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Asante weavers developed a style of great technical mastery, which incorporated imported cloth unraveled and rewoven into designs of enormous complexity

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The most visible component of Asante art is royal regalia. The success of the Asante empire depended on the trade in gold not only with Europeans at the coast but also with the Muslim north.

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carver would care rice ladles to appoint the most friendly women during the havest feast and women also may perform as masqueraders with bold facial decoration and full raffia costumes, as well as headdresses of shells and fur.

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they created miniature, easily portable masks, representing and sharing in the power of the larger masks, the larger mask protected the owner of homes while they were away

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they put uncover figures o protect the farm land and these figures are called nomoli

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the men are called poro  some of their masks are made out of leather, fabric and white  raffia others are made of wooden tablets inscribed with Qurʾānic verses, may be attached to the headdress. Other masks employ a heavy wooden headdress with a beaked nose, open jaws with jagged teeth, and a crown of feathers.

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depicts a water spirit and the passage for girls to go through that makes them into strong powerful women

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they are known for smooth black helmet shaped masks portray the education of girls society and transitioning them into their adult lives

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a mende Wooden mask is worn during the ceremony of the Sande, a Mende women’s secret society, Sierra Leone.

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The Baga have a rich tradition of masquerades: the a-muntshol-nga-tsho, a serpentlike being identified with water, fertility, and wealth; the kumbaduba, a heavy wooden mask combining features of various animals and known for its spectacular dance

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they carve sacred objects. These objects are called tshol. They have cylindrical bases with a birdlike beak. One type of tshol, the a-tshol, refers to wealth, elegance, and leadership and is the supreme authority within the clan

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they celebrate doing these rituals

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The Bidyogo also carve hollow cylinders covered with red cloth to house guardian spirits; the spirits are known as iran. Many of these cylinders are surmounted with human and animal forms.

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these people are known for their shocking costumes and masquerades the had Large, heavy headdresses made out of portray bulls, swordfish, sharks, hippopotam

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Do is put into the leaf masks of the religion it is cover with grasses vines and leaves and wooden masks contain bush spirits are called on to help humankind and natural forces that humans depend on

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in the villages the have many farmers smiths, and musicians who also produce textiles and work leather. A religious group called Do is a major force in Bwa life

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The kpelie masks, small human faces with delicate features, represent female spirits and encode aspects of Poro knowledge. Both types of masks are involved with initiation and also perform at funerals, where they help encourage the soul of the deceased to move on to the ancestral realm.

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Several types of mask are used in conjunction with Poro. Kponyugu masks exhibit many variations in name, style, animal references, and symbolism

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young men are instructed through the use of sculptural figures. Some with massive bases are carried in procession by initiates, who swing them from side to side and strike the earth to call ancestral spirits to join the rites

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produce a rich variety of sculptures, mainly associated with Poro, a society guided by a female ancestral spirit known as “the Ancient Mother.” All adult Senufo men belong to poro,

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The Kore, which challenges immoral authority and hypocritical morality through gestures and buffoonery, once employed masks representing the hyena, lion, monkey, antelope, and horse but now is represented primarily through puppet performances.

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The Komo is the custodian of tradition and is concerned with all aspects of community life—agriculture, judicial processes, and passage rites. Its masks, which are considered to be enormously powerful, are shaped in an elongated animal form decorated with actual horns of antelope, quills of porcupine, bird skulls, and other objects

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teaches men to become good fathers and husbands Its mask uses a headdress representing, in the form of an antelope, the mythical being who taught men how to farm

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The masks associated with Ntomo have a line of vertical projections above the face, signifying beliefs related to human creations.

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they live near Bamako the capital of mali
they have many traditions which include 6 male societies one is performed by young boys which is called the ntomo

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the satimbe mask, a rectangular face surmounted by the figure of a mythical and powerful woman. The structure of the satimbe mask—its projecting and receding forms—recalls the facades of the mosques of ancient Mali. The Dogon are known for their architecture, including the rounded, organic form of sanctuaries, lineage leaders’ houses adorned with grid patterns symbolizing civilization and order, and men’s meetinghouses (togu na, or “House of Words”).

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Other important masks used in public ceremonies to ensure the passage of the deceased into the realm of the ancestors include the kanaga mask, whose architectonic form represents an array of concepts, animals, and the authority of God

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One  of mask, called sirige, and has a tall, flat projection above the face
The Great Mask, which is never worn and is made anew every 60 years, represents the primordial ancestor who met death while he was in the form of a serpent

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Figures are made to house the spirits of deceased family members and are placed in shrines, and masks are used to drive away the spirits of the deceased at the end of the mourning period. About 80 mask types have been developed, and the masks are worn by young adult members of Awa, which is the men’s masking association

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A Dogon sculpture is intimately linked with spiritual beliefs related to ancestors, both real ancestors and mythic Nommo spirits

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The sculpture here is characterized by schematic styles of representation.

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African art has value as entertainment; some has political or ideological significance; some is instrumental in a ritual context; and some has aesthetic value in itself

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there is sculpture painting poetry and rock art textiles, masks, personal decoration, and jewelry.