ARTE YORUBA.pdf

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Masterpieces of African art. Exhibition dates: October 21, 1954-January

2, 1955.

Brooklyn Museum.

[Brooklyn] Brooklyn Museum [1954]

http://hdl.handle.net/2027/uc1.b4446176

C re a ti v e C o m m o n s A tt ri b u ti o n -N o n C o m m e rc ia l

h t t p : / / w w w . h a t h i t r u s t . o r g / a c c e s s _ u s e # c c - b y - n c - 3 . 0

This work is protected by copyright law (which includes

certain exceptions to the rights of the copyright holder

that users may make, such as fair use where applicable

under U.S. law), but made available under a Creative

Commons Attribution-NonComm ercial license. You must

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or licensor (but not in any way that suggests that they

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derivative works based upon it - but for non-commercial

purposes o nly. For details, see the full license de edat http://creativecommons.org/licenses/by-nc/3.0/.


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t pt f

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uteofArtsandS ciences

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bit ion9

nA rtHistorybyWill iamF acg11

.H .L em17

ptureof the I voryC oastbyLeonS iroto . .. . 22

P a n g we a n d B a l um b oS c u lp t ur e

dleC ongobyL eonSiroto26

elgianCongobyE .Clar S tillman...31

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canA rtarepresentedsculpture ivory go ldw or ,

f rica f romtheF renchSudantotheB elgianC ongo

basisande hibitedasw or sofart. Thee hibitionhas

tostimulatethetasteof collectorsandstudentsand

eredanethnographicale hibit.TheAfricangalleries

there ce llente amplesofA f ricanart.

arssincetheMuseumofModernA rt underthedirection

eeney putonthemagnif icente hibitionofA f ricanNegro

estinAfrican Negroarthasdevelopedinthis country.

herefore toshow againtotheEasternSeaboardama or

Thepresente hibitionhasbeenlimitedto material

withtheadditionofob ectsfromthecomprehensive

ononloanattheB rit ishMuseum andthefamous

aris. I ncludeda lso isagroupof I voryCoastte tiles

l er undeinB ase l.

hopedthevisitorwillcometo abetterunder-

etyofe pressioninsub ectmatter sty le andtechni ue

ectmatterrangesfromtheritual scenesinlowreliefof

ive idea li edancestra lportra itso f thePangw epeople .

ghly abstractcubisticfiguresofthe D ogontothe

gow eR iverghostmas s. Thetechnicalpresentation

elyde licate lyconce ivedsecretsocietymas sof the I bo

sof theCameroon .

it ione tendsroughlye ighthundredyearsf romtheI fe

numentaltwentiethcenturymas fromtheY oruba

earsagobyoneofthe leadingpresentdaysculptors

e ancienttradition.Thedatesofmostof thepiecesarc

wereprobablymadein thenineteenthcentury.

boutthetechnicalaspects ofAfricansculpture.

umanf iguremayberea list ic asintheC ameroonsor

on oritmaybeabstract asintheSudan hutinthe

stheticallythestyleis alwaysconsistent.Transitional

ographicallybutarcoftenless unifiedartistically.

nifew or iscleananddecisive thoughsurfacesarenot.

ereisneverasense ofclumsinessintherenditionof the

notnecessarilyapatinatcdoran oilfinish thoughthis

aybeencrustedfrombeing coveredwithsacrificial

ancesis painted.Thebestpiecesusuallyloo oldand

ocumentedo ldpiecemay loo complete lynew this

sanintensityandvita lityo fe pressioninthebest

onlybeappreciatedafter longassociationwithAfrican

neverahollowvehiclefordesign.

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ethere ismuchw or tohedoneinthef ie ldofA frican

ificstudies morestudiesofhistorica lrecords more

terminestylisticconnectionsandethnographical

moreaccuratedocumentationofmuseumcollections

nofphotographicmaterial.With thisinmind this

ed.

gafurthercontribution aseriesofessaysonvarious

presented. Thefirst isbyMr. Will iamF agg A ssistant

mentofEthnography intheB rit ishMuseumandan

withW estAfricaashis specialty.Thesecondarticle

ow nsculpturesof theF renchSudanisbyMr. F . H .

ra lboo sonthearto f thatregionandnow curatoro f

Gourie ll i( Mme. HelenaR ubinste in . Mr. L eonSiroto

rticles hasmadee tensivestudiesonsty lecenters

nchE q uatoria lA f rica . The lastarticle onthearto f the

Mr. E . C lar S ti l lman S ecretaryof theB elgian-A merican

on.

etoMrs. WebsterP lassofLondonandNew Yor , w hose

e includingtransportationofspecimensfromL ondon

bit ion. Particularthan sarea lsoduetoP rincess

how nherinterestbybringingtotheUnitedS tatescho ice

sco llectionandtothePhelps- to esF oundationforthe ir

ea lsotothosewhohavecontributedthearticles to

hascontributedmanyof thephotographs andto

a r i s M r . J a m e s J . S w e en e y D i r e c to r o f th e S o l o mo n R .

P ro fessorPaulS . Wingert o fC o lumbiaUniversity .

as a nt s C u ra t or

orldC ultures

m

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T H E E X H I B I T O N

t cn

ralH istory

odsB liss

ebsterP lass

ence

Art

d

ertonC ol-

rs. Webster

couri

es

er

ale ry

m a n

t

Martin

orp.

ofArt

u n de B a s el

H arvard

ereial

rice

w Y or

ofArt

S ta f ford

til lman

w eeney

ofthe

vania

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O N O NN G R I AN AR T H I S T O R Y

epartmentofE thnography

w ithmostA fricansculpturetheageofapiece isone

ssaryfactsforusto trytodetermineaboutit( although

now sthatthisisthef irstq uestionas edby thev isitor

oridentif ication . E very tribe everysubtribc a lmost

tsow nidentif iablesty le andthewor o feventhe

arstherecogni ablemar sof thetradit ionwhichthey

generationsofpast masters.Africansculptureisthe

counterpointbetweenunityanddiversity between

individualoriginality.With raree ceptionsthe

uencesocia l po litica l re ligious philosophica land

tofsuspendingorseverelyinhibitingtheaction of

ua lly theconse uentconfusionproducesresults

othepractisedeye whichseldomhaveaesthetic

oE uropeanstandardsofart. I nthisconte titseems

etheabsoluteageof awoodcarvingthanthepresence

eousinf luence providedthatit ispureandnotcorrupt

wasmadetwentyorahundredyears ago andcritical

tteremployedinsif tingthew heatf romthechaff the

mthemuchgreatervolumeofcorrupt andevenforged

ow adaysinA mericaandEurope thanintryingto

alevidence theageoftribal woodcarvings.

w emayregardmostA f ricanartasagelessontheground

rsculpturesareintropicalconditionsephemeral the

chtheyare thelateste pressionsareor were

nd immemorial.ThisephemeralnatureofAfrican

ssenceofNegroart providingthemachineryof

development thepursuitofconceptualtendencies

sw hichw asdenied fore ample tothestone-carvers

rlyalwayscondemnedtoplaysafewithintheconventions

past.

thatinestimatingtheageofA f ricancarvings thef irst

thelengthoftimetheyhave beenoutofreachof

tpests sinceperceptibledeteriorationisthen

rmany arepreservedsomeYorubaw or sof theseventeenth

videncealonecouldhardly withconfidencebe

ngof thetw entieth andtheB rit ishMuseumac uired

a ibe i( tw in f iguresf romtheA beo utaregion w hich

nomorethansi monthso ld. Tothek now nperiod

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w emustaddourestimateof theageatthetimeof

ustmentionedw ereclearlyboughtf reshf romthecarver s

stcasesit ismuchmorediff iculttodecide forsomuch

enof theob ectby itsA f ricanowner onthenatureand

todestructivee lements andofcourseonthecharacter

orityofcarvingsinA fricaperishwithinfiftyyears

enightmaybe longenoughfordestructionbywhite

re inthee tremeforapiecetoatta inthecentury but

doubt w ithpropercare surv ivemuchlonger. Even

eiro o( afavouritew ithNigeriancarversforthis

of remainingrelativelysoftforsomedaysafter

deninguptoaf irmnessli e thato fmahogany w ill

esiccationsetsin thoughtheimprovementofthe

reventthis. P atina producedbyrubbingwithoil

o therunre liablepointertoage sincewhere it issought

yC oastandtheC ongo asurfacef inishsuggestiveofgreat

fewmonths.

anwoodsculpturesasdistinctfrom sculptural

y w ithvery raree ceptions w ehavenoev idence

nanddevelopmentofastylebac throughthe

oarguef romthestyleofancientw or sinmoredurable

one forthereisseldomanyobvioussimilaritybetween

od stoneandbrass eveninasinglev il lage. I f

pletelyabsent thenwhatwek nowasY orubawood-

ironwor ingandpotterysculpturew ouldprobablybe

tribes.

s draw avaluablehistorica llessonf romtheimmense

onalartin theworld smuseumsandcollections and

antit iesstil le ist inginNigeria itse lfonthee tra -

arvingstylesandsubstylestobefound inthatarea

century.Thereisnoevidencethat thisvarietyisof

mayreasonablysupposethata thousandortwothousand

w ellestablished andperhapsevenasmar edasit is

eemsanobv iousprocessbyw hichtoaccountforapro-

allthesestylesfroma single andpurelyhypothetical

ememberthecontraryphenomenonoffusion which

ane ualinf luence inA fricanarthistory. A recent

the gradualtransformationinthestyleofcertain dance

etsocietiesof the I boandI bibiounderthe influenceof

dressesofsim ilardancesocietiesamongtheE k o i

etruthisthatw ecannotputanyperiodatallto theanti uity

wecannottellwhetheritwas oldorasyet unborn

ed whenE gyptianartwasyoung.

runderourfeet whenwespeculateuponthe

nthedurablematerialssuch asbron e( including

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dcopper , pottery stoneandivory sincewepossess

ulpturesspanningseveralcenturies.Thearthistorian

onstructhisedif ice infourdimensions insteadof the

ohim whenhestudieswoodcarving.Where hehas

entepochsofasingleculture asatB enin hemay

tvetimesca le andifhe isvery luc yhemaybeable

solute ly intimeasTordayw asabletodofortheB ushongo

fo l memoryofaseventeenth-centuryeclipse . Y etbe

ntlyawareofthe provisionalcharacterofhis

ofw hichare li e ly tobetestedinthene tfew yearsby

ologicaldiscoveriessuchasarenowbeginningto be

serv icesofWestA f rica .

ehighlyrespectedethnologistshavenotalways

rma imsof theirscience andstudentsofB eninart

intomucherrorbythe prematurecrystalli ation

to f irm- loo ingconclusions. V onL uschantow homw e

onumentalandcopiouslyillustratedcensusand

e n i n a nt i u i ti e s { A l t er t um er v o n B e n in B e r l i n 1 1 )

apassionfororderlinesswhich wouldhavebeencom-

ntificsphere drewupanabsolutetime scale divided

sedonthedefectiveinformationcollectedbythe

andthenf ittedallthek now nsculpturesinto it onthebasis

r-simpleinterpretationoftheinternal evidence.This

ca le aminationof theseschemes huttheymay

hesideof attributinge cessiveagetomanygroupsof

ctureshardenedintodogma partlyow ingtothe laconic

cataloguesandmuseumlabels andhavebeenbutlitt le

ctorsandsomecuratorshave apardonabletendency

benefit ofanydoubtasto thedegreeoftheir

thus someemotionalpredispositiontotheacceptanceof

sbleGermanreconstructions. I tw il l how ever be

ninstudiesif theV onL uschan- truc constructisnow

tmadewiththe helpofresearchinNigeria itself.

bemade ofpresentk nowledgeofNigerianarthistory.

d indeedNegroAfricansculptureto whichadate

of theNo C ulturew hichiscomingto light genera lly

overawideareain thetinfieldsof centralNigeria

eva lley theseterra -cottaheadsandf igures showingan

fsty li a tionw ithinaunitary tradit ion are inproved

callevelwhichis consideredtobemorethan2000 years

specimensofwhicharetobe seenonlyinNigeria

eof itsassociationwithwor abletininalluvial

depth othersuchcultures lessfortunate maybe

NigeriaandW estAfrica withbutlittleprospectof

icale cavationsalone.

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owingfromthenorthernCameroonstoj ointheNigerin

atimportancein Nigerianculturehistory:itsvalley

chiefroutesbywhichtribes migratingprobablyfrom

eearlyChristianeraor earlierpassedontheirway

avingbehindthemvarioustraces materialandlinguistic

ortheantecedentsof morerecentcultures.I n

earthatY orubaculture orsomeimportante lementsof

troducedintosouth-westNigeriaa longthispath forany

aart ancientandmodern w hoe aminesourregrettably

eB enuetribesmustbestruc bymanysimilartraits:

e inYoruba landB ini iconography theA bra as- li e

withmudf ishinsteadof legs( seenfore ampleonthe

il l . fromtheWebsterP lassC ollectioninthise hibit ion ,

on e inthepa laceof thedivinek ingof the J u unat

tt leA fotribesouthofNassaraw ahasproducedsevera l

figuresamongthefinestofAfrican sculptures

mista enforYorubaw or untilthe iridentif ication

courageustoas whetherthesculptureoftheNo

related orevenancestraltothatof theancient

o f lf e perhapsathousandyearsormore later. I fw e

assandterra -cottaheadsof lfe ( no . 113 il l . w ith

o w enoteamar edcontrastbetweenthe idea li ed

withitsappreciationofbonestructurehardly e ualled

thehighly imaginativesty li a tionsof the latter butthe

si eterra-cottafiguresoflfe areonlyperfunctorily

atemuchmoreclose ly tothoseofNo . O nly inthe

adais thebodyofafigure inthetraditiontreated

d.A connectionbetweenNo andH eisbyno means

erearcsomeindicationsthattheancientNo peoplemay

fthe ratherprimitivepaganswhoinhabitthearea

hemoreintellectuallfe artmayheina collateralrather

t.

toflfecannot yetbefirmlyestablished although

nthat itisan indigenousartandnota E uropean

gweare stilldependentoninferencefromB ini

comparisonoflfe andB eninsculpture.I fthe

efEgharevba thatObaO guolaofB eninappliedto

thirteenthcentury foraninstructorinbron e-casting

mecorroborativeevidenceforthe occurrenceina

atB eninthenwe mustassumethattheclassical

tthattime sincetheearliestB enin-sty lewor has

ywiththetwentybron esinthelfe series.H owever

s( supposedbysometohavebeenbroughtf romIfe l

f sty li a tionlasdistinctf romidea li a tion , fo re ample

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rs andtheyarea lso unli e the I feheads o fan

sothatthetechnicalcra f tsmanshipre uiredwasofa

ereasonswepostulatea hiatusofoneortwo centuries

ntofthesedifferencesfromthe I febrasswor which

w ecannotsayyetw hetherthishiatusisatthebeginningof

attheendof the I feone.

itha reinterpretationofB eninarthistory an

pothetica l toadumbrateasuccessortotheunwor able

scheme. Thef irstassumptionisthattheessentialB ini

dnotanarto fbron eorivoryatall buto fw ood and

dbythealtarsofthe handandwoodenancestorheads

ditioninthehousesof thetow n thatinfactitw asa

t undistinguishedforsculptura lform muchli e that

ingtribesofmoderntimes andespecia llyo f the

ethirteenthcentury therecamethe legendaryOranmiyan

dhimasontohethef irstY orubak ingofB enin itw as

stythatB eninbecameagreatpower andthatthe

courtart toadorntheroyalmetropolisandto raise

basabovethatofordinarymen. Sothearto f I few as

butstrict ly reservedtotheO ba sow npurposes sothat

neditsmodeste istenceoutsidethepalacewalls.The

butprobablynotinvo lvingactua lportra iture reta ined

erhapstwo centuriesandthethinheads theearliest

e f romaboutA . D. 1500 butthew or o f thedif ferent

eindividualityandto conformmoreandmoretoa

hmoreheavilycast butstillimpressiveandwellpro-

hisw asthemiddleperiod w ithaprodigiousoutputof

gperhapsthetw ofamousdw arf satV ienna heads

) , a n d re c ta n gu l ar w a ll p l a u e s ( n o s . 58 i l l. 6 2 p e rh a ps s u gg e st e d

ethespirally treatedbron ef iguresofP ortuguesesoldiers

e latesi teenth seventeenthandearlyeighteenth

edecadenceandflamboyancewerebecomingmoreand

neveryperiod oneortwoe ceptionalartistsmight

tothe failingtradition.I ntheremainingperiodmore

ntroducedintotheart anddoubtlessintothecourt

accordingtoaw ella ttestedtradit ion theObaO semwede

ed" w ings andotherornamenta lpro ectionstotheroya lhead-

emany largeand usua lly gracelessbron eheadsw hich

smaybeconfidentlyassigned onthisandothergrounds

. So may thegreatma orityof thecarvedtus sf romthe

hthe irhighly schemati edrepresentationsofE uropeans

orivoryw or shouldrestnotonthese( noronthePortuguese

dhuntinghorns whichwerecertainlynotmadeat

onthew estcoasttheymayhavecomef rom butuponthe

doublegongs whosebeautyandadmirabledesign

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entury inla tertimesB eninseemstohaveimportedivor>

f romtheYoruhatow nofOw o si tymilestothenorth

wsthecontemporaryB iniwor , whichhadrelapsed

dcarvingstyle.

maryhavebeene cludedseveralimportantgroupsof

foundthere donotappearto formparto f themaintradit ion

areprov incia lstylessuchasthatofUdo( includingthe

nL uschansupposedtorepresentgirls , andothersf rom

astheYoruhaorthe I gara( includingthef inebron e

lassC o llectioninthise hibition( no . 126 w hichare

erit.

remar ableprogressionthroughfiveorsi centuries

histicatedartgrafteduponafar moreprimitive

hehybridgrowthgraduallylosing theoriginalhumanistic

tac uiringtheforcefulandpoeticq ua litiesw hicharc

f ricancreativeart. I t isananomalyw ithoutparalle lin

sonit istoberegrettedthatB eninshouldstandsoof ten

istory.

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E S U D AN

rincessGourielli

udan itsnamebroughttomymindasombercountry

emysteriousmapof theAf ricancontinent. When f ina lly

itappearedquitedif ferenttome: acountryof intensive

theco loro fochre interspersedw ithspotsofgreen. I

easures foundothers moreauthentic: austereand

pressiveandgrandiose vasttree-coveredsavannas dotted

andthereavillageof thatchedhutsnestinginfields

nedpeasantsatw or , shoulderingthe irhoes ba lancing

ra inonthe irheads turbancdhorsemeninwide w hite

ga longonmeageranimals l itt legraydon eys carrying

owlyalongthetrails inthetall grass alongrivulets

re-shapedhorns ledbyswarthyshepherdsinshort

on-shapedstraw hats. Thus theSudan a landof

ers appearedtomerichin humanvaluesifnolonger

eS udanisaveryold country inhabitedbymenwho

apedby it. I t is" the landofNegroes. B led-cs- C idan

ple " isthenamebyw hichtheA rabpeoplesofB arbary

heAfrican hinterland withwhichtheyestablished

the lateMiddleA ges inordertoobta ine oticproducts

ostrichfeathers andegrets asw ellasslaves. Thispurely

llywouldbevalidforthe entireAfricancontinent

Cancer buthasbeenretainedasa geographicalname

ngbetween10 and20degreeslatitudenorth from

theGulfofA den. A ccordingtothe longitude theSudan

dintothreema orz ones eachcharacteri edbya

dhydrography:thewesternS udane tendingto

uta-Dj a llonandthebasinof theUpperNiger the

ringonL a eC had theeasternS udan the legendarycountry

on andthegreattributariesofthe U pperNile.

ts particularly theplasticarts only thew esternS udan

phicallyitcorrespondstotheterritories oftheupper

hevastsavannasw hichinthew est northandeasthemin

whosecourselongpresentedaninsoluablcproblemto

meoftheriverhas asignificanceinthelanguageof

esofLatintradition itsmeaningise uiva lenttothat

oplestothecountriesthrough whichitflowsi tisthe

atistosay therivero f the landof theblac people .

" whoareundifferentiatedundertheirgenericclassi-

o fverydiverseraceandappearance. Thetribesthatoccupy

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lthoughpresentingmar eddif ferencesintypesandcustoms

onwhichdistinguishthemfromthe groupsinhabiting

ionsofWesternA frica commonlyk now nas" Guinea '

the mostimportantpartoftheNegro populationof

peoples dispersedovertheentireC ongoB asin theterri-

andthegreaterparto f theS outhA f rica .

n typicalNegroes arerathertall long-s ulled( doly-

( platyrrhine . They includetheMande K asson e.

a ra S o n in e a n d Ma l in e N e gr o es w h o li v e on t h e no r th e rn

a llonmounta inrangeandintheupperva lleyof theNiger

ettledontheMiddleNiger furthertothesouththe

attachedtothe socalledvultaicpopulations( people

, thevarioustribesofSenufoandB obo. I nthecenter

eNigeriancentra lplateau w ithinak indofnatura l

ffsisolatingthemfrom theplainterritory com-

icanpueblosis locatedamoreorless heterogeneous

ntsofrefugeetribes.Thoughtheyare usuallycalled

by theI slami cdNegroesof theNigerV a lley theanthro-

themtheirgenericnameof " D ogon . B ecauseof the ir

ainvillageslongremainedclosedtotherepresentativesof

tonoccupy ingthef la tlands theseDogonpopulations

estingcharacteristicsofhabitatandcustoms.Thisdistrict

eethnographicalmuseum atreasuryoftraditions

ygobac toveryremoteperiodsofAfricanlife.

edabove atleastthosewhoarestill animists

traditionsandnot influencedbyI slamareengaged

re. Thisartisusedtoma etheritua lob ectsre uired

hichisthecommonbasicreligion oftheAfricanNegroes

gamesof theassociations" agesocieties groupsfor

ngclans a llmoreorlessinitia tory w hichw ereand

meof themorebac w ardregionsof theS udan.

of " blac smiths " metalwor ers woodcarversand

eswhichk eeptheirtraditionalcraftsecretsand also

ociatedw iththe irtrade w hichma ethematonce

peoplesamongwhomtheylive andwhobenefit

tudetow ardstheartandscienceof the" blac smiths

eculiartotheS udaneseregionsofNegroA f rica. I t

heethnicalandculturaldualismof thoseregionsof

Negroblocof continentalAfricaandthecurrentsof

ationcomingf romNorthandE astA f ricaf romthe

ndthoseofAsiaMinor.S uchcontactsandcontri-

riousperiodsofhistory andatdifferentstagesofthe

onofAfrica.

particularlyamongtheB antuNegroes industriesare

bal communitieswithoutanyethnicaldifferentiation

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ationotherthantechnical.Tims intheprimitive

hwerehomogeneousandhadnotundergonethecleavage

tionofonegroupover othersasaconse uenceof

n ationof feuda lsocieties thearto fw oodcarv ingw as

siveprerogativeof thechie fsandthe irsons. I nfact the

ptor w asthe insigniumsymbolico fdignityof thema ority

" doubles representingancestorsorprotective

heimagesof totemanimalstherepresentationofwhich

vedtheritualtotemism propertothehuntingandc attle-

enintegratedinto theancestorcultofagricultural

uiteobv iouslyw asaprivilegeart associatedintriba ll ife

emostsacred andmostpowerfulrites.

ntinuousfusionbetweentheformalcharacterof

vationofnatureand thee pressivecharacterofthese

performanceofare ligiousrite w hichconfersuponthe

heirdeepsignificanceandva lueofe pression. I nthis

thebestcreationsofR omanes uesculptorsof theWest

adit ionsofE asternandF arE asternpeoplesintheremote

ensua landspiritua l concreteandabstract formand

alq ua lityo f tradit ionalNegroart w estressthead ective

wor sconceivedandcreatedoutsideofthe lineof

ualityisfoundin sculpturesfromtheCongoand

f icallyS udanesecarvings. The latter how ever have

.

udanremainsoneof theartsleastk now nto

oneofthemostpoorlyrepresentedin privatecol-

ecomprehensivecollectionofMme.H elenaR ubinstein

, how ever containsmorethanonehundredse lectedpieces

eS udan w iththee ceptionof theDogoncountry

edinthise hibition( nos. 10 11 il l . . Thearto f the

testandmostoriginalamongall theartsofthe African

ple , thew or o fdif ferenttribesproducingob ectsto

s ito f fersacerta inunityw hichma esitpossibleto

of othergreatregionsofAfrica.

attachedtothe irsoil l iv ingamongfamilia rrepre-

nanddirecttheirmentalactivity.I tisan artatonce

austere inconceptionbutref inedindeta il l i e thato f the

s whoembellishedthecapitalsandtympanumsof

ueedifices. I t isanartbasedonsincere na ive direct

how ever be ingastrict ideographye pressingw ell-defined

reapowerover thespiritualbeingswhichpopulate

opemotif ( nos. 5 i l l . . 8 10 , thoughallclosely re lated

ancemas susedby theB ambara intotemicdancesat

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harvesting theearlyantecedentsofthesedancescan

oc representationsof theS outhA f ricanB ushmen.

dancestralmas softheD ogonandMossi( no.1 , ill.

sty li edmas sw ithhornsaredeeoratedw ith

cutedinreserveandinopenwor . Thesymbolismof

hermetic andrepresentsthebeginningofapurely

ewor sofartarefullo f individua lfantasyhut atthe

nwithinthestrict rulesofacommonstyle.Thereare

D o g o n ( n o s . 13 1 4 1 7 , B a m h ar a K h a ss o n e o f

hieraticsty le w ithoute uiva lentinanyotherregion

arvings inwhichtherepresentationofthehuman

itectureofforms constructedandvisuali edaccording

comparedwithwhichtheCubismof ourmodern

astimid derivative andsimply inductive.

main linesalongwhichtheart oftheS udanseems

urse ofages asuccinctenumerationoftheq ualities

special placeamongthegreatgeographicalstyles

asticart oftheAfricanNegro.

aneseart thearto f theS outherntribesof theS enufo

a ll i l l . occupiesaspecia lplace. I t isatransit iona lartclassified

hearto f the I voryC oastpeoples thoughthe latteris

natura list icandsumptuary toacerta ine tentre lated

whosegreatcentersofinventionanddiffusionwere

theY orubaof low erNigeria. H ow ever becauseof the ir

dhistoricalaffinities theS enufobelongtotheS udanese.

turalpeopleto alargee tentabletopreservetheir

arringandcon ueringtribeswhoimposedtheir

ntarypeasantcollectivesofthevastsavanna.The

ichandcomple art basedontotemicimagesw hichthey

e lagreatvarietyofob ects. Theyma emas sof

noblehieraticaspecta intotheanthropo oomorphic

tE gypt whichalsotransferredtherecessivetotemism

cattlebreedingtribesoftheNile valleyintothe

edgodsofthenomesof sedentaryagriculturepeoples.

tdoorstotheenclosuresofthe chiefswithemblematic

mthemintoveritablecoatsofarms.Theyfashiona

rritua lorda ilyuse o intmentbo es spoons tablesand

ids delicatelycarvedweavingloomswiththebird-

thoughe tremelyindividualinstyle isundoubtedly

ofama ingrichnessw hichhassurv ivedtherigorsof

anshipstill livingbutnowatthe serviceoftheE uropean

hishasbroughtaboutarapidandtota ldegenerationinto

tanystrictnessofsty le ob ectssimilartothe" curios

ars. TheauthenticspecimensofS enufow oodcarv ings not

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ingob ectsofgoodperiod presentoneof themost

hest aspectsofNegroplasticart. Theyareparticularly

n ofthelaymanintocomprehensionofanoriginal

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tionofthedemonCode.Thetype hasawidedistribution

erydif ferenttreatmentsoccur mainly inco if fure heard

cfeaturesremainconstant. Whenthismas andothers

mef romlocalit iesneartheGuro theuseofpolychrome

uresoftenma eforaconfusionof provenance.

o ldf romGurow or sby thegroupofornamenta lscars

nd generally bythemassivetreatmentoftheupper

ncesarenolonger performed itmaynotbetoo

ofmas sonceusedinthem. Ostensiblyamultitudeof

oweveraconversancewithB aulesymbolismandthe

ptors approachesmayhelptoreducethismass to

umberofmas sw hosefacesaremar edlydissim ilar

nity.Thecommonfeaturemaybeonly apairof

s butthisissufficient toproclaimidentity.S ymbolism

lear: ahornedhumanmas issa idto indicateagodor

ornsareshown.Thefre uentoccurrenceofdifferent

smayrelatetoa timewhenanimalshadatotemicsigni-

nyanimalmas sshowafusionof features:human

yes andnosecarvedatopabeast sopenmu z le

attheB aulecreateartforsecularaswellasre ligious

ymostlytofigures althoughcertaindancesandtheir

osttheirsacredquality . Whenpiecescometo light

itisalmostimpossibleto ascertaintheiroriginal

. 45 aresa idtohavebeenmadetorepresentvarious

erveasabodesforthesoulso fdeceasedk info l toremind

ngpeople andtoentertainchildrenandadults.The

e ll-w or edand butforthe irsmallersi e couldnot

emorativefigures.Nothing moreover seemsto

sfromsuchfigures.

artwor atteststoareasonablyhighdegreeof

tyamongtheB aule . Manyutil ita rianob ectsarecarved

chthingsashousedoors( no . 51 il l . . w indow shutters

ndcosmeticbo es. Secretsocieties if theye istata ll.

hibitorye tentcharacteristicoftheMandc-spca ing

lptor sfreedomisnotalwaysto theaestheticgood:

culpturealmostinvariablytendstowardduplication

riesofalmostidenticalB aulefiguresarenotdifficult

he B auleinculturethanin sculpture.S ecret

heirvillages andtotemicbeliefsmoreobvious.Their

uchsimplerthanthatof theB aule.Thelevelofmaterial

untingseemstobeofgreater concern.Thetimespentin

psoccasionsacomparativedearthofnon-essentialart.

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inGuroart arefinementoffeatureswhichsuggests

cadence.TheGurothemselvesgreatlyheliethesesigns.

eople they re uiredconsiderablepacif icationby the

ulpture isquitedistinctiveand fortheregion remar ably

of tenthoughttobeGuro thereversehardlyeveroccurs.

ceofadaptingstyleelementsfromothertribes isseenin

earecarvedwiththe geometricflangescharacteristicof

eryotherfeature inthesemas sispla inlyGuroeventhese

m entedandcoloredinthe Guromanner.D espiteGuro

eandS enufo he lmetmas sseemnottohemade.

pudlleyhandles( no.48 isascommonamongthe

notmoreso . Thepulleysaremadeforusew iththe

loom adeviceofwidedistributionin theGuineaarea.

dpulleysamongtheAshanti andY orubatotheeast

e irseemingabsenceamongtheD antribestothew estof the

eB aulemayhavebeenthefirstto havethem.

eGuro hasleftE uropeanswithaveryimperfect

few oftheearlierstudiesof Africansculptureimplied

ebythe tribe butrecentlythreefullfigureswhose

venancehavebeennoted.Thisdoesnot indicatecare-

writers suchfiguresindeedseemrare.A studentofthe

urowouldpreferthattheyseemso: wheretheB aule

yfigures theGurowouldnotallowhim withinthe

bush-fetishes . O therw ritersw hov isitedtheGuro

twedonotfind reproducedintheliteratureofAfrican

herearethreesocieties oneofw hich theGuie isa

areca lledGoriandZ amle. Mas sareusedbyallthree.

ek now nmas stoanyparticularsociety . P ossibly the

of anantelopewithsomehumanfeatures onesource

edance anothersaw thisdanceperformedw ithabird

thhumanfeaturesaregenera llyo f tw otypes: 11 an

face o f tenwithbaredteeth( 2 aretrognathousface

edbrow obli ueeyesandasmallmouthseemingly setin

othtypesf re uentlybearanimalhorns.

s ssuggestGuroprovenance buttheircoursefeatures

browindicateotherwise.Themedianscaris saidtobe

e aratherlargegroupto thesouthwestoftheGuro.The

died aconditionwhichholdstruefor manyprobably

pswhichlivearoundtheB auleandGuro.P iecesmade

stalcountrysouthandsouthwestofB aule-landareoften

sbeinginB aulesubstyles.O urk nowledgeofthese

a lthoughmanyw or sareattributedtotheA langua

dethnic mapsinvainformentionof thistribe.

relyavarianto fA lladianorA laguian atribeof the

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B A O T A P A NG W E , A ND B A U M B O

O F TH E G AB O N A ND T H E M D D L E C O NG O

arto fF renchEq uatoria lA f ricahasnotgivenus

ac ground.S culpturesfromthisregioninfluenced

ndsculptors attheoutsetofthis century buttheir

hasmadethem renownedbutlittle- nown.Main

heredintoEuropeandq uic ly so ldtodea lersand

erwhelmedbytheirbeautyandstrangenessto thin

essof buyingandselling boldersimilaritiesbetween

oupsandtheirnames.A studyofanumberof wor s

gionwillreadilydisclosesignificantdifferenceswithin

hisshouldnotbesurprising forthetribesw hichhave

er arenotinthemselveshomogeneous.E achtribal

berof smallerunits.W idedispersalthroughdense

militateagainstanygreatuniformityofculture.

renchEq uatoria lA f ricathemostfamilia rtypesare

P angweandB a otatribesandthewhite-facedmas s

tedgroups.Theselargegroupsarc atcertainpoints

cebetweenPangw eandB a otaf iguresseemspolar:

reinthreedimensionswithsomeintenttowardsveri-

f la tconventiona li a tionofahumanhalf - f igure made

verlayofmeta l( no . 148 . Y ettheymustbecon-

hother. B othtribesk eepthes ullso f the irancestors

gweuseabarrelfashionedofbar , theB a ota a large

othcasestheancestra lremainsareguardedbyasculpturesecured

ry .

tasometimescalltheguardianfigure' " theimageof

hascausedE uropeansto interpretitsunusua lformas

tation tendingtowardabstraction.S uchviewsarc

uentplausiblee planationsbasedonethnographic

etsof theB a otaarek eptaga instaw allo f themen s

ctinthe figureswotddbefrontality:thisq ualityhasbeen

ofdepthinform. Thise tremeinconventiona li a tion

nabstractionforitsownsa e particularlyw hen

a otaco if fureandgraphicrepresentationsof thehuman

ndintheir tribalarea.

famedfortbeirc oncernwithelaborateheaddress:

esofhair builtupoverbolsters.Thesecrests were

ch applicationofornament:stringsofbeads ,

a l f eathers. I narriv ingataf ronta lformtheB a otahave

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oc sintothegeometricprocesseswhichsurround the

artsareoftenornamentedwithengraveddesignswhich

ornamentalmaterialontheactual coiffure.

otahutsshow acuriousconceptionof thehuman

nearfiguresthearmsareheld a imbowiththetorso

hroughthecenterofthe lo engewhichtheyform.

enge.Theremayhemorethananalogybetweenthis

nge-shapedprocessatthebaseofa llB a otaf igures.

isethatthefaceof theB a otaf igure isrimmedbya

reandthatthestal beneaththefacerepresentsanec ,

seisintendedtoindicate nothingmorethanarms.

it isw ellthatthetorso isnotparto f thescheme asits

elashingofthe bagofs ullsontotheguardianfigure.

ationse istw ithinthe lim itso f thegenera lB a ota

t apparentdistinction whichseemsbasedona

yle isoneofproportion.F iguresattributedtothe

ntotw onotverydistinctlydefinedgroups. Onetypehasa

coiffure rathernarrowandroundedatthebottom

e" arms longandthic . I ntheothertypetheheadis

ms andnec tendtobeshorter: theco if furee pands

antelementin thecomposition.Thelarger-headed

ethe largerinsi e .

ntheroundhavebeenmadeby theB a ota .

a lf - figurescarvedontypicalB a otastools( no . 217 :

sconve andmodelled inonee ample it isgreatly

angularandthe characteristicthree-partheaddressis

greaterdepthofthe form.Certainofthesepiecesshow

gnsof metaloncehavingbeenapplied.O neistempted

nal showingevolutionfromaroundtoa flatform

older thanthemorefamiliartypeoffigure.

ptureappliedtoutil ita rianob ectsareattributedtothe

mntedharp-handle( no . 213 endingina J anusheadshows

a otaprovenance:thebrowshowshigharchesabove

tureseeninmanyguardianfigures.O ftenabsenceof

ema esmanypiecesofB a otaminorartdif ficultto

harp-handleareq uitesimilartothoseat theends

rumpetsf romtheMossend oarea( no. 216 these

ithcarvedmotiveswhichcloselyresemblethoseused

otas ull-guardianf igures.

no.201 ill. posesmanyproblems.Afigureinthis styleis

eTH ornmeandithasbeen suggestedthatallrelated

romthis onedocumentedpiece.Theterm" related

variety forthissty le ischaracteri edbyarigidity

on.Closescrutiny isre uiredtodistinguishanumber

other. Thisfact how ever doesnotma eforanygreat

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syeba sty leareremar ablea lso forthe irscare ity

ntybeingk nowninmuseumsandprivatecollections.

nlyinthelengthof their" arms , thedirectioninwhich

tothehead andthemotivesusedtodecoratethe

esareinsurprisinglygoodcondition.Thesefacts point

scribedtimeand placeoforiginforthe e amples

theOsyebaasaF angwepeople probablymi edto

ntw iththeneighboringB a ele( B a a la i( . O nefamilia r

f theP angwepeoplesmayw ellbeta enabac by

rmusedbythe O syeba.P ossiblytoogreatatrust is

eedeTHommee amplewasfoundamongtheO syeba:

bythem.AlthoughtheP angweoccupyalargearea

videdintoanumberofsubgroups alltheirsculptures

ssimilarities aredesignatedbysuchgeneraltermsas

a h ou i n o r " F a n g . E n g l i s h an d A me r ic a n pr e fe r en c e in s p ea i n g

eenfortheterm" F ang probably therearemany

ee ceptiontotheuseof thew ord" P angwe . A n

stsbetweenthetwowords.O nculturalandlinguistic

gwepeople isdiv idedintoatleastthefo llow inggroups: E ton

n e B u l u M va i N tu m F a n g a nd O s y eb a.

mostgroupin theP angweentity:itwasprobably

sttowardtheGaboncoastseveralcenturies agoanil

tentionofE uropeans.Theothergroups encountered

the largergroupinwhichtheyw ere included sothe

term" F ang forthemall. Thisusagema esforsome

ure w hetherMvaiorY aunde w ouldbeattributed

reonly inthe irow nsty le . Theconfusioncanperhapsbe

" F ang forthe largegroupand" F anginthestrict

whichtrulybears thename.TheGermananthro-

aw w ardnessinthisapproach chosetodescribethe

rarbitrarydesignation" P angwe . L inguistically thismight

butitdocsma eforclarity . Studentsof thisgroupw ould

whocansuggestamorevalidname.

esculpturesare intendedforusew iththes ull

207. il l . andha lf- f iguresrundow ninto longsta l sor

eswhichk eeptheminfullv iew abovethere li uary.

full-figuresarecarvedwith astal continuingthe

ow nward o f tenconsiderablybe low thefeet these

togivetheseatedfigurea gripontherim ofthebarrel.

thighsare sonarrowlyconnectedwiththetrun that

metobemadebyroughuse ratherthanbythe

the casewiththemaleandfemalefiguresfrom the

a inos. 20. 1. 205 il l . i : there ise tantafemalefull- f igure in

etrun andthighsappeartoheprecariouslyunited.

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esforconsiderablehomogeneityinthefiguresculpture

ua lity how ever isapparentonly inthegenera laspects

head withprognathousface handscomingtogether

arms longsimpletrun , f le edlegs andthesitt ing

tsthefiner detailsservetodenotesubtribalstylesof

tylescan heestablishedwillneverbeabsolute.The

elyrelatedandratheracculturativeamongthemselves

vetoshowanintergradingof styleelements.

saredistinguishedbyavarietyof coiffures inlaid

hswithteethveryprominentlycarved beards a f la t

oulders thearmsheldaw ay f romthebody w ith

comingtogethertoclaspastaf formedicinehorn a

hetrun incontrasttobulbouslimbs.This sortof

made bytheB engaandNgumbapeopleswho

angwegroups a factw hichma esfordiff iculty in

othe P angwe.Thepossibilitythatthetwofigures

neamentionedaboveareofB engaprovenanceisremote

oo ed.

angw ef iguresareoftencharacteri edby thehelmet

eeyeeithercarvedoutinre lie fastwo lidsa lmoste ua lin

ce intheformofmeta ldiscs thearmsheldclosetothe

venwhenho ldinganob ect carvedinavery rudimentary

isstyleand manyheadsaredistinguishedbyablac

suni ue intheregionand ina llo fA f rica isperhaps

by thevery remoteB alubapeoples. How ever oneof

ngwesubtribes theMvai seemstoma ef iguresw hich

arved inareddishwoodwhichis leftunstained.

ri edbyahigh tripartitecoiffure verystyli edlimbs

theupperlido ftenlargeandbulging( no. 202 il l . .

sfromthesouthernGabonevinceno varietyof

sa naturalisticfrontalmas ofafemaleface

a indif ferencesbetw eensuchmas sreside inthe irco if-

orabsenceofcicatriceson thebrowandtemples.I n

absent the irarrangement w heretheye ist hasbeen

nattributingthemas stocerta intribes. The" pea-

pedina lo engeonthebrow andinas uareoneach

carsonthe browmaynotbeavalid indicationoftribe

tribesofdif ferentcultures suchastheB av il i B aya a

arsmay how ever possibly show ran w ithinatribeor

cars f ree lychosenby thew earer inmuchthesamew ay

eemto havebeenchosen.

giventhreedifferentattributions:Mpongwe B alumbo

Actuallytheyseemtobe fromanumberoftribesof

seattributionsare entirelyincorrectbuttheytend

ofprovenance.Thetypeisbutone ofseveraldistinct

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goweR iversystem.Mostpiecesprobablycomefrom

whohaveforsometimebeena dwindlingandculturally

umboarealargecoastaltribe whodoubtlessma esome

tit isprobablethatmanyothersw eremadeby relatedinland

ropeanhandsthroughtheB alumbo. How ever " B a lumbo

designatingmas smadeby thecomple o f tribes.

onof mas sfromtheMashangotribewholive con-

eB alumbo thecollectorstatesthattheywere usedin

ocietyk now nas" Mu ui . I f thissocietya lsoe ists

a lumboandA shira perhapsthemas scanbemost

o c i e ty m as s a s " P o r o S o c i et y h a s be e n us e d as a n

softherather involvedcomple oftribesinnortheastern

m thesouthernGabonisnotwell k nown.Thereare

eswhichseemsculpturallywea :theirfacesappearto be

arousingsuspicionthattheyarenotsincereortradit ional

andanumberofsculpturesinminiaturef romtheregion

on.Thesearesmall figurescarvedonthinhigh

hsimulate interw ovenrope(no. 146 . I ntheseourattention

ngationofthehairdressintoa downward-curving

sbeeninterpretedbymanyasma ingahoo thusgiving

e sculpture.

turesofF renchE q uatorialAfricaareyearly

.Materialgatheredwithinthelastfortyyearsin the

lonyhasbeen comingtolightinE urope.E ventually

e s as t h e K u y u B a w e le A m be t e ( n o s . 13 6 1 3 7 i l l . .

maybecomewellenoughk nowntoengagewidespread

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O NA AR TO F TH E B E L G ANCO NGO

A mericanE ducationalF oundation

of theB elgianC ongoandad o iningpartso fCentral

w hentheP ortuguese fo llow edlaterbyotherE uropeans

ttlementsnearthemouthofthe CongoR iver.Thewhite

sonaries stayednearthecoasthowever anditw asnotuntil

aterthatany systematicpenetrationande ploration

t en.

arefoundoccupyingtheregionin moderntimes.We

characteristicsandcultural traitsthattheyarea

heblac racerangingf rompygmies( thoughttobevery

throughtheB antuandsemi-B antugroupsthatformthebul

udaneseandNilo ticgroups. Wek now f romobservation

raditionsof thenativesthattherehavebeennumerous

roughthe centuriesandevenmorenumerousmigra-

ithinthearea.Aboutwherethe peoplecamefromand

opmentandinterplayofgroupsandcultures thereare

stherearewritersonthesub ect. Wek now too o fa

softribesthat haveflourishedandfaded.Allin all

eand confusedpictureofthelastfive hundredyears

hecenturiesbefore.W henmorethoroughstudyhas|

tions ofthenativesthey hadnowriting andwhen

gy physicalanthropologyandotherscienceshavebeen

sha llk now considerablymoreaboutthehistoryof this

inthemiddleofA f rica.

hedthroughthedifferentparts oftheCongo he

ethepygmies w homadenoartob ectsanddidnotseem

nob ectsata ll. O thertribes a lso livinginaprimitive

susua lurgetoornamenthispossessionsandtoma e

ectsforsocialand religiousfunctions.Andinsome

profusionofstri ingcarvingsthateventradersand

llyhadthe irm indsonotherthings w eremovedto

deedoneofthe richestart-producingsectionsofAfrica, '

varietyofstyles.

shouldbe usedhere.W hatwcareconcernedwithis

NegroAfrica andintheCongothat ispractically

ptatthew estendof theterritory by theA tlanticcoast

theCongo butitso happenedthatinthemainthe

rethe onesmostq uic lyaffectedbyhisactivities.

ed manyoftheirsocialand religiouscustoms

hemthecall formanytraditionalcarvingswasgone.

nedby thenativesw erereplacedby importedarticles. B y

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raditionsaredeadintheC ongoandonlyw ea im itations

ecesaremade.Giftednativesarebeginningto e press

butthatisa newanddifferentart.

ereistobe dennedgeographicallyasthatproduced

dcertainborderlineregions principa llyo fF rench

PortugueseA ngo latheEuropeansdidnothavethe

ndariesandart stylesintoconsiderationwhenthey

sin Africa.Chronologicallyweareinterestedinthe

sbeforeE uropeanenterpriseinfluencedanddisrupted

es.F ormostofthe Congothismeansuptothe early

roughly uptotheF irstW orldWar. A ccordingly some

ngoartarenotmorethan fortyorfiftyyearsof age.

butinmostcasesourpresentk now ledgeandmeans

tus tosetanyagefor them.Afewivorycarvings

efromtheWestC oastinthesi teenthcentury andsomc

nthatw erebroughtbac to I ta ly f romthesameregion

eighteenthcentury.P robablysomeivoriescollected

uryorinthiscenturygobac atleastacoupleof

hapsafewimportantwoodpieces cherishedandwell

sornotables areaso ld. B utthe lif eo fcarv ingsis

eCongo.Adestructiveclimate voraciousinsects

suchato llthatw emustassumemostof thepiecesw epri e

eenthcentury moreoftenthannotwellinto thecentury.

asdescribedgeographicallyandchronologically

ghtoutofAfrica yearsagoandisin museumsand

ropeandotherpartso f theworld. Litt le isle f t inthe

doubttherearesomeold piecesstillinnative hands.

heold triballifearegrist tothemillsof ethnographic

ectsthatappealtousashav ingsuperiorartist icq ua lities

sameob ectsw ouldbeconsideredcho iceby thenatives

enormousproduction muchofwhichw asw ea and

t inconceptandmostof whichserveditsbrief

eartofAfrica.B uttheq uantityofrightlyconceived

pturewasveryconsiderableanddeservestherecognition

ortante pressionof trueart.

he nativesarepreferredbycollectorsandmuseums.

voryarichandbeautifulf in ish apatinathatdocs

dtheconsecrationofusemeansthe pieceisauthentic

owever somepiecesmadeagoodmanyyearsago

nusewereac uirednewatthattime bywhitemen

dthoughunusedandunw orn. A nd toma ethematter

eapparentlyusedpiecesareofr ecentorigin.These

e itherso-ca lled" tradepieces madeinA fricaorfa es

ciallyaged.O ftenonlythepracticedeyecan distingush

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emaintiting isthata fairlyclearandconsistentset

alacceptancewithonly minorvariations.

ostylegroupliesabelto f territoryof tencalledtheKw ango

s. Herethere isaratherbewilderingmi tureofstyles

theachofthethree mainstylegroupsbuthardly

them. TheB aya a( nos. 1 0and1 4 andtheB apendc

il l . I a reamongthemainsty les. TheB ahuanaw iththe ir

no . 140 areherealso .

oupingseveraltribesintheB a ongoregionwhenthe

efifteenthcentury.Alsowe k nowofthreeorfour

he B alubacountry buttheempirethatapparently

reached thegreatestdevelopmentwasthatofthe

ngo. Origina lly thesepeopleca lledthemselvesB ushongo

southca lledthemB a ubaandthatnamehastended

B a ubaartto f low erso intensely isdif f icultto

ua lpolit icalstabil ity unbro entradit ions formali ed

ributingcireumstances.Atanyrate itisa decorative

ogeneitywhichisnotfoundin theotherstylegroups.

tedarticlesofeverydaylifewereturnedoutinprofusion

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