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Tribes of Africa
Arts Integration Educator’s Guide for Teachers and Parents
TRIBES OF AFRICA:
It is unclear as to exactly how many distinct tribes exist or have existed on the African continent.
Some sources suggest hundreds, while others suggest thousands. For this reason, this guide
focuses only on those tribes represented in the collections of the Mabee-Gerrer Museum of Art.
Visit www.mgmoa.org/lesson-plans to download a map of Africa showing the location of these tribes.
BAULE (Ivory Coast)
The Baule belong to the Akan peoples who inhabit Ghana and Côte d'Ivoire. Three hundred years
ago the Baule people migrated westward from Ghana when the Asante rose to power. The tale of
how they broke away from the Asante has been preserved in their oral traditions. During the Asante
rise to power the Baule queen, Aura Poku, was in direct competition with the current Asante king.
When the Asante prevailed, the queen led her people away to the land they now occupy. The male
descendant of Aura Poku still lives in the palace she established and is honored by the Baule as their
nominal king.
The Baule grow yams and some maize as primary crops. They are also exporters of cocoa and
kola nuts, which are grown on local plantations using large numbers of exploited migrant laborers,
most from Burkina Faso. Many locally grown crops were introduced from the Americas during the
Atlantic slave trade. These include maize, manioc, peppers, peanuts, tomatoes, squash, and sweet
potatoes. They also raise farm animals including sheep, goats, chickens, and dogs. Markets which
are primarily run by women take place every four days and are the center of the local economy. Local
produce and craft items are sold alongside imported goods from all over the world.
The Baule have a highly centralized government with a king or chief at the top who inherits his
position along matrilineal lines. There are various subchiefs in charge of his local populations, and all
the chiefs rely on political advisors who help in the decision making process.
Religion includes both ancestor worship and a heirarchy of nature gods. Nature spirits and spirit
spouses are often represented in sculpture. However, their creator god Alouroua is never physically
represented.
DOGON (Mali)
The Dogon have two theories on their point of origin. Oral history traces the Dogon back to the
Mande territories of the southwest. Linguistic and cultural evidence points the Dogon’s origins to the
Yatenga region of Burkina Faso. Both theories may be correct, as the Dogon share artistic traditions
of both cultures.
© Mabee-Gerrer Museum of Art • 1900 W. MacArthur, Shawnee, OK 74804 • 405.878.5300 • 405.878.5133 fax
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The Dogon initially built their villages on top of the Bandiagara cliffs. After the French colonial
government became established in the regions, the Dogon left the cliffs for the Seno plains. Dogon
populations presently represent nearly 300,000 people dispersed throughout 700 villages, most of
them averaging fewer than 500 people.
With animal resources nearly decimated, the Dogon became reliant on agricultural means. They
grow onions which are exported throughout the Sudan region. They also grow millet and sorghum,
which is consumed locally.
The Dogon are best known for their extensive carving of masks and wooden figurative art. The
primary colors used by the Dogon are usually red, black, and white, and popular patterns include
spirals and checkerboard motifs, both of which can be traced to their origin stories.
Dogon religion is defined primarily through the worshiping of the ancestors and the spirits. Like so
many agricultural people of Africa, the land and its bounty plays an important part in the religious
views of the Dogon. Religious rites involve masking traditions and are carried out only by initiated
males who have learned the techniques needed to impersonate the supernaturals.
BAMANA (Mali)
The Bamana are concentrated in the west central part of Africa. They belong to the Mande family
which includes the Malinke and Dyula, and are the Mali’s largest ethnic group.
Those members of Bamana society who still live in rural villages continue to rely on subsistence
farming as the most common means of livelihood. Hunting also supplements the diet.
The artistic tradition of the Bamana is rich, filled with pottery, sculptures, beautiful bokolanfini (mud
painted) cloth, and wrought iron figures fashioned by blacksmiths. Potters, weavers, sculptors, and
leather workers train in their respective art for up to eight years. They supply the community with
objects required for daily living and carry their work to urban centers, to be sold for a small profit.
The religion of the Bamana is directly related to the initiation societies (dyow). As an initiate moves
through the six societies, he/she learns the importance of knowledge and secrecy, to challenge
sorcery, about the dual nature of mankind, the necessity for hard labor in the production of crops, and
the realities of surviving from day to day. The final dyow, the kore, enables one to regain that portion
of spirit that has been lost to the god through the process of reincarnation. If one is unable to regain
his spirit for several lifetimes, he will be entirely absorbed by the god and will cease to exist on Earth.
The goal of the initiate then is to usurp the power of the god and remain on Earth, undergoing endless
reincarnation.
In the 19th century, religious wars broke out throughout the region, setting Islamized societies
against those who preferred to embrace traditional Bamana views. A dichotomy between traditional
and Islamic views still exists today in Mali, and one may expect to encounter representations of both
cultures existing side by side.
IGBO (Nigeria)
The Igbo occupy the East Central State of Nigeria. They are a politically fragmented group, with
numerous divisions resulting from regional and geographic differences. They traditionally live in
scattered villages, which compromise the basic social units. They speak a common language but with
different dialects
The majority of Igbo are farmers. Their staple crop is yam, and its harvesting is a time for great
celebration. They are able to produce yam efficiently enough to export it to their neighbors. With the
© Mabee-Gerrer Museum of Art • 1900 W. MacArthur, Shawnee, OK 74804 • 405.878.5300 • 405.878.5133 fax
For additional information about Start with Art or the Mabee-Gerrer Museum of Art, please visit www.mgmoa.org.
assistance of migrant labor, they also harvest the fruit of the palm tree, which is processed into palm
oil, and exported to Europe in large quantities, making it a fairly profitable cash crop.
Due to the diversity of the Igbo people, it is impossible to generalize about a pure Igbo art style,
which has characteristically been representative of numerous geographical regions. Most Igbo do
carve and use masks, but the function of these masks vary from village to village. Traditionally, most
Igbo revered a powerful masked spirit, deputized by the elders, who had broad governmental
authority, policing, fining, and judging roles. However, the British government took over these roles
during colonization and the ideas of Igbo masking would become increasingly secular in the twentieth
century.
Before the influence of Europeans and Christian missions, most Igbo practiced some form of
ancestor worship, which held that in order to gain success in this world, one must appease of the
spirits of the deceased.
YORUBA (Nigeria)
The Yoruba are the most urban of African cultures. By the 11th century, they had a thriving city
state (Ile-Ife), the following centuries saw the development of many cities states in the Yorubalands
tracing their lineage back to Ile-Ife, and today Yoruba cities may number in the thousands. The term
“Yoruba” was used by the British following colonization to describe people who shared similar uses of
language and culture due to having similar ancestral lineage (Ile-Ife). Yorubaland is characterized by
numerous densely populated urban centers with surrounding fields for farming. The centralization of
wealth within cities allowed for the development of a complex market economy which encouraged
extensive patronage of the arts.
Historically, the Yoruba were primarily farmers, growing cocoa and yams as cash crops. These
are planted in a three-year rotational system, alternating with cassava and a year of diverse crops
including maize, peanuts, cotton, and beans. At the end of this three-year cycle the land is left fallow,
sometimes for seven years. It is estimated that at one time nearly 70 percent of people participated in
agriculture and ten percent each working as crafts people and traders within the towns.
The oral history of the Yoruba describes an origin myth, which tells of a god lowering a chain at
Ile-Ife, down which came Oduduwa, the ancestor of all people, bringing with him a cock, some earth,
and a palm kernel. The earth was thrown into the water, the cock scratched it to become land, and
the kernel grew into a tree with sixteen limbs, representing the original sixteen kingdoms.
Historically, the social-political structure of the Yoruba resembled a triangle, with the king (oni) at
the apex. The oni resided in a palace in the holy city of Ife and is honored as both political ruler and
as the representative of the Oduduwu, the ancestral father of the Yoruba people. The oni is said to
wield the divine power of the Oduduwu. Currently, the political and social systems of the Yoruba vary
greatly in different regions, and allegiance is uniformly paid to the large urban center in the area,
rather than to a singular centralized authority. Each town has a leader (Oba) and title associations,
such as the ogboni, to assign and balance power within the cities.
The Yoruba are polytheistic. The Yoruba claim that they have 401 deities (but there are probably
more. Yoruba deities are known as orisha, and the high god is Olorun. No organized priesthoods or
shrines exist in honor of Olorun, but his spirit is invoked to ask for blessings and to confer thanks. The
Yoruba believe that when they die they enter the realm of the ancestors where they still have
influence on earth. Annual homage is paid to the grave sites of ones' forbears, and lineage heads are
responsible for honoring all deceased members of the lineage through a yearly sacrifice. Maskers
(egungun) appear at funerals and are believed to embody the spirit of the deceased person. Other
important orishas include Eshu, the trickster; Shango, the god of thunder; and Ogun, the god of iron
and modern technology.
© Mabee-Gerrer Museum of Art • 1900 W. MacArthur, Shawnee, OK 74804 • 405.878.5300 • 405.878.5133 fax
For additional information about Start with Art or the Mabee-Gerrer Museum of Art, please visit www.mgmoa.org.
POINT-OF-ENTRY:
Make an African Mask:
African masks are dramatic portraits of spirit beings, departed
ancestors, or powers of social control. Each mask was made
according to a traditional style, and each was worn by a trained
performer. Often the masks were originally part of whole
performance ensembles, consisting of elaborately costumed
dancers, vibrant music, and highly stylized dances. These complex
ceremonial events expressed important social, religious, and moral
values for the whole community.
Supplies per person: 2 sheets of heavy paper (card stock,
construction paper, or poster board) in contrasting colors and/or
contrasting patterns; pencil; scissors; glue
1. Observe and study the African Masks at the museum.
Reservations for a field trip can be made online at
www.mgmoa.org/field-trips
2. Collect your supplies. (Only 1-1/2 sheets of heavy paper are actually needed per student. If
planning for a class, you can save resources by precutting the paper as indicated in step 5.)
3. Visit www.mgmoa.org/lesson-plans to download a handout with detailed step-by-step
instructions and images for this project.
4. SUGGESTION: Students should select the tribe from which their design will be based. Visit
www.mgmoa.org/lesson-plans to download a handout with photos and specific information
about the masks in the MGMoA collection.
5. Arrange the 2 sheets of paper in portrait format. Fold one sheet in half down its vertical length
and cut along the crease to create two equal halves. Then, take the half sheet and place it
over the left half of the whole sheet to create a symmetrical arrangement.
6. Using the pencil, draw stylized features on the half sheet of paper. For the mouth and nose,
remember to draw only ½ of the feature directly on the right edge of the paper.
7. Using the scissors, cut out the drawn designs on the half sheet. Flip them over and arrange
them symmetrically on the exposed side of the whole sheet.
8. Draw the outline of the mask, cut it out, leave the face in place and flip the “background” piece
over and align it with the right edge of the whole piece, allowing the negative space to define
the shape of the mask on the right side.
9. Draw geometric designs to indicate the ritual scars and elaborate hairstyles featured in most
African masks.
10. Using the scissors, cut out the drawn designs. Flip them over and arrange them symmetrically
on the other side of the whole sheet.
11. Once the features are arranged symmetrically, glue them into place.
© Mabee-Gerrer Museum of Art • 1900 W. MacArthur, Shawnee, OK 74804 • 405.878.5300 • 405.878.5133 fax
For additional information about Start with Art or the Mabee-Gerrer Museum of Art, please visit www.mgmoa.org.
CURRICULAR CONNECTIONS:
SCIENCE
After students have created their masks, they should research the tribe from which their individual
designs were inspired. In addition to learning about the cultural aspects of the tribe, students should
focus on the geographical regions where that particular tribe is located. Many of the tribes of Africa
now face ecological and environmental challenges (barren fields, unsafe water sources, health
issues). Students should research these concerns and document their finds, including efforts being
made to face these challenges. Reports of their findings should be displayed with their masks as a
learning outreach to others, including peers, family, and community members.
SOCIAL STUDIES
After students have created their masks, they should research the tribe from which their individual
designs were inspired. Their research should focus on the cultural aspects of their tribe, including the
following: geographical location (map), dietary habits, traditional clothing, family structure, religion,
and other traditions. Reports (written/visual/oral) of their findings should be displayed or given during
the display of their masks as a learning outreach to others, including peers, family, and community
members. Self-teaching posters work well for this type of research.
MATH
As students study the characteristics of the African tribal masks, they should be encouraged to
recognize the geometrical designs and patterns used by the mask makers. Students can research
the designs to determine symbolic meaning and purpose. Exercises in measurement, symmetry,
perspective, and geometrical designs work well with the creation of the masks.
LANGUAGE ARTS
The African culture has rich oral traditions filled with legend and mythological characters. Students
should research the various African tribes to find stories that can be shared with others. They may
wish to use these stories for the creation of their masks. Students should then prepare illustrated
story books that will retell these stories for others. These books would then be displayed with the
masks as a learning outreach for their peers, family, and community members. As an enrichment for
this project, students could honor the oral tradition from which their stories came by a retelling of their
story during the displaying of their masks.
ADDITIONAL RESOURCES
Water Availability and Usage (Clean Water and Quality of Life - Math and Science Extension) Students view the
slide show "Water Source Protection" featuring Peace Corps Volunteer Lauren Fry. They then explore the
numerical relationships between water supply (gallons of water filtered per day) and demand (gallons of water
needed by the community). http://wws.peacecorps.gov/wws/educators/lessonplans/lesson.cfm?lpid=3045##
PBS provides an interactive website for the examination of Africa that provides pictures and stories of people
across the regions (usually children), and has an interactive thumb piano which plays African tunes and allows
students to create music as well. A Swahili read-along folktale is also included for younger viewers.
http://pbskids.org/africa/index.html and http://www.pbs.org/wnet/africa/tools/index.html (teacher tools)
Artyfactory.com displays examples of various African masks and the regions and characteristics of the tribe that
design them. This site also examines the role of the African tribal artist and purpose of the various masks and
includes an extensive list of tribal animal symbolism. http://www.artyfactory.com/africanmasks/
© Mabee-Gerrer Museum of Art • 1900 W. MacArthur, Shawnee, OK 74804 • 405.878.5300 • 405.878.5133 fax
For additional information about Start with Art or the Mabee-Gerrer Museum of Art, please visit www.mgmoa.org.