Page 235 - Berkshire Encyclopedia Of World History Vol I - Abraham to Coal

120 berkshire encyclopedia of world history

about by colonialism and, later, independence. Never- Brilliantly colored and elaborately woven silk and, more
theless, the art made at this time and the contexts in recently, rayon textiles called kente are also worn by Akan
which they were used have formed the image of “tradi- elite to signify their power, wealth, and status.
tional” African art that has dominated the study of the The arts of the Kuba people of the Democratic Repub-
field. The following examples provide only a brief lic of the Congo are similarly focused on leadership and
glimpse of the variety and complexity of African art in power. Kuba kings are depicted in idealized portraits
this period. Many of these art forms still thrive, although carved of wood that are believed to house their spiritual
they continue to change, as they always have, in response essence. Titleholders wear elaborate garments made of
to new circumstances. woven, appliquéd, and embroidered raffia fiber textiles
The Bamana people of Mali are primarily subsistence along with accessories and regalia covered with cowrie
farmers who live in independent villages led by male eld- shells, glass beads, and feathers. Kuba wood masks,
ers. Their art consists of wooden masks and sculptures worn at initiations and funerals, are similarly covered
made for the performances and rituals of men’s initiation with a dazzling profusion of colors, patterns, and tex-
associations.These associations embody spiritual powers, tures. It should be noted that versions of all the art forms
and their members wield social and political authority mentioned in this article—including the regalia intended
within Bamana villages. One such association, Komo, uti- only for Kuba titleholders—are made for the foreign
lizes large wooden helmet masks depicting fantastic ani- market.
mals with projecting jaws and domed heads. Komo Yet another aspect of African art is shown by the
masks are covered with a thick crust of sacrificial materi- works made by the Zulu people of South Africa, pas-
als, such as animal blood, plant matter, and sacred toralists who rose to power in the early nineteenth century
earths. These materials, along with added animal parts on the basis of their military strength. Among the Zulu
such as horns, tusks, feathers, and quills, imbue Komo masks and sculptures are rare and utilitarian objects, such
masks with spiritual force and refer to secret knowledge as wooden headrests, milk pails, meat plates, and ceramic
used to keep the village safe from physical or spiritual beer vessels, predominate.These are often decorated with
harm. In contrast to the Komo mask’s intimidating chevron patterns or raised bumps that refer to the ances-
appearance and serious responsibilities, the wooden tors and to herds of cattle that confer wealth and prestige.
headdresses of the Chi Wara association are intricate and Garments and ornaments decorated with colorful glass
elegant, and their performances are entertaining. They beads in geometric patterns express the wearer’s prestige,
represent stylized antelopes that honor the mythical gender, and marital status. During the struggle against
being who brought agriculture to the Bamana. apartheid, some black South Africans wore beaded gar-
Unlike the Bamana, the Akan people of Ghana are ments and ornaments to express their opposition to the
organized into highly centralized and hierarchical states white government’s ethnic and racial policies. More
headed by hereditary chiefs who have maintained their recently beaded objects have been made as part of the
status and authority although much of their power has effort to promote awareness of the problem of HIV/AIDS
been taken over by Ghana’s national government. Akan in South Africa.
arts reflect the wealth derived from the region’s vast gold At the beginning of the twentieth century European
deposits and the multifaceted concepts of power associ- avant-garde artists such as Pablo Picasso and Henri
ated with Akan chiefs. Prominent among Akan art forms Matisse in France and Ernst Ludwig Kirchner and Max
are cast-gold chiefs’ ornaments and staffs and other Pechstein in Germany discovered works of African art in
regalia covered with gold leaf, all of which depict ani- ethnographic museums and curio shops. The geometric
mals, humans, and objects that illustrate proverbs con- forms, freedom from naturalistic representations, and
cerning the nature and responsibilities of leadership. vibrant colors of the African objects corresponded to