● “Zimbabwe” - houses of stone, capital of the empire

● Three areas: the Hill Ruin, the Great Enclosure, and the Valley Ruin

● Conical tower (granary): symbolic of royal authority and generosity, as grain was given to the rulers

Context

● Great Zimbabwe had an empire and extensive trading routes that stretched from the Near East to China

● Largest stone complex in Africa before modern era

● Inhabited by the Shona people

Form

● Residential structures reveal hearths and other interior furnishings

● The Hill Run enclosed a structure surrounded by cylindrical towers and monoliths with geometric designs

● The top of the wall features lace-like designs called dentelle and is composed of stone blocks that separate the royal residency area

Function

● Great Zimbabwe functioned as a political center during the 12th century

Content

● Mosque: follows some conventions of traditional mosques--three minarets, courtyard, mihrab, courtyard, hypostyle hall

● Ostrich eggs on top of pillars--represent fertility and purity

Context

● Djenne was founded in c. 800-1250 B.C.E and functioned as a commercial and educational center

● Mosque built around 13th century and was constructed during the succession of King Konboro

○ Rebuilt from 1834-1836 for second time

○ Rebuilt again in 1907 w/ help from adjacent regions

● Architectural style has roots among the Songhai and Mande peoples of western Sudan

● The mosque is replastered annually during the Crepissage de la Grand Mosquée--a community festival Form

● Rectilinear structure, enclosed by wall on exterior

● Constructed using adobe and coated with mud on exterior

● Wooden scaffolding on exterior prevents shrinking of walls under sunlight, aids in repairs

Function

● Expression of power

● Also serves as social center for community

● Golden stool with bells attached to its sides

○ According to the legend, the stool fell from the sky onto the lap of the first ruler of the Ashanti Confederacy (Osei Tutu)

Context

● Ghana was a valuable source of gold in West Africa during the Trans-Saharan trade. Interactions with other nations helped the nation accumulate even more wealth

● Oral tradition was central to the nation

Form

● Gilt and inlaid with gold over wood

● Crescent-shaped stool

Function

● Functioned as the “seat of the soul”

● Present during rituals and is of symbolic significance

● Ndop (idealized portrait figure) of King Mishe miShyaang maMbul

○ The king is holding a drum with a hand on it, which is an ibol, or object that serves as a symbol of his reign

○ Holding a ceremonial knife

● Large head symbolizes wisdom and intelligence

Context

● The Kuba people lived in the Democratic Republic of the Congo and solidified into a kingdom in the 17th century

○ Historically known as wood carvers and sculptors who worked for a leader (nyim)

○ Apprentices learned and worked under masters

Form

● 1:3 proportion; the head was ⅓ of the statue’s total size ● Some naturalistic features--rounded shoulders

● Ibols carved in relief

Function

● Portrait commissioned by the King to celebrate his reign and accomplishments

● Historical marker

● Human nkisi figure (container of supernatural and sacred forces that can manifest in the physical world)

● Sharp objects pierced into the central area of the figure, which is frequently covered by a reflective surface

● Cavities in other areas are often filled with medicine or herbs

Context

● Sacred medicines and divine protection are essential to the beliefs of the Kongo people

● These figures were confiscated by Europeans during conquest and exploration, and then later destroyed for being heathen/pagan objects

Form

● Carved from wood

● Glass/reflective components

Function

● Oath-taking image

● Used to guard an individual or inflict negative energy upon an individual if an oath is broken

● Ideal representation of a female ancestor

○ Symbolic of fertility and prosperity in community

● Embodiment of female virtues and ideals

○ Closed eyes--wisdom; white powder--spiritual connectedness

○ Closed mouth--modesty

○ Calm expression

○ Adorned with jewelry

Context

● Chokwe culture is matrilineal and actively honors young, fertile women

● Mukanda: the initiation activity associated with the Pwo mask

Form

● Carved from wood

○ Boys are initiated into adults by performing a dance with the mask on

● Naturalistic face; stylized eyes

● Colored with dark pigment

● Rounded dots and tattoo patterns on cheek

Function

● Part of a performance; worn by boys along with a costume with wooden breasts during an initiation ceremony

• Displacement of skilled artisans and disruption of traditional art forms

• Emergence of new art forms reflecting the experiences of enslaved Africans in the Americas

• Geometric Patterns

  • Zigzags, spirals, and concentric circles conveyed spiritual and cosmological concepts

  • Adinkra symbols (Ghana) represented proverbs, aphorisms, and philosophical ideas

• Human Figures

  • Ancestors and deities depicted in sculptures and masks

  • Royalty and leaders portrayed in commemorative and ceremonial art

• Colors

  • Red is associated with life, blood, and spiritual power

  • White linked to purity, peace, and the spirit world

  • Black is connected to wisdom, maturity, and the ancestors

• Scarification and Body Modification

  • Patterns and designs conveyed social status, cultural identity, and rites of passage

  • Symbolized spiritual protection and aesthetic beauty

● Central figure is an Oba (king), who is being flanked by his attendants

○ Attendants holding shields

○ Oba wears distinctive coral-shaped regalia on his head

Context

● Benin was a major power in West Africa during the 19th century, partially due to trading slaves with Europeans

● Social stratification evident in Benin

○ The Oba was of the highest rank, who was believed to be a divine intermediary between the physical and supernatural realm, as well as the head of government

● Brass acquired through trade with Portugal. Metal workers in Benin melted them down and used them to make plaques commissioned by the Oba

Form

● Hierarchy of scale--Oba is depicted as the largest and main subject of the work

● Lost wax casting technique used to mold and produce plaques

Function

● Hung on the walls of the Oba’s palace--expression of power and authority