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African traditional religion as a way of life essay
African art and its impact
African traditional religion as a way of life essay
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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, …show more content…
Leading up to the celebration the girls are taught a certain dance that must be performed at the ceremony. “the new initiates are brought into town for the first time since the initiation process began…” At the ceremony the Mende girls wear a Sowei mask and costume which is considered to be the embodiment of the river spirt Sowo. Once the mask and costume is on the person transforms and her actions are no longer hers but are the actions of the spirt Sowo. A sacred dance is performed and dance moves represent the strength and power of woman as members in the Mende community. “Sowo mask are divided into three structural components- the neck, face, and coiffure. Carved from a single block of lightweight wood, the masks weigh only two to four pounds. The mask displays a shiny black surface representative of the value assigned to smooth dark skin.” The rings around the masks neck demonstrates a trait that is considered beautiful in Mende cultures. Every mask has a different hairstyle, representing the style of the woman the mask is made for, you can see items such as shells, metal and claws on the coiffure. Fig 3: Sowei Mask, Sierra Leone Fig 4: A performing ndoli jowel Life after …show more content…
Nothing is promised in life except for one thing and that is death! Everyone has to eventually die but in African cultures they believe that there is life after death and this where ancestors reside. Art works are there to help serve as a point of contact between the living and the dead. In the country of Gabon in central Africa the Kota people have a guardian figure made to hold, honor and protect the bones on their ancestors. “The traditional religion of Kota centered around ancestors who are believed to wield power in the afterlife as they had as living leaders of the community.” Ancestors are respected elders who have passed away and who continues to serve as an extension of a family and community. In the image below I will explain some of the parts found on the figure. If you have noticed there is no mouth on the figure and that is because the ancestors no longer communicate with words. Below the neck there is a diamond shaped part of the figure which happens to be the arms, these are used to tightly hold onto the remains of the ancestor’s bones. “Wooden sculptures covered with sheets of copper and brass, known as reliquary or guardian figures, were attached to the baskets containing bones. Some believe that the figures were an abstract portrait of the deceased individual, while others argue that they were merely to protect the spirt of the deceased from evil.” Fig
The opening of the novel places the reader not in Falola's shoes as a child, but rather as an adult scholar attempting to procure information from his own family. This proves easier said than done as Falola takes us through the process of obtaining specific dates in a society that deems them irrelevant. By examining the difficulty that Falola has in this seemingly simple task, the reader begins to understand the way in which time and space are intertwined and weighed in Africa. This concept of "connections between words, space, and rituals" encompasses the way that Africans perceive the world around them - as a series of interrelated events rather than specific instances in time (Falola 224). This approach also stems from the concept that the family unit, the village, and the elders come before the individual in all instances, making a detail such as a birthday unimportant when it comes to the welfare of the whole. Introducing the reader to the complexities of African conventions, Falola expands their minds and challenges them to view the forthcoming narrative with untainted eyes.
The display of Benin art in museum and galleries reflect the attitudes and perceptions of Europeans towards non-western artefacts, especially African. Thus as European attitudes change towards non-western art since the discovery of Benin art in 1897, Benin art has been revaluated and re-categorised.
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.
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.
In the article of “Exhibiting Intention: Some Preconditions of the Visual Display of Culturally Purposeful Objects”, the author, Michael Baxandall mainly discussed interrelationship within the group of three agents upon their influence and reflect of the artifacts in the museum, and the understanding of culture elements behind the display. In the first part of this paper, I will identify the points of view of the author. In the second part, I will analyze the layout of the gallery, “Imagining the Underground” in Earth Matters in Fowler Museum in UCLA. Several discussion related to the settings of the museum and the article will be discussed interactively. In general, this paper tries to show the robustness and the weakness of Baxandall’s model, which will specified.
?Any work of art owes its existence to the people and culture from which it has emerged. It has a functional and historical relationship with that culture.? Michael W. Conner, PhD#
In countries like Ethiopia, Niger, Haiti and other impoverished countries, adults and children alike sleep on the ground with their livestock, eat once or twice a week, and have to walk miles, barefoot, to access even the dirtiest of water. Americans, and citizens of other first-world countries, would never understand these seemingly surreal conditions. Traveling to any of these countries, one may find that the inhabitants there are not saddened by their state of living. But rather you will see that they have become very inventive, making toy cars out of old bottles and caps, or even using used tires to make a playground. They have learned it is possible to find joy in the things they have — even if it is not much; the following pieces of art
The past history have a huge impact on the future. From the ancient art history until current years it is safe to say that the art changed drastically, it shows that people nowadays have different values, styles and priorities in life. The past teaches people about the future and helps to avoid mistakes. In the Paleolithic period, where folks were focusing on hunting and gathering, where everyday life was dynamic, meaning they were moving from one place to another in search of better resources (Upper Paleolithic, 28) to Mesopotamian period where things were more certain and people liked to stay in one place. Paleolithic period did not consist of writing which is the main reason people can only guess and interpret the culture based on their own guesses what was the society like back then.
The attitudes towards the display of Benin Art, adopted by European museums and galleries have dramatically changed over the 112 year period since their initial acquisition. This has been for a number of reasons including the societal transition from accepting colonialism to acknowledging cultural diversity, the gradual integration and cross-fertilisation across the academic fields of anthropology, ethnography and art history and the ongoing debate regarding provenance and repatriation.
Angeles, Los. (2009). African arts. Volume 28. Published by African Studies Center, University of California.
Americans are not good at thinking functionally. Many tribes in Africa are good at using art and ritual to express their religious and cultural beliefs. They think of things functionally instead of materially. Americans have trouble expressing their religions. They see things as something that has to be physical to mean anything. The expression of the relationship between humanity and the divine and the expression of culture in America is greatly diminished when compared to that of African tribes.
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.
A basic understanding of African religions will provide an awareness of African customs, the African view of death and life beyond death. In many cases the african religion is polytheistic on their day to day practices.However, they believe in The High God where is overriding beliefs that beyond gods, spirits one god exists. Despite the general belief in a Supreme Being, cults to the “High God” are notably absent from many African religions; prayers of petition or sacrificial offerings are directed toward secondary divinities, who are messengers and intermediaries between the human and sacred realms. In many countries in Africa people pray to different gods and goddess. In West Africa theirs a lot of animism, where they pray to the sky and the earth and the seas.
Music before the 20th century was very different when compared to the music of the 21st Century. There were distinctive occasions for each type of African music. West African music, the African Diaspora, and the music of the Colonies each had different musical instruments.