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Traditional african art works
Traditional african art works
African art history essay
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African Art
African Art does not have specific date to which it evolved because most early African Art was carved in wood, which perished quickly. This is why most art dates from the 19th and early 20th century. Many 20th century artists admired and collected pieces of African Art. They enjoyed the bold color, expression, and form that produced a new beginning in art history. African Art was mostly dedicated to life affirming activities such as healing, pleasure, protection, and transformation.
The first African Art that made a sustained impact on Europe occurred with the bronze casing and ivory seized in 1897 by the British Royal Army. It was then that African Art began to become in demand, and seen by all areas of the world. Recently, archaeological explorations have become the main contributors of African Art history. African Art is continuously evolving although the rate of change has varied from time to time and place to place. A specific word for art did not exist in languages of most traditional African people.
Instead, they used a word to describe the making of the object. African Art as been tied to political and religious aspects. Some secular objects existed, but most are prestige, or objects that functions in communing with a supernatural power. There are many different forms of African Art, but the main forms include Masks show a wide range of design and subject matter. They are mostly based on naturalistic human forms or interpretations.
Some are placed on the top of the head, while others rest on the shoulders. Many masks are decorated with beads, wigs, human hair, and earrings. Some cultures paint faces instead of wearing masks. Some mask types include ancestral, sacrificial, avenging, protection, peace-mak...
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...ntry. Secondly, artists are beginning to deal more with fantasy and dream like subjects.
This allows for a wide variety of subjects and imagination. Because of all the unique aspects of African Art, more and more people are now becoming fascinated with Africa and its history. Soon it will be seen in the homes of many individuals for decoration, and its brilliance will continue to grow. Africa is a mysterious place and the art of this country is one that will survive the test of time, and the beauty of its art will be seen for years to come.
Works Cited
De Grunne , B. "Nok Terracotta." kmtspace. KmtSpace, Inc. , 11June 2010. Web. 11 Jun 2010. .
Roy, Christopher. "Makonde ." Gateway-Africa.com. University of Iowa, 17 Aug 2006. Web. 11 Jun 2010. http://www.gateway-africa.com/tribe/makonde_tribe.html.
In summary, Davidson successful traces Africa’s earliest origins and demonstrates that this is a civilization far from having no arts, technology, sophistication and unique culture. Culture and civilization as we know it today can be traced back to Africa, and modern science has verified the early perceptions of Europeans to be wrong. He provides more than adequate evidence of Africa having a history complete with vast and rich civilization, including archaeological finds and specialized interviews with distinguished scholars and philosophers. Despite the fact that society possesses a more positive attitude towards African civilization today in terms of recognition, equality, and acceptance than in the past, negative stereotypes are still acknowledged and modern day racism unfortunately exists. I believe that the existence of Davidson’s work and videos such as Different but Equal are crucial to challenging these stereotypes and discrimination in order to create a more accurate image of Africa and its history. Overall, Davidson proves that the continent of Africa is home to a history that is just as meaningful, comprehensive, and progressive as that of any other civilization in the
In the essay “Why Africa? Why Art?” by Kwame Anthony Appiah, he talks about basically how Africa is thought to be an uncivilized barren and that’s the stereotypical thing that comes to most people’s mind when thinking about this continent. African art has to look a certain way to be able to be called “African.” It has to be made by a tribe, not just one person which is why he says that most African pieces are signed with a tribe name, not just one name. Appiah gives an example of these Asante gold weights that his mother had a collection of. Their use value was to weigh gold dust, which used to be the method of currency. They were made as a utilitarian product, not for art, but many people started to recognize the aesthetic value. He says, “…in appreciating and collecting these weights as art, we are doing something new with them…” These days art is defined to be a certain way and look a certain way. It can’t just be anything, it has to have an aesthetic value to be considered art and to fall into the “guidelines”.
Initially there was a great deal of debate about Benin art and its display, as it did not equate with the perceptions then held about Africa. Until the British conquest of Benin in 1897, little was known about Benin and its culture apart from brief interaction with other Europeans in the sixteenth century. The perception of Africa was of a primitive, savage and uncivilised land, full of ‘abuses and fetishes and idolatries’, (Hodgkin, 1975, p33). Therefore, when the British invaded Benin they treated any artefacts they found as ‘war booty’ (Woods, 2008, p30) and sold anything of any value to pay for the expedition. They removed artefacts and artwork without recording any contextual evidence of form or function. These ideas are evident in the photographs in figures 1.10 on page 31, 2.2 on page 50 in Cultural Encounters (AA100, Book 3) and Plate 3.1.14 in the Illustration Book: Plates for Book 3 and 4 where artefacts are bundled into piles with centralised white figures suggesting only British triumph (Loftus, 2008). The ‘clever workmanship’ (Gallewey, 1893b, p37) and ‘delicacy of detail’ (Bacon, 1897, p39) attest to the quality of the artwork and the subsequent bidding by rival museums and galleries for the pieces did not prevent the perception that Africa, and thus Benin, as being barbaric and primitive.
In 1931 archeologists uncovered sculptures from the village of Nok present day Nigeria. This was the first time the Western Sudan was investigated. Hand made figures were discovered depicting people and animals made out of terracotta. Believed to be made during the first millennium the terracotta did not preserve well causing the figure to break apart leaving only the heads intact. The heads of these Nok figures were individualized to show tribal rulers. The size of the nostrils and mouth were used to describe how well respected and powerful the ruler was among the community. It is the first representation of the traditional African art that civilizations portrayed.
Africanisms in America are a highly surveyed topic for the black community. Joseph E. Holloway describes Africanisms as “those elements of culture found in the New World that are traceable to an African origin” (Holloway 2). I believe, that africanisms are the traditions and cultural behaviors of African Americans that resemble the some of the same traditions and cultures in Africa. Which makes you ponder about what current elements does our culture use that ties back to Africa. Which in fact there are several africanisms that still exist. African Americans have retained an essence of Africa in their speech, hair care, clothing, preparation of foods, and music by over centuries of separation from the Dark Continent.
Crooked Beak of Heaven Mask is a big bird-figure mask from late nineteenth century made by Kwakwaka’wakw tribe. Black is a broad color over the entire mask. Red and white are used partially around its eyes, mouth, nose, and beak. Its beak and mouth are made to be opened, and this leads us to the important fact in both formal analysis and historical or cultural understanding: Transformation theme. Keeping that in mind, I would like to state formal analysis that I concluded from the artwork itself without connecting to cultural background. Then I would go further analysis relating artistic features to social, historical, and cultural background and figure out what this art meant to those people.
Many African cultures see life as a cycle we are born, we grow and mature, enter adulthood, and one day we will eventually die but the cycle continues long after death. In Africa art is used as a way to express many things in their society, in this paper I will focus on different ways traditional African art are used to describe the cycle of one’s life. Since Africa is such a large continent it is important to keep in mind that every country and tribe has different rituals and views when it comes to the cycle of life. It is estimated to be well over a thousand different ethnic groups and cultures in Africa today. Thousands of cultures in Africa see the stages of life bound together in a continuous cycle; a cycle of birth, growth, maturity,
Brief History From the 1500s to the 1700s, African blacks, mainly from the area of West Africa (today's Senegal, Guinea, Sierra Leone, Gambia, Liberia, Ivory Coast, Ghana, Dahomey, Togo, Nigeria, Cameroon, and Gabon) were shipped as slaves to North America, Brazil, and the West Indies. For them, local and tribal differences, and even varying cultural backgrounds, soon melded into one common concern: the suffering they all endured. Music, songs, and dances as well as traditional food, helped not only to uplift them but also quite unintentionally added immeasurably to the culture around them. In the approximately 300 years that blacks have made their homes in North America, the West Indies, and Brazil, their highly honed art of the cuisine so treasured and carefully transmitted to their daughters has become part of the great culinary classics of these lands. But seldom are the African blacks given that recognition.
Western attitudes to African people and culture have always affected how their art was appreciated and this has also coloured the response to the art from Benin.
Angeles, Los. (2009). African arts. Volume 28. Published by African Studies Center, University of California.
Kasfir, S. L. (2007) African Art and the Colonial Encounter: Inventing a Global Commodity, Bloomington: Indiana University Press.
An Image of Africa Heart of Darkness by Joseph Conrad has been depicted as “among the half-dozen greatest short novels in the English language.” Chinua Achebe believes otherwise. In Chinua Achebe’s An Image of Africa: Racism is Conrad’s Heart of Darkness he simply states that, “Joseph Conrad was a thoroughgoing racist” [pg.5]. Achebe argues that the racist observed in the Heart of Darkness is expressed due to the western psychology or as Achebe states “desire,” this being to show Africa as an antithesis to Europe.
I have chosen to describe the artwork Song of the Picks by Gerard Sekoto. I will look at what defines a work as modern and discuss Sekoto's background to fully understand his work and to prove whether it is modern. Several people influenced, supported and encouraged Sekoto and I will briefly discuss them. I will give a brief history of European modernity and its influence on Africa in order to understand African modernity.
Most art has some sort of reason or purpose behind it. It might be religious, symbolic, literal, traditional, customary, or just a preference by the artist. Most African art has a symbolic reason. Masks, pottery, figures, portraits, jewelry, baskets and clothing reflect the religious belief of the different tribes. Africans believed that everything in nature is alive. For example: rocks, grass, plants, trees, rivers and mountains. African art was not popular and was looked down upon until recently. In Nigeria, people were tattooed as a test of courage. The figure- “Portrait Head of a King (Oni)” reflects this. The King has this tattooing on his entire face. The King has big slanted eyes, a prominent nose, and big full lips. All these things represented something to the Nigerian people; the King...