god of the marketplace

Ancestral Couple (?) (Dogon, Mali), c. 19th century, wood

Dogon concept of the primordial couple/ protective

male and the nurturing female/ reverence for ancestors

Male Chi Wara Antelope Headdress, Bamana, Mali, 19th-

20th century, wood

Reliquary guardian figure of the Kota (Gabon), nineteenth

and twentieth centuries, wood, copper, iron, and brass

Kota funerary figures (mbulu-ngulu)/ bwete bundle of bones

and relics/ highly stylized human form to suggest non-

human spiritual forces/ reflective brass and copper

used as an apotropaic device to deflect evil forces

Kente cloth of the Ashanti (Ghana), 20th century, silk

Ashanti, known for their woven textiles/ kente cloth, woven with patterns signifying rank/ warp (vertical threads in weaving that are attached to

the top and bottom of a loom, through which a weft is woven)/ weft (threads of yarn woven over and under warp threads)/ worn when the king held

court

An akuaba figure of the Akan (Ghana),

nineteenth-twentieth century, wood

Shrine figure (akua mma) of the Ashanti

(Ghana), wood

Figure of a Tano priest of the Akan (Ghana),

nineteenth-twentieth century, wood

Female mask of the Mende (Sierra Leone), wood

masks from the Mende worn by priestesses or judges (when women rule for three years in a ritual calendar, alternating with men) in ritual dance/ the

Sande society of women (complementary to the Poro

society of men)

a small closed mouth and downcast eyes (indicating a serious

demeanor) and a high, broad forehead (wisdom)/

black surface evoking ancestral spirits

emergent from their underwater homes (also symbolized by the turtle

on top)

Lets Analyze!

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