Contents
Introduction..................................................... iii
Acknowledgments............................................... iv
How to Use This Packet..................................... v
Object Descriptions........................................... 1
Masks
1
Figures
11
Objects for Royalty
15
Chairs
17
Other Functional Objects
19
Index to African Art Projects............................ 21
African Art Projects......................................... 22
Animal Imagery in African Art
22
Masks in African Art
24
The Figure in African Art
28
Beadwork in African Art
30
Yoruba Crown Project
36
Kuba Box Making
41
Sources............................................................ 45
Page ii
Copyright © 1998, Ball State University Museum of Art
Introduction
African Art in the Ball State University Museum of Art
If you are used to looking at realistic works of art, African art will seem very different. Some
works, like certain Yoruba masks, look fairly realistic to our eyes. Other works, however, may
not look like anything we’ve seen before. In all cases, the works look exactly as the artists
intended, but the intentions of traditional African artists are quite different from the intentions of
traditional European or American artists. Generally speaking, African art is conceptual—
intended to express concepts and ideas rather than to reproduce the appearance of the visual
world. The various works represented in this packet, for instance, have religious, entertainment,
memorial, royal, and everyday functions. The forms of the works relate to their functions.
African art tends to incorporate symbols from animals, thereby lending a mask or figure certain
animal qualities, such as the aggressiveness and persistence of the warthog or the grace and
swiftness of the antelope. Also, heavily beaded objects in African art indicate the wealth or
prestige of their owners.
Generally speaking, African makers will exaggerate those features which they consider most
important to or most representative of their ideals of beauty. For this reason, much of African art
focuses on the human face and figure. In figures, for example, heads are often disproportionately
large, emphasizing the importance of the brain as the seat of reason. Hairstyles may be carefully
delineated, indicating the importance of a beautiful coiffure. Figures are usually nude or partially
nude—breasts on female figures indicate the importance of nurturing and fertility in general;
genitals on male figures imply procreation.
It is a challenge for us to imagine the original context of these objects. A person wearing a mask
would usually also have his entire body covered and would dance while wearing the mask and
costume. He might be accompanied by instrumental music and song. When not in use, masks
were usually stored out of sight. Figures, too, were made for specific purposes and were usually
kept in special shrines with limited access.
Africa is a huge, diverse continent with many people today living in modern cities. The works
represented in this packet were made in the service of traditional African societies. Many masks
and masquerades provided a way for people to interact with the spirit world, which Africans
traditionally believed was populated by nature spirits or ancestral spirits. With the influx of
religions like Christianity and Islam, many of the traditional religions were overshadowed.
Masks and masquerades that had previously served a religious function began to be viewed
primarily as entertainment.
Page iii
Copyright © 1998, Ball State University Museum of Art
The majority of African works in museum collections come from below the Sahara desert—from
Western and Central Africa. (Scholars treat Egypt and North Africa as a separate culture.) Most
of the objects represented in this packet were carved from wood, with the addition of other
materials such as beads, paint, cloth or feathers. Most of the Ball State University Museum of
Art African objects were made in this century, some of them recently.
We hope that you enjoy this selection of African objects from the Ball State University Museum
of Art.
Nancy M. Huth
August 1998
Acknowledgements
The authors wish to thank the elementary art teachers of Muncie Community Schools for their
suggestions and particularly to thank Susan Minkler for her helpful comments on the manuscript.
Thanks, also, go to the always helpful staff of the Ball State University Museum of Art.
Ball State University Museum of Art
Text by Fred Johnson and Susan Rapchak,
Museum Education Assistants
Projects by Susan Rapchak
Layout and Editing by Fred Johnson
Introduction by Nancy M. Huth,
Assistant Director and Curator of Education
Cover: Mask: Efe/Gelede; made between 1940-1962;
wood with brown, white and black paint; Yoruba
People, Ketu/Medo Area, Southwestern Nigeria and
Benin, Africa; 1963.013.1.
Page i: Stool; made between 1970-90; wood; Asante
People, Central Ghana, Africa; L1991.032.1
Page iv
Copyright © 1998, Ball State University Museum of Art
How to Use this Packet
Purpose
Through the African objects in the Ball State University Museum of Art, this packet is intended
to enrich art production and the study of African art. Please note that the packets in this format
are not designed for interactive use by students. Instead we invite you to print out any pages or
directions you find appropriate for distribution your students.
Images
Twenty image files reproducing works in the Ball State University Museum of Art accompany
this packet. The image files are numbered 01-20 followed by a brief title (e.g. 01Antelope). The
images correspond to the numbered descriptions in the Object Description section of the packet.
Text
The main text of this packet is the Object Descriptions section, which provides relevant
information and discussion questions for each of the African art images. The works are divided
into five sections: Masks, Figures, Objects for Royalty, Chairs, and Other Functional Objects.
Accompanying each description is a reproduction of the work (for ease in corresponding with the
image files) and a small map of Africa. The region occupied by the people who made a given
work is marked in gray on the map. This main text is augmented by the general overview
presented in the Introduction and by the information on specific African crafts presented at the
start of the following projects: Animal Imagery in African Art, Masks in African Art, Figure
Drawing Activities, and Beadwork in African Art. This information can be used in combination
with the twenty images to provide students with a basic knowledge of African art.
Projects
The Projects section which follows the Object Descriptions section includes sixteen classroom
art projects. The projects are divided into sections (figure drawing, beadwork, etc.) and many of
the sections begin with further information about the practice of a particular craft in Africa.
Instructions for the various projects are directed toward the maker so that, if desired, project
instructions can be printed, photocopied and distributed to students. Each set of instructions
includes a materials list.
Museum Visit
We recommend using a presentation of the images as a preview to a museum visit focusing on
African art. Some projects (i.e., Animal Imagery Activity, Figure Drawing Activities) may work
best in conjunction with a museum visit. To schedule a guided or self-guided tour of the Ball
State University Museum of Art, phone (765) 285-5242 at least two weeks in advance.
Page v
Copyright © 1998, Ball State University Museum of Art
Masks
1. Male Antelope Mask:
Chi-wara
Farming is extremely important to Bamana men and
women, whose agricultural society is devoted to
increasing the quality and quantity of their crops.
According to the beliefs of the Bamana people, Chiwara, represented by the wearer of this head crest
mask, is a half-man, half-antelope spirit who taught
them how to farm.
Male Antelope Mask
(Chi-wara)
made between 1950-1970
wood, metal, fabric
Bamana People,
upper regions of the Niger
River, Western Mali,
Africa
Each year, the Bamana people select two “champion
farmers” who dance in Chi-wara masks during the
annual spring planting festivals. During the dances,
these champion farmers wear a basket-like cap onto
which the Chi-wara mask is attached.
For Discussion:
1. Chi-wara is a half-man, half-antelope spirit. Is there
anything about the mask that reminds you of an
antelope?
1982.018.20
Page 1
Copyright © 1998, Ball State University Museum of Art
2. Horizontal Helmet Mask
Bamana masks were used primarily in dances and in
religious societies. These religious societies were
often secret societies, such as the Komo, an
important men’s secret society which produced this
mask.
Horizontal Helmet Mask
made between 1950-1970
wood with fabric, mud, horns,
quills, cowrie shells, animal
hair, feathers
Bamana People,
upper regions of the Niger
River, Western Mali,
Africa
1980.029.02
This mask was made by a Komo society leader, who
is always a blacksmith. The decorations on the
mask symbolize strong and dangerous forces in
nature (called nyama), which the Komo society
seeks to calm and balance. Over time, layers of mud
and additional decorations such as horns and quills
were added to the mask; these additions are
intensified the mask’s portrayal of fierce animal
power. These masks were kept hidden when not in
use and were to be seen only by society members.
For Discussion:
1. Describe the Komo Society mask.
2. What makes this mask seem fierce?
3. For the Bamana, the Chi-wara mask and the Komo
society mask represent visual opposites. How are the
two masks different (in mood and appearance)?
4. Why do you think the makers of this mask chose the
materials they chose? How do these materials differ
from the materials used in the Chi-wara mask? Why do
you think the maker of the Chi-wara mask chose such
different materials?
See also “Animal Imagery in African Art,” page 22.
Page 2
Copyright © 1998, Ball State University Museum of Art
3. Bundu Society Mask
Most African masks, including those representing
females, are worn by men. This helmet mask, which
represents female beauty, wealth and power, is an
exception. It is one of the few masks worn by
women in traditional African society.
The women of the Bundu or Bondo secret society
wore this mask during girls’ initiation ceremonies,
which celebrate the transition from girlhood to
womanhood.
For Discussion:
Helmet Mask
made between 1950-1970
carved wood
Mende or Bulam People,
Southern Sierra Leone
or Northwest Liberia,
Africa
1. Beauty is very important to the Mende. This mask
expresses ideals of female beauty in exaggerated form.
Based on what you see, what do you think the Mende
consider beautiful? (It may help to describe each part
of the face separately.)
2. How is the helmet mask different from the other
masks you have seen so far? How is it similar to them?
1982.018.19
Related Project:
African Masks, Variation 2: Helmet Mask, page 27
Page 3
Copyright © 1998, Ball State University Museum of Art
4. Female Face Mask
Though this face mask—like most African
masks—is meant to be worn by a man, it actually
represents a female spirit. The wearer of this mask
collects food from women whose sons are in the
“bush camp,” where boys learn the skills they will
need to act as adults in their community.
Female Face Mask
made between 1900-1975
wood with white and red
paint, brass bells, and fabric
Dan or We People,
Liberia and
Southwestern Ivory Coast,
Africa
People in the Liberia/Ivory Coast area of Africa
believe that spirits interact with them through
masks. They believe that if a man is wearing this
mask and the costume that goes with it, then he has
actually become the spirit represented by the mask.
For Discussion:
1. For the people who made and wore this mask, it
represents a beautiful woman. Although some of the
teeth are now missing, what do you think the Dan or
We people consider beautiful?
1980.029.14
2. How is this female face mask different from the other
masks you have seen so far? How is it similar to them?
3. Imagine that you are a member of the society which
created this mask. One day, your close friend or
relative is wearing the mask and the costume that goes
with it, and he approaches you. How would you
respond to him? Who would you believe him to be?
Related Project:
African Masks, Variation 1: Face Mask, page 25
Page 4
Copyright © 1998, Ball State University Museum of Art
5. Helmet Mask:
Kanamitoho or Kanamto
The carved warthog tusks on this helmet mask
denote a type of mask called Kanamitoho. Members
of the Poro, a secret society of blacksmiths, owned
and used this mask.
Helmet Mask
(Kanamitoho or Kanamto)
Hyena mask
made between 1965-1973
wood, baboon skin, feathers,
quills
Senufo people,
Korhogo District,
Northern Ivory Coast,
Africa
1973.023.1
The decorations on the mask—tusks, crocodile jaws,
and a magic bundle of feathers and quills—are all
symbols from the forest. This is appropriate
because the mask embodied the power of fierce
nature spirits. It also embodied the power of the
ancestors and represented the authority of Poro
leaders and elders, who wore the mask when dealing
with lawbreakers. The mask was used both in
religious ceremonies and in everyday life.
For Discussion:
1. How is this Kanamitoho mask different from the other
masks you have seen so far? How is it similar to them?
2. What animals or parts of animals can you identify in
this mask?
3. Why do you think these fierce animals were chosen
for the mask? Why not other animals?
4. Imagine you are a lawbreaker being confronted by
an elder wearing this mask. Describe your reaction to
the masked elder: would it be frightening or calming to
be judged by a man wearing this mask? Would you
rather be judged by someone who is not wearing a
mask? Why do you think the elder chooses to wear the
mask?
See also “Animal Imagery in African Art,” page 22.
Page 5
Copyright © 1998, Ball State University Museum of Art
6. Mask: Efe/Gelede
This mask incorporates the snake, which among the
Yoruba people is a symbol for female ancestors.
Members of the Yoruba Efe/Gelede society refer to
the powerful spirits of their female ancestors as “our
mothers” and use masks like this one to honor them.
This mask was worn during the annual spring
festival, during funeral ceremonies, during
ceremonies following disasters, and during certain
other social events. In these ceremonies and events,
the society asks its female ancestors to use their
powers for good rather than for harm.
Mask: Efe/Gelede
made between 1940-1962
wood with brown, white and
black paint
Yoruba People,
Ketu/Medo Area,
Southwestern Nigeria
and Benin,
Africa
1963.013.1
For Discussion:
1. How is the Efe/Gelede snake mask different from the
other masks you have seen so far? How is it similar to
them?
2. In your own words, describe how this mask looks to
you. What kinds of materials were used to make it?
What kinds of materials were used to decorate it? How
would you describe the expression on the face? How
would you describe the snake? Does it look to you as if
this mask was difficult to make?
Page 6
Copyright © 1998, Ball State University Museum of Art
7. Elephant Helmet Mask
With its round ears and long, beaded panel, this
mask represents the elephant, a symbol of the king
in the Cameroon Grassfields. A person who wore
this mask would have been a member of the
Elephant Society, an organization to which only
wealthy noblemen could belong.
An Elephant Society member wore this mask in a
group of about thirty other masked dancers. These
dancers performed at funerals, the annual harvest
celebration, and other festivities.
Elephant Helmet Mask
made between 1950-1970
blue and red fabric with blue
and white beads
Bamileke People,
Cameroon Grassfields,
Southwestern Cameroon,
Africa
1982.018.16
For Discussion:
1. How is the elephant mask different from the other
masks you have seen so far? How is it similar to them?
2. Describe this mask: what materials were used to
make it?
3. Can you tell how this mask would have been worn?
Compare how this mask is worn with how some of the
other masks are worn.
See also “Beadwork in African Art,” page 30.
Related Project:
Beadwork: Cameroon Elephant Ear, page 34
Page 7
Copyright © 1998, Ball State University Museum of Art
8. Male Helmet Mask:
Mukyeem
Male Helmet Mask
made about 1950
raffia, leather, beads, cowrie
shells, fur
Kuba People,
Sankuru/Kasai Rivers,
Central Democratic Republic
of the Congo (formerly Zaire),
Africa
1982.018.14
This is one of three masks representing the Kuba
people’s beliefs about their original ancestors (see
also images 09 and 10). Each of the three masks
represents a specific character in the story that the
Kuba tell about their beginnings. These masks also
represent important ideas in Kuba culture—such as
the authority of the king or the important role of
common people. Dancers wore these masks during
initiation ceremonies celebrating a young person’s
passage into adulthood, during funerals, and during
ceremonies for the king.
This particular mask, called Mukyeem, is a variation
on a type of mask most often called Mwaash a
Mbooy. It represents the first Kuba king (named
Woot) and the idea of kingship. The elaborate
decorations on the mask and the suggestion of an
elephant’s trunk represent the wealth and strength of
the kingship. Because the Kuba are organized as a
kingdom, it is important that the current king be
able to trace his family tree back to the very first
Kuba king.
For Discussion:
º Please see “For Discussion,” number 10.
Page 8
Copyright © 1998, Ball State University Museum of Art
9. Male Helmet Mask:
Mboom
This second Kuba mask represents a character most
often called Mboom (but sometimes called Bombo
or Bwoom). In the story of the Kuba people,
Mboom is the rival of Woot, the first Kuba king
(represented by Mwaash a Mbooy, see number 8),
for the affection of Ngaady a Mwaash (see number
10). In addition, this mask represents the role of
the common people in keeping the king’s power in
check.
For Discussion:
º Please see “For Discussion,” number 10.
Male Helmet Mask
made between 1950-1970
carved wood, fabric, beads,
fur, cowrie shells, copper
Kuba People,
Sankuru/Kasai Rivers,
Central Democratic Republic
of the Congo (formerly Zaire),
Africa
1982.019.18
Page 9
Copyright © 1998, Ball State University Museum of Art
10. Female Face Mask:
Ngaady a Mwaash
Known as Ngaady a Mwaash, this mask represents
the original female ancestor of the Kuba. According
to legend, Woot and Mboom battled each other for
her favor. Woot won the battle, married Ngaady a
Mwaash, and founded the Kuba dynasty. As the
mother of kings, this figure is the only one more
important than the king himself.
Female Face Mask
made between 1925-1950
carved wood, metal, fiber,
beads, paint
Kuba People,
Sankuru/Kasai Rivers,
Central Democratic Republic
of the Congo (formerly Zaire),
Africa
1986.044.19
For Discussion (Numbers 8, 9, and 10):
1. Visually, what do these three masks have in
common? What differences are there between them
2. What two things are represented by Mukyeem?
3. What two things are represented by Mboom?
4. In a sentence or two, tell the story which connects
these three masks.
Page 10
Copyright © 1998, Ball State University Museum of Art
Figures
11. Seated Male Figure
This figure is the work of the Baule people. Among
the Baule (and many other African groups), a carved
figure seated in a chair, such as this one, indicates a
person of high social standing; a less respected
member of the society would be depicted without a
chair. A Baule woman would have had a figure like
this one carved to ensure that Blolo Bian (the
husband spirit) would watch over her and give her
personal well-being throughout her life. The Baule
believe that everyone has a “spouse” in the spirit
world who can help him or her in married life.
For Discussion:
Seated Male Figure
made between 1950-1970
carved wood
1. Describe this figure: How was the figure made?
What is the figure doing? What kind of attitude does
he portray? How does his attitude fit his function?
See also “The Figure in African Art,” page 28.
Baule People,
Central Ivory Coast,
Africa
1980.029.17
Page 11
Copyright © 1998, Ball State University Museum of Art
12. Twins (Ere Ibeji)
In the Yoruba tradition, twins share one soul. If one
twin dies, the Yoruba believe that the surviving twin
and his or her family are in danger. To create a
“house” for the soul of the dead twin—and to keep
it near the surviving family members—the family
commissions a carved wooden ibeji figure like
these. Interestingly, the Yoruba have one of the
highest twin birth rates in the world.
For Discussion:
1. How do these two figures relate to the previous
figure? What are the similarities and differences
between them?
Twins (Ere Ibeji)
made between 1950-1970
carved wood, dye and beads
Yoruba People,
Southwestern Nigeria,
Africa
1980.029.19a
and1980.029.19b
2. Describe the visual characteristics of these figures.
Do they seem life-like?
See also: “The Figure in African Art,” page 28.
Related Project:
Beadwork: Making Beaded Necklaces, page 33.
Page 12
Copyright © 1998, Ball State University Museum of Art
13. Seated Male Figure
This figure is called an Ikenga, which means “place
of strength.” Ikenga is also the name for the spirit
represented by the figure. Typically, an Igbo man
would have a figure like this in his house. Before
any major undertaking, he would make offerings to
it in order to ensure his success.
For Discussion:
1. Describe this figure: what are three unusual aspects
of this figure?
2. Does this figure look different than the other figures
you have seen? If so, how?
Seated Male Figure
made between 1850-1875
carved wood and feathers
3. How does this figure seem to represent strength?
See also “The Figure in African Art,” page 28.
Igbo People,
Southern Nigeria,
Africa
1980.029.09
Page 13
Copyright © 1998, Ball State University Museum of Art
14. Male Guardian Figure
The Fang people place wooden figures like this one
at burial sites to guard the remains of deceased
members of their families. The figures represent
people in general, not specific individuals.
For Discussion:
1. Describe how this figure is visually different from the
other figures in this packet.
2. Can you think of any other objects that perform the
same function as this figure? Compare the way that
the Fang people use this figure to the way that we use
gravestones.
See also “The Figure in African Art,” page 28.
Male Guardian Figure
made between 1930-1967
carved wood
Fang People,
Northern Gabon and
Southern Cameroon,
Africa
1968.008
Page 14
Copyright © 1998, Ball State University Museum of Art
Objects for Royalty
15. Royal Tusk
Symbolic and historical figures of soldiers,
crocodiles, ceremonial swords, guns and the king
are carved into this elephant tusk. The tusk sat on
top of a sculpted metal head that represented the
king of the Benin kingdom. The tusk and metal
head were placed in a shrine with images
representing previous kings. The shrine itself
symbolized the king’s authority.
For Discussion:
Royal Tusk
made between 1850-1870
carved elephant ivory
Edo People,
Benin Kingdom,
Southwestern Nigeria,
Africa
1. Describe some of the carvings that you see on the
tusk.
2. What kind of story is told by the images carved onto
this tusk? (Use your imagination!)
1978.013.68
Page 15
Copyright © 1998, Ball State University Museum of Art
16. Crown
This crown is made from leather, fabric and beads
which were acquired through trade. It expresses the
power that a Yoruba king inherits by being a direct
descendent of the primary Yoruba god, Odudua. On
top of the crown is a bird, a symbol of the king’s
ability to communicate with Yoruba gods and
ancestors and to rule with their protection and
cooperation.
Crown
made between 1950-1975
textile, leather, trade beads
Yoruba People,
Southwestern Nigeria,
Africa
1991.068.061
Though the veil is missing from this particular
crown, the crowns of kings descended from Odudua
typically include beaded veils. These veils hang
down from the bottom of the crown and cover the
wearer’s face. They are intended to protect common
people from looking directly at the king, whose
special powers might otherwise harm them.
For Discussion:
1. How many birds do you see on this crown? What do
these birds represent?
2. Describe what your crown would look like if you were
king. Be imaginative.
3. What do you think makes this crown “special” to the
Yoruba.
See also “Beadwork in African Art,” page 30.
Related Projects:
Yoruba Crown Projects, pages 36-40
Page 16
Copyright © 1998, Ball State University Museum of Art
Chairs
17. Chief’s Chair
This carved wooden chair was used by a chief of the
Senufo people. For the Senufo, such chairs are
more than functional pieces of furniture. They
symbolize the great power, prestige and authority of
the chief.
For Discussion:
1. What makes this chair special enough for a chief?
2. Use your imagination: if you were a Chief what would
your chair look like?
Chief’s Chair
made between 1922-1970
carved wood and metal coins
Senufo People,
Ivory Coast, Mali,
and Burkina Faso,
Africa
1977.021.2
Page 17
Copyright © 1998, Ball State University Museum of Art
18. Stool
Stool
made between 1970-90
wood
Asante People,
Central Ghana,
Africa
L1991.032.1
Stools are a common, essential part of all Asante
households. The Asante people believe that a stool
houses the soul of its owner. When not being used,
a stool was turned on its side so that no alien force
could occupy it. The higher the rank and
importance of the owner, the more decoration the
stool had. This stool, for example, is a leopard
stool; its owner must have held some high status in
the society since the leopard image is normally
reserved for the chief.
For Discussion:
1. Imagine you are looking at two Asante stools. The
first stool is elaborately decorated; compared to the first
stool, the second is very plain. From this information,
what do you know about the owner of the first stool?
Of the second stool?
2. In the way it is used, how is this stool like the chief’s
chair you saw? How is it different?
3. How is this stool different from stools we use in our
society?
Page 18
Copyright © 1998, Ball State University Museum of Art
Other Functional Objects
19. Comb
Asante women traditionally used carved wooden
combs like this one to decorate their hair—not to
comb it. Today, Asante women keep combs as
mementos. Akuaba is the name of the female figure
on top of this comb; to the Asante, Akuaba
represents the hope for many children.
For Discussion:
1. How is this comb different from combs we use?
2. Compare this comb with things we use to decorate
our hair. Are there any similarities? Any differences?
Comb
made between 1950-70
carved wood with black
patina
Asante People,
Central Ghana,
Africa
1980.029.20
Page 19
Copyright © 1998, Ball State University Museum of Art
20. Cosmetics Box
Cosmetics Box
made between 1950-70
wood carved
Kuba People,
Sankuru/Kasai Rivers,
Central Zaire,
Africa
1982.018.11a-b
Kuba people use boxes like this one to store their
personal possessions, such as red wood pigment
used for decorating their bodies, razors for cutting
raffia, and hairpins. The box is decorated with
intricate geometric patterns. Kuba craftspeople also
used patterns like the one on this box to decorate
masks, clothing and textiles.
For Discussion:
1. Describe the decorations on this box.
2. Compare the decoration of this box to the decoration
of the three Kuba masks (numbers 8-10). What does it
have in common with the Ngaady a Mwaash mask?
3. What types of things would you keep in this box if
you owned it?
Related Projects:
Kuba Box Making, pages 41-44
Page 20
Copyright © 1998, Ball State University Museum of Art
Index to Projects
Animal Imagery in African Art............................ 22
Animal Imagery Activity
23
Masks in African Art......................................... 24
Variation 1: Face Mask
25
Variation 2: Helmet Mask
27
The Figure in African Art.................................. 28
Variation 1
28
Variation 2
29
Beadwork in African Art.................................... 30
Making Paper Beads
31
Making Dough Beads
32
Making Beaded Necklaces
33
Cameroon Elephant Ear
34
Yoruba Crown Projects...................................... 36
Variation 1: Drawing
36
Variation 2: Beading
38
Variation 3: Bead Patches
39
Variation 4: Veil of Beads
40
Kuba Box Making............................................... 41
Variation 1: Making the Box
41
Variation 2: Decoration
43
Variation 3: Papier mâché
44
Page 21
Copyright © 1998, Ball State University Museum of Art
Animal Imagery
in African Art
Many of the pieces included in your packet incorporate animal imagery. This imagery is
common in African art, which often uses the visual characteristics of animals to represent the
stories and values of the people. The Komo society mask (number 2) and the Kanamitoho mask
(number 5) are excellent examples of this sort of animal imagery because both make clear
reference to several animals at once.
The Komo Mask
The Komo mask conspicuously incorporates the
qualities of at least three animals, all for specific symbolic
reasons.
The jaws of the Komo mask (not visible in the
reproductions) represent a hyena’s mouth; the hyena is used
as a symbol of intelligence. The large size of the mouth is
significant because it brings more attention to the jaws and
their ferocity.
The use of feathers in the Komo mask suggests the qualities of birds. Birds are believed
to be the medium between the sky (heaven) and human beings. They symbolize knowledge of
the heavens.
Finally, the quills incorporated into the Komo mask represent the porcupine. Porcupine
quills, which resemble darts and arrows, symbolize aggressive behaviors used in fighting and in
protection from danger.
By combining all of these animals, the Komo mask refers to the general idea of wild and
dangerous forces in nature.
The Kanamitoho Mask
The Kanamitoho mask also captures the idea of animal nature and
the environment.
Once again, the hyena’s mouth is used as a symbol for intelligence.
In contrast to the Komo mask, however, this hyena mask includes warthog
tusks. The tusks are used to represent elements of pain and disorder in
society.
The Kanamitoho mask also makes use of porcupine quills and bird
feathers. These feathers and quills are believed to have magical power,
and they are bundled together at the top of the mask to illustrate the mask’s
magical significance.
See also numbers 1, 6, 7, 16 and 18 for more animal imagery.
Page 22
Copyright © 1998, Ball State University Museum of Art
Materials:
African Art Packet
Paper
Pencils or other drawing tools
Animal Imagery Activity
1.
Go through the images that contain
animal imagery (1, 2, 5, 6, 7, 16 and 18)
and identify the animals or animal
elements you see in each one. Make a
list of the animals you see.
2.
Teachers: Talk to students about the uses of animals in African art,
referring back to the discussion on animal imagery from page 22.
Specifically, discuss the symbolic meanings behind the use of certain
animals in African art.
3.
Brainstorm about other animals that could have symbolic meaning.
For example, a lion could symbolize courage, or a cheetah could
symbolize speed and agility. Based on this brainstorming, add to your
list from step 1.
4.
Using paper and drawing materials, first draw the animals that are
present in the images and, then, draw other animals which you
thought of during brainstorming. Teachers: You may want to bring in
photos of various animals for students to see.
5.
Your drawings can be drawn large and later redrawn as smaller drawings
which can be used in other activities.
6.
You may make your drawings as elaborate or as simple as desired.
7.
Teachers: Please note the other activities in this packet that incorporate
animal drawing (especially the Yoruba crown activities).
Page 23
Copyright © 1998, Ball State University Museum of Art
Masks
in African Art
There are three distinct types of African masks: the face mask, the helmet mask,
and the head crest mask. The names of these mask types indicate the ways in which they
are worn: face masks are worn over the face; helmet masks are worn over the entire head;
and head crest masks are worn on top of the head.
Face Masks
4.
Female Face Mask
(80.029.14)
10.
Ngaady a Mwaash
(86.044.19)
Helmet Masks
2.
Komo Society Mask
(80.029.02)
3.
Bundu Society Mask
(82.018.19)
5.
Kanamitoho Mask
(73.023.1)
7.
Elephant Helmet Mask
(82.018.16)
8.
Mukyeem
(82.018.14)
9.
Mboom
(82.019.18)
Head Crest Masks
1.
Chi-Wara
(82.018.20)
6.
Mask: Efe/Gelede
(63.013.1)
Page 24
Copyright © 1998, Ball State University Museum of Art
Notes
Most African masks are carved
from wood. For ease, this activity
instructs you to use cardboard to
make the mask.
African Masks
Variation 1: Face Mask
1.
The face mask project begins with a
basic cardboard structure. Use a
pencil to draw any face shape on the
cardboard. Note: Most African face
masks have a narrow oval shape with
a small or pointed chin.
2.
Once your chosen face shape is
outlined, carefully cut out the shape
with an exacto knife, a utility knife or a
pair of scissors.
3.
Draw facial features onto the
cardboard face shape. Think of basic
shapes for the eyes, nose and mouth.
(See also the options list which follows
this activity.)
4.
Using an exacto knife or a utility knife,
cut out the eye and mouth shapes.
5.
With the cardboard face shape cut out
and the facial features drawn on, bend
your flat piece of cardboard in half
length-wise. You will first need to
score the cardboard with scissors or an
exacto knife. Curve the sides of the
cardboard so that the mask will fit
nicely onto a face. (Continued L)
This activity also involves making
papier mâché. However, papier
mâché may be eliminated. See
end for options.
Materials:
Cardboard
Scissors or exacto/utility knife
Pencils and markers
Ruler
Duct tape
Bucket or plastic container
Wheat paste
Newspaper, 1" x 1" squares
Paper towels, 1" x 1" squares
Paint
Optional:
Raffia
Strung beads
Page 25
Copyright © 1998, Ball State University Museum of Art
6.
If you will be using papier mâché over the mask, you will need to make a
3-dimensional cut-out for the nose. To ensure structural stability, it is
best to use cardboard for this. (See step 7.)
7.
To make a 3-dimensional nose: first, draw
an appropriately sized equilateral triangle on
cardboard; cut out the triangle; cut off one
corner (see diagram); using an exacto knife,
score from the middle of the cut corner down
each side and down the middle (see dotted
lines on diagram). Fold as indicated on
diagram and use resulting side tabs to
attach the nose to the mask with duct
tape. Make sure the tape is attached securely. (You may want to
experiment with other 3-dimensional shapes that might be added to the
mask in a similar fashion.)
8.
Before applying papier mâché to the mask, remember to punch holes in
the mask so that string can be used to tie the mask onto your face.
9.
To mix and apply the papier mâché: Begin by mixing wheat paste and
water, making sure the consistency is neither too runny nor too thick. Dip
1" x 1" squares of newspaper into the wheat paste and begin layering
them on top of the cardboard face mask. Use two layers of newspaper
squares followed by one layer of paper towel squares (to hide the
newsprint). Allow the mask to dry completely and, then, decorate it.
Options:
1.
The face mask can be left flat without shaping and bending. Instead of
making a 3-dimensional nose, facial features can be drawn or pasted onto
the mask.
2.
Many decorative elements can be glued to the mask: raffia, feathers,
beads and/or shells would all be excellent.
3.
You might want to experiment with different materials. If your school has
access to a clay studio, you might have your students create an African
mask from clay. If cardboard is too difficult for younger students to work
with, you might try using paper plates or tagboard, instead of cardboard.
Page 26
Copyright © 1998, Ball State University Museum of Art
Note
Most African masks are carved
from wood; however, for ease,
this activity instructs you to use a
paper shopping bag.
African Masks
Variation 2: Helmet Mask
1.
Carefully turn a brown paper
shopping bag inside-out. (The print
of the bag will be difficult to cover if the
bag is not turned inside out.)
2.
The bottom of the inside-out bag will
have a rounded shape. This gives the
appearance of the Mende Women’s
Society Mask (number 3), which is a
helmet mask. Helmet masks are worn
completely covering the head.
3.
After the paper bag structure is
completed, draw on facial features
and any other desired decorations.
Cut out the eyes so that you can see
when you are wearing the mask.
Materials:
Brown paper shopping bags
Markers
Scissors
Hole punch
Tempera paint
Optional:
Scotch tape
Raffia
Beads
Shells
Feathers
Yarn or heavy thread
Decoration Options:
1.
Using the Mende Women’s Society Mask (number 3) as a guide, use markers to
draw hair, neck rings and other features. Cut out circles with tabs and attach
them to the top of the mask to suggest the mask’s hair style.
2.
With a hole punch, make a series of holes around the bottom of the mask.
Thread raffia strips through the holes and knot the raffia inside the mask.
3.
Paint the entire bag with tempera paint. Make sure not to water down the paint
too much, since watery paint will destroy the structure of the mask.
4.
String a few rows of beads and attach them to the paper bag. To attach: punch
holes, string the thread through the holes, and make a tight knot.
5.
Attach found pieces or “scraps” to the mask with white glue (e.g., feathers,
fabrics, shells).
Page 27
Copyright © 1998, Ball State University Museum of Art
The Figure in African Art
Drawing Activities
<
Review the figures from the packet. Discuss the similarities and differences
among the figures.
<
Discuss how the figures are abstracted. Look at the exaggerated features on many
of the figures: for example, the heads, hands, legs, facial features and body types.
<
African figures often depict exaggerated features for a specific purpose. For
example, various exaggerated features may indicate beauty, strength or power.
Materials:
African Art packet (figures)
Drawing paper
Drawing materials
Mirrors (for self-portraits)
The Figure in African Art
Variation 1: Self Portrait
1.
You will be using drawing paper and
drawing materials to create an
abstracted/exaggerated self-portrait or
portrait of a classmate. (If doing a selfportrait, you may want to use a mirror.)
2.
For example, you may feel that you or the person you are drawing has
beautiful eyes. You might exaggerate the eyes in your portrait. The eyes
might be drawn larger, show more detail, and/or be distorted to show their
beauty.
3.
In drawing your portrait, you may want to concentrate on drawing contour
lines, filling in shapes with solid colors, or using shading to render the
portrait.
4.
This project is open to any sort of interpretation or substitution. You are
not limited to the kinds of distortions or figures you see at the Museum or
in the reproductions.
5.
Discuss your drawing with your classmates.
Page 28
Copyright © 1998, Ball State University Museum of Art
Materials:
Drawing paper
Drawing materials
The Figure in African Art
Variation 2: Museum Activity
Various Approaches:
Notes
This activity may require a visit to
the Ball State University Museum
of Art. However, it can be
completed using the images of
African figures.
! You can draw several of the figures
from the images in the packet or you can
sketch African objects in the Museum. From
your sketches, you can make drawings in the
classroom.
! You can do a contour line drawing of
the figures.
! You can do a sketch of a figure or figures
and create a watercolor painting from your
sketches.
! You can draw a single African figure
with attention to details, full modeling and
rendering.
! You can draw several African figures on a
single page and create a collage or a story
dealing with the figures and how you have
grouped them.
! You can draw an African figure and
create a setting or environment for the
figure from what you know about Africa and
African lifestyles.
Most importantly, be creative and be ready to
explain your work to your classmates.
Page 29
Copyright © 1998, Ball State University Museum of Art
Beadwork
in African Art
Two works in this African art packet—the Cameroon
elephant mask (number 7) and the Yoruba crown (number
16)—feature a great deal of beadwork. Such beadwork is fairly
rare in Africa and is found mostly among the Yoruba, Cameroon
and Kuba peoples.
African beadworkers usually use seed beads (small beads
acquired through trade), shells (especially cowry shells), or roots.
The ways in which these beads are used varies from place to place
in Africa.
In the Cameroon grasslands, for example, beads are often
used to embellish dance costumes. As you can see by looking at
the elephant mask, the beads on these costumes are arrayed in
geometric patterns. The motions of a dancer turn these patterns into a whirling
kaleidoscope of color.
Among the Yoruba, beadwork is used to embellish sacred objects and objects
associated with kings. Beads are often applied to wooden sculptures as a sign of the
owner’s prestige and wealth (as with the beaded jewelry featured on the Yoruba twin
figures, number 12). Beadwork is always applied to Yoruba royal crowns, which are
believed to guard against evil and cannot be worn by kings with
evil in their hearts.
Discussion Questions:
1. Describe the beadwork patterns on the Elephant Mask and on the
crown.
2. How is the beadwork on the crown like the beadwork on the Elephant
Mask? How is the beadwork on the crown different form the beadwork
on the Elephant Mask?
3. How were these two objects used?
Note: Most beads used in African art are glass seed beads or small shells. The activities which
follow use either plastic, commercially-produced beads or paper and dough beads that students
will make.
Page 30
Copyright © 1998, Ball State University Museum of Art
Materials
Various kinds/colors of paper
(construction paper, painted
wrapping paper, wallpaper
scraps, newspaper,
magazine pages)
Ruler
Scissors
Drawing/painting materials
Darning needle, toothpicks or
pencils
Glue
Beadwork:
Making Paper Beads
1.
Choose a few different kinds and
colors of paper. Using a ruler, draw
geometric shapes (i.e., thin,
elongated diamonds, rectangles,
triangles, and cross shapes) on the
paper (see scaled-down illustration).
Your shapes should be 6-8" long.
2.
If you are using un-decorated paper,
draw or paint decorations onto the
geometric shapes; then, cut them out
with scissors.
3.
Place a darning needle, toothpick or
pencil at one end (the wide end on
triangular shapes) and roll the paper
TIGHTLY around the needle, toothpick
or pencil. To secure the bead, apply a
few drops of glue as you roll.
4.
Once the bead is rolled, glue down
the end to make it secure.
5.
Optional: After the glue dries, add
more designs to the beads with paint
or drawing materials
6.
Save these beads to use in other
projects.
Page 31
Copyright © 1998, Ball State University Museum of Art
Notes and Recommendations
This recipe makes 2 cups of
dough. Distribute 2 tablespoons
of dough per student. 2 tablespoons yields approximately 130
beads with a ½” diameter. We
suggest that each student makes
as many beads as possible and
that the beads become part of a
communal supply which can be
shared between however many
classes are working on bead
projects.
Beadwork:
Making Dough Beads
1.
Measure ingredients. Blend corn
starch and baking soda.
2.
Add water to dry ingredients.
3.
Cook over medium heat, stirring
constantly.
4.
Continue stirring until mixture takes
on the consistency of mashed
potatoes.
5.
Remove from heat and cover with a
damp cloth until cooled and easy to
handle.
6.
Remove dough from pan; begin
kneading the dough until it is firm to
the touch and not sticky. (If the dough
is too sticky, refrigerate it overnight.)
Materials/ingredients
2 cups baking soda
1 cup corn starch
1½ cups cold water
Saucepan
Hot plate or table top stove
Food coloring (optional)
Toothpicks
Tempera paint or acrylic paint
Shellac or varnish
7.
If desired, add a few drops of food coloring, then knead dough again
until well-mixed.
8.
Begin rolling and shaping the bead dough into desired sizes and
shapes. After shaping, pierce each bead with a toothpick. Make sure the
beads are small—about ½” or smaller in size.
9.
Allow beads to dry 24-48 hours before applying paint and shellac.
10.
Paint beads with desired designs and colors. Allow paint to dry and then
paint or spray shellac onto them. Allow beads to dry twelve hours before
using.
Page 32
Copyright © 1998, Ball State University Museum of Art
Materials
Paper beads, dough beads
String or yarn
Sewing, darning or beading needles
Scissors
Beadwork:
Making Beaded Necklaces
1.
Set out the prepared paper or dough
beads.
2.
Measure the yarn or string to desired
length. The necklaces should be worn
low on the neck.
3.
Thread yarn through needle. (If
preferred, and if the holes are large
enough, you may choose not to use
needles.)
4.
String the beads. Use different kinds
and colors of beads for variety.
Students may choose to completely fill
the yarn with beads (as in diagram A
above) or to tie knots in the yarn and
space the beads (as in diagram B
above).
5.
After stringing is complete, tie the
ends of the string together securely.
This activity is
related to the
beaded necklaces
and belts on the
Yoruba twin figures
(number 12).
Page 33
Copyright © 1998, Ball State University Museum of Art
Notes
This activity involves sewing with
a needle and my be inappropriate
for certain age levels.
Beadwork:
Cameroon Elephant Ear
1.
On paper, draw a 45" diameter circle.
Draw geometric
shapes within the
circle, arranging
various shapes to fill
the space and/or
making radial
patterns (see
illustrations below).
2.
Use scissors to cut out one or two
circles (see notes) from cloth or felt.
3.
Draw or trace your geometric
patterns onto the cloth.
4.
This done, thread a needle* and use
the LAZY STITCH (see diagram) to
sew beads (either hand-made beads
or purchased seed beads) onto your
patterns. In the illustrations above, all
dark shaded areas would be covered
with beads. (Continued L)
We recommend that you refer to
the animal imagery discussion
and activities when introducing
this project.
If beading/sewing two circles is
too time-consuming, disregard
steps 6-8.
Materials
Sketch paper
Markers or other drawing materials
Two circles per student cut from
cloth or felt
Yarn or string
Sewing needles
Dough and store-bought beads
Scissors
*Make sure the holes in the beads you choose are big
enough to accommodate your choice of needle and
yarn, thread or string.
Page 34
Copyright © 1998, Ball State University Museum of Art
5.
Continue to bead each separate geometric shape until it is completed. Once
a shape is completed, cut the yarn or string and tie a knot under the cloth. To
begin beading a new shape, cut a new piece of yarn and follow steps 4 and 5.
6.
When all beading is completed, place the two circles together, beaded sides
facing out. With a simple running stitch or whip stitch (see diagrams below), sew
the two circles together. Tie off and cut the thread or yarn.
÷
÷
÷
÷ Running Stitch
÷
Page 35
Copyright © 1998, Ball State University Museum of Art
Yoruba Crown Projects
Notes
This activity is designed for
smaller children. When using this
activity refer to discussion of
animal imagery, page 22.
Yoruba Crown Project 1:
Drawing
1.
Use scissors to cut a straight edge
along the bottom of a paper plate, as
shown in
the diagram
to the right.
This cut
edge will
become the
bottom of
your crown.
2.
Refer back to the animal imagery
discussion. Practice sketching a few
basic animal shapes (birds, fish, etc.)
on the sketch paper.
3.
Draw animals on the paper plate, then
use various drawing materials to color
the animals.
4.
After drawing and coloring is complete,
fold the crown into a loose cone
shape. To do this, keep the straight
edge facing down and roll one rounded
side over the other at a slight angle.
Form the cone loosely so there is a
small opening at the narrow end.
(Continued L)
Materials:
Paper plates
Scissors
Rulers
Markers or other drawing materials
Sketch paper
Masking tape, glue, rubber bands
Colored tissue paper
Page 36
Copyright © 1998, Ball State University Museum of Art
5.
With the cone shape formed, either tape or glue the edges of the crown
together. If using glue, wrap a few rubber bands around the crown,
placing one rubber band at least 1" from the top, one rubber band at the
middle, and one rubber band about 1" up from the bottom. These rubber
bands help to secure the seam while the glue bond forms.
6.
To make a bird for the gap at the top of the
crown:
a) Wad a piece of tissue paper into a ball about
2/3 the size of a golf ball.
b) Wrap the ball in a flat piece of tissue paper,
twisting the end of the wrapper and securing the
“package” with a rubber band (see illustration).
c) Insert the twisted end through the hole in the
top of the crown.
This acts like the bird that sits on top of the
Yoruba crown. You may want to secure the “bird” to the inside of the
crown with tape or glue. If you wish, cut a beak shape from paper and
glue it onto the tissue paper bird.
7.
See also Crown Project, Variation 4, for the “veil of beads” that can be
incorporated into any of the crown projects.
Page 37
Copyright © 1998, Ball State University Museum of Art
Notes
This activity is designed for
smaller-to-older children. It
involves the use of a sewing
needle. When using this activity
refer to discussion of animal
imagery, page 22.
Materials:
Paper plates
Scissors
Ruler
Colored tissue paper
Markers or other drawing materials
Sewing needles
Yarn, thread or fishing line
Beads: purchased or made
Masking tape, glue, rubber bands
Colored tissue paper
Yoruba Crown Project 2:
Beading
1.
Complete steps 1-3 from Yoruba
Crown Project, Variation 1. Do not
yet decorate or roll the paper plate into
a cone shape.
2.
You should now have a paper plate with a
straight-edged bottom. Using various
drawing materials, draw the animal
imagery from step 3 onto your crown.
Leave plenty of space around your animal
shapes.
3.
Select beads to use on your crown (e.g.,
purchased seed beads or beads you have
made). Decide how you would like to
bead your crown. You can either fill the
empty spaces on the crown with geometric
patterns or, if you are using seed beads,
bead the animal drawings.
4.
Thread a needle with fishing line, yarn or thread.
5.
To bead your crown:
a) Push your needle up through the crown, leaving enough thread trailing so that
the end can be tied off later.
b) Slide a few beads onto the thread.
c) Push the needle back down through the plate.
d) Continue pushing the needle up through the plate, adding a few beads, and
pushing the needle back down through the plate until you have completed
beading for one area of the crown.
e) At that point, cut the thread and tie its ends together underneath the plate.
Then, begin working on the next area of the crown.
6.
To finish your crown, refer to Yoruba Crown Project, Variation 1, steps 4-7.
Page 38
Copyright © 1998, Ball State University Museum of Art
Notes
This activity involves the use of a
needle or safety pin. It may not
be suitable for younger children.
Materials:
Paper plates
Scissors
Ruler
Markers or other drawing materials
Masking tape, glue, rubber bands
Paper towels or old cotton t-shirts
Sewing needles or safety pins
Purchased seed beads
Yoruba Crown Project 3:
Bead Patches
1.
Complete steps 1-3 and 5-6 from
Yoruba Crown Project, Variation 1.
2.
You should now have a cone shape
formed. While waiting for the glue to
dry, cut out several 1-2" squares
from paper towels or from old t-shirts.
T-shirts work best.
3.
Once the squares are cut, draw
animal sketches or geometric
patterns onto the squares.
4.
To apply beads to the square patches: a)
Carefully squeeze glue onto the drawn
shapes.
b) Use a safety pin or needle to pick up
several beads at once and place them in
the design. Be sure that you have used
enough glue to hold the beads onto the
crown.
5.
Once the square patches are dry, apply
glue to the back of a square and to the
crown’s surface where you would like to
attach the patch. You will need to bend
the patches so that they will bond to the
crown.
6.
Once the glue has dried completely,
you may want to fill in between the
patches with watercolor, tempera paint
or magic marker.
7.
To finish your crown, refer to Yoruba
Crown Project, Variation 1, step 7.
optional
Paint: watercolor or tempera
Markers
Page 39
Copyright © 1998, Ball State University Museum of Art
Note
This veil of beads can be added to
Variations 1-3 of the Yoruba
Crown Project.
Yoruba Crown Project 4:
Veil of Beads
1.
If students will be adding the veil
of beads to their crowns, they
should be sure to leave
approximately 1/2" of space at the
bottom of their crowns unbeaded.
Cut eight to fifteen 10" pieces of
fishing line.
2.
Tie two or three knots at the bottom of
a piece of fishing line. At the other end
of the fishing line, thread a needle.
Materials:
3.
Select a variety of small and lightweight beads. String beads on the
fishing line, creating patterns by
varying the number and color of beads
used: for example, 2 black, 3 red, 2
black, and so on. Leave enough of the
fishing line unstrung so that the top of
the line can be tied to the bottom of the
crown.
4.
When you have finished stringing
beads, tie a knot at the top of the
fishing line. Repeat steps 2-4 until all
pieces of fishing line are strung with
beads and tied off.
5.
Make a small mark approximately
every ½” along the bottom edge of
your crown. (The number of marks
should equal the number of beaded
strings.) Using a hole punch, punch a
hole at every mark.
6.
Pass the end of a beaded string
through each hole and tie the strings
to the crown.
Completed crown from one of the
three Yoruba Crown
Projects
Fishing line
Scissors
Needles
Beads
Pencils
Hole Punch
Page 40
Copyright © 1998, Ball State University Museum of Art
Kuba Box Making
Note
The Kuba carve their boxes from
wood. In these two projects,
students will make boxes out of
cardboard.
Kuba Box 1:
Making the Box
1.
With a pencil, draw a large crescent
shape onto the cardboard. (Other,
simpler box shapes are possible:
circles, squares, triangles, etc.) If you
will be decorating the box by applying
papier mâché (Variation 3), use
corrugated cardboard. You may use
lighter-weight tagboard if you will be
decorating the box with paint and
markers (Variation 2).
2.
Using scissors, an exacto knife or a
utility knife,
carefully cut
out the
crescent
shape. Use
this first crescent shape to trace a
second crescent onto the cardboard.
3.
Cut out the second crescent shape.
4.
To measure around the sides of the
crescent shape: place a piece of string
or yarn around the perimeter of the
crescent shape; cut the string so you
have a piece of string the length of the
perimeter. (Continued L)
Materials:
Pencil
Cardboard (large sheet)
Ruler
Scissors or exacto/utility knife
Yarn or string
Masking tape
Page 41
Copyright © 1998, Ball State University Museum of Art
5.
Lay the measured and cut string/yarn onto a piece of cardboard. With a
pencil, mark the length of the string.
6.
Decide how deep you would like your box to be. This will be the width of a
rectangle which includes the line you have just drawn (see diagram). After
you have chosen your
depth/width, draw the rectangle
onto your cardboard, and use
scissors or a straight edge and
exacto knife to cut out the
shape.
7.
If using corrugated cardboard, pull your rectangle across a table top edge.
This makes the flat piece of cardboard more flexible.
8.
Cut a manageable piece of duct tape. Starting at the end of the rectangle
shape, place the tape so that one half of the tape is secure on the
rectangle shape and the other half is hanging free. Then, using the free
half of the tape, begin attaching the sides to one of the crescent shapes.
This will form the box bottom. Continue this process of taping until the
bottom crescent shape is taped securely to the sides.
9.
With duct tape, attach several ½" cardboard tabs to the bottom of the box
lid, placing them approximately ½" from the edge. These hold the lid onto
the box.
10.
See Variations 3 and 4 for ways to decorate your box.
Page 42
Copyright © 1998, Ball State University Museum of Art
Materials:
Completed box from Kuba Box,
Variation 1
Paint: acrylic or tempera
Markers
Kuba Box 2:
Decoration
1.
Use the box made from Kuba Box,
Variation 1.
2.
Begin decorating your Kuba box. With
acrylic or tempera paint, apply a coat
of one color to the entire box. Let it
dry completely.
3.
After the base paint is completely dry,
use a darker color to paint geometric
designs onto the box, or use a
permanent marker to draw and fill in
the designs. (Refer to the box in
number 20 for an example of Kuba
patterning.)
4.
Add finishing touches of your
choice.
Page 43
Copyright © 1998, Ball State University Museum of Art
Materials:
Bucket
Wheat paste
Newspaper, 1" x 1" squares
Gesso
Paint: acrylic or tempera
Black marker, pencils
Shellac or varnish
Water containers
Kuba Box 3:
Papier Mâché
1.
Prepare your wheat paste.
2.
Have your newspaper torn into 1"
squares. Dip the newspaper into the
wheat paste and remove the excess
paste with your fingers. Cover your
box with the papier mâché squares.
The papier mâché should cover all
surfaces of the cardboard.
3.
Apply the squares of newspaper smoothly, as this improves the overall
appearance of the box. Let the papier mâché box dry. (Dry the box in a
well-ventilated area because papier mâché can mildew while drying.)
4.
Once the box is completely dry, decorate it. First apply gesso to the box
so that the newsprint does not show through. More than one coat may be
needed.
5.
When the gesso is dry, with acrylic or tempera paint, apply a coat of one
color to the entire box. Let it dry completely. (Brown paint will resemble
the wood of an actual Kuba box.)
6.
Once the base coat is dry, paint geometric patterns on the box; or draw
geometric patterns on the box using permanent black marker. (You may
want to refer to number 20 to see an example of Kuba patterning).
7.
Once the designs are dry, apply shellac or varnish. If available, spray
shellac/varnish is easiest to work with. (Apply shellac or varnish in a well
ventilated area.)
Page 44
Copyright © 1998, Ball State University Museum of Art
Sources
Please Note: Suggestions for further reading are in bold print.
Adams, Monni. Designs for Living: Symbolic Communication in African Art. Cambridge, MA:
Carpenter Center for the Visual Arts, in cooperation with the Peabody Museum of
Archaeology and Ethnology, Harvard U, 1982.
Arneson, Jeanette Jensen. Tradition and Change in Yoruba Art. Sacramento, CA: E.B. Crocker
Art Gallery, 1974.
Baldwin, James, et al. Perspectives: Angles on African Art. New York: Center for African Art,
1987.
Bascom, William. African Art in Cultural Perspective: an Introduction. New York: Norton,
1973.
Ben-Amos, Paula. The Art of Benin. London: Thames and Hudson, 1980.
Biebuyck, Daniel. The Arts of Zaire: Southwestern Zaire. Berkeley: U of California P, 1985.
---. The Arts of Central Zaire: Eastern Zaire. Berkeley: U of California P, 1986.
Boston, John S. Ikenga Figures Among the Northwest Igbo and Igala. London: Ethnographica in
Association with the Federal Department of Antiquities, 1977.
Broudy, Elizabeth. Icon and Symbol: The Cult of the Ancestor in African Art. Bloomfield Hills,
MI: Cranbrook Academy of Art, 1975.
Cannizzo, Jeanne. Into the Heart of Africa. Toronto: Royal Ontario Museum, 1989.
Celenko, Theodore. A Treasury of African Art from the Harrison Eiteljorg Collection.
Bloomington, IN: Indiana UP, 1983.
Chanda, Jacqueline. African Arts and Cultures. Worcester, MA: Davis, 1993.
Colbert, Cynthia. Adventures in Art: Large Reproductions: Teacher’s Guide, Levels 1-2-3.
Worcester, MA: Davis, 1993.
---. Adventures in Art: Large Reproductions: Teacher’s Guide, Levels 4-5-6. Worcester, MA:
Davis, 1993.
Page 45
Copyright © 1998, Ball State University Museum of Art
Cole, Herbert M. and Chike C. Aniakor. Igbo Arts: Community and Cosmos. Los Angeles:
Museum of Cultural History, U of California, 1984.
Corbin, George. Native Arts of North America, Africa, and the South Pacific. New York: Harper
and Row, 1988.
Cornet, Joseph. Art of Africa: Treasures from the Congo. London: Phaidon, 1971.
---. Art from Zaire. New York: African-American Institute, 1975.
---. “The Itul Celebrations of the Kuba.” African Arts. 13.3 (1980): 28-32+.
D’Amato Janet. African Crafts for You to Make. NY: J. Messner, 1969.
Dark, Phillip John Crosskey. An Introduction to Benin Art and Technology. Oxford: Clarendon,
1973.
Douglas, Fraser, ed. African Art as Philosophy. New York: Interbook, 1974.
Drewel, Henry John and Margaret Thompson Drewel. Gelede: Art and Female Power.
Bloomington: Indiana UP, 1983.
Fagg, William Buller and Margaret Plass. African Sculpture: an Anthology. London: Studio
Vista, 1973.
Fagg, William Buller. African Sculpture from the Tara Collection Exhibited by Mr. and Mrs.
J. W. Gillon. South Bend, IN: Notre Dame UP, 1971.
---. Yoruba: Sculpture of West Africa. New York: Knopf, 1982.
Fernandez, James. “The Exposition and Imposition of Order: Artistic Expression in Fang
Culture.” The Traditional Artist in African Societies. (1973). Ed. Warren L. d’Azevedo.
Bloomington, IN: Indiana UP, 1989. 194-220.
Fischer, Eberhard and Hans Himmelheber. The Art of the Dan in West Africa. Zurich: Museum
Reitberg, 1984.
Fry, Jacqueline. Visions and Models: African Sculpture from the Justin and Elisabeth Lang
Collection. Kingston, Canada: Agnes Etherington Art Centre, Queen’s University, 1985.
Gartenhaus, Alan. Masterpieces of African Art. Philadelphia, PA: Running Press, 1992.
Glaze, Anita J. Art and Death in a Senufo Village. Bloomington, Indiana UP, 1981.
Page 46
Copyright © 1998, Ball State University Museum of Art
Gilfoy, Peggy Stoltz. African Art from the Harrison Eiteljorg Collection. Indianapolis:
Indianapolis Museum of Art, 1976.
Gillon, Werner. Collecting African Art. New York: Rizzoli in Association with Christie’s, 1980.
Goldwater, Robert. Bambara Sculpture of Western Sudan. New York: Museum of Primitive Art,
1960.
Haley, Jennifer. “Bamana.” I Am Not Myself: the Art of African Masquerade. Herbert M. Cole,
ed. Los Angeles: Museum of Cultural History, U of California P, Monograph Series 326,
1985.
Herold, Erich. Tribal Masks from the Naprstek Museum, Prague.. Trans. Till Gottheiner.
London: Hamlyn, 1968.
Hudson River Museum. African Art in Westchester from Private Collections. New York:
Hudson River Museum, 1971.
Jones, G.I. The Art of Eastern Nigeria. New York: Cambridge UP, 1984.
Jules-Rosette, Bennetta. The Messages of Tourist Art. New York: Plenum Press, 1984.
Kasfir, Sidney Littlefield. “Anjenu: Sculpture for Idoma Water Spirits.” African Arts 15.4
(1982): 47-51+.
---. “Remembering Ojiji: Portrait of an Artist.” African Arts. 22.4 (1989): 44-51+.
Kecskéski, Maria. African Masterpieces and Selected Works from Munich: the
Staatliches Museum für Völkerkunde. New York: Center for African Art, 1987.
Kjersmeier, Carl. Centres de Style de la Sculpture Negre Africaine. 1936. New York: Hacker,
1967.
Krieg, Karl Heinz and Wulf Lohse. Kunst und Religion bei den Gbato-Senufo.. Hamburg:
Hamburgisches Museum für Völkerkunde, 1981.
Leiris, Michael and Jacqueline Delange. African Art. Trans. Michael Ross. New York: Golden
Press, 1968.
Loran, Erle, et al. African and Ancient Mexican Art. San Francisco: Fine Arts Museum of San
Francisco, 1974.
Page 47
Copyright © 1998, Ball State University Museum of Art
McNaughton, Patrick R. Secret Sculptures of Komo: Art and Power in Bamana (Bambara)
Initiation Associations. Philadelphia: Institute for the Study of Human Issues, 1979.
Messenger, John C. “Ibibio Drama,” Africa 41.3 (1971): 208-222.
Monti, Franco. African Masks. Trans. Andrew Hale. New York: Hamlyn, 1969.
Muerant, George. Shoowa Design: African Textiles from the Kingdom of Kuba. London: Thames
and Hudson, 1986.
Museum of African Art. The Language of African Art. Washington, DC: The Museum, 1976.
Neyt, François. Traditional Arts and History of Zaire. Brussels, Belgium: Institut Superieur
d’Archeologie et d’Histoire d l’Art, 1981.
Nicklin, Keith. “Nigerian Skin Covered Masks.” African Arts 7.3 (1974). 8-15+.
\Nooter, Mary M. Secrecy: African Art that Conceals and Reveals. New York: Museum for
African Art, 1993.
Northern, Tamara. Expressions of Cameroon Art: The Franklin Collection. n.p.: Rembrandt,
1986.
Parrinder, Geoffrey. African Mythology. London: Hamlyn, 1967.
Pelrine, Diane M., et al. Affinities of Form: the Arts of Africa, Oceania, and the Americas from
the Raymond and Laura Wielgus Collection. New York: Prestel, 1996.
Pelrine, Diane M. African Art from the Rita and John Grunwald Collection. Bloomington:
Indiana UP, 1988.
---. “A Komo Mask in the Indiana University Art Museum Collection.” (Gallery Notes).
Bloomington, Indiana: Indiana University Art Museum, 1992.
Perrois, Louis. Ancestral Art of Gabon: from Collections of the Barbier-Mueller. Trans. Francine
Farr. Geneva: The Museum, 1985.
Picton, John and John Mack. African Textiles. New York: Harper and Row, 1989.
Preston, George N. Sets, Series and Ensembles in African Art. New York: Center for African Art,
1985.
Ritter, Darlene. Multicultural Art Activities from the Cultures of Africa, Asia and North
America. Cypress, CA: Creative Teaching, 1993.
Page 48
Copyright © 1998, Ball State University Museum of Art
Robbins, Warren M. and Nancy Ingram Nooter. African Art in American Collections:
Survey 1989. Washington, DC: Smithsonian Institution P, 1989.
Robbins, Warren M. African Art: The de Havenon Collection. Washington, DC: Museum of
African Art, 1971
---. African Art in Washington Collections. New York: F.A. Praeger, 1966.
Rogers, Donna Coates. Royal Art of the Kuba. Austin, TX: University Art Museum, U of Texas
at Austin, 1979.
Roy, Christopher D. African Sculpture: The Stanley Collection. Iowa City, Iowa: University
of Iowa Museum of Art, 1979.
Schmalenbach, Werner, ed. African Art: from the Barbier-Mueller Collection. New York:
Prestel, 1988.
Schuman, Jo Miles. Art from Many Hands: Multicultural Art Projects for Home and School.
Englewood Cliffs, NJ: Prentice-Hall, 1981.
Siegmann, William. “Spirit Manifestations and the Poro Society.” Ethnologische Zeitschrift
Zurich, I (1980): 89-95
Segy, Ladislas. African Sculpture Speaks. 4th ed. New York: Da Capo, 1975.
---. Masks of Black Africa. New York: Dover, 1976.
Sieber, Roy and Roslyn Adele Walker. African Art in the Cycle of Life. Washington, DC:
National Museum of Art, Smithsonian Press: 1987.
Sieber, Roy. African Textiles and Decorative Arts. New York: Metropolitan Museum of Art,
1972.
---. Sculpture of Northern Nigeria. New York: Museum of Primitive Art, 1961.
Stoll, Mareidi and Gert Stoll. Ibeji: Twin Figures of the Yoruba. Trans. Donald Arthur.
Dusseldorf: n.p., 1980.
Tejada, Irene. Brown Bag Ideas from Many Cultures. Worcester, MA: Davis, 1993.
Temko, Florence. Folk Crafts for World Friendship. Garden City, NY: Doubleday, 1976.
Terzian, Alexandra M. The Kid’s Multicultural Art Book: Art and Craft Experiences
from Around the World. Charlotte, VT: Williamson, 1993.
Page 49
Copyright © 1998, Ball State University Museum of Art
Thompson, Robert Farris. African Art in Motion: Icon and Act in the Collection of
Katherine Coryton White. Los Angeles: U of California P, 1974.
---. Black Gods and Kings: Yoruba Art at UCLA. Los Angeles: U of California Museum and
Laboratories of Ethnic Arts and Technology, 1976.
Trechsel, Gail A., Ellen F. Elsas and Robin Poyner. Nigerian Sculpture: Bridges to Power.
Birmingham: Birmingham Museum of Art, 1984.
Vansina, Jay. The Children of Woot: a History of the Kuba People. Dawson, WI: U of Wisconsin
P, 1978.
Vogel, Susan. Africa Explores: 20th Century African Art. New York: Center for African Art,
1991.
---. Baule: African Art, Western Eyes. New Haven: Yale UP, 1997.
---, ed. For Spirits and Kings: African Art from the Paul and Ruth Tishman Collection.
New York; Metropolitan Museum of Art, 1981.
Wahlman, Maude. Ceremonial Art of Western Africa: from the Victor Dubois Collection. East
Lansing, MI: Kresge Art Center, 1979.
Wassing, René S. African Art: Its Background and Traditions. Trans. Diana Imber. Hong Kong:
Leon Amiel, 1968
Willett, Frank. African Art: An Introduction. London: Thames and Hudson, 1971.
Williams, Denis. Icon and Image: A Study of Sacred and Secular Forms of African Classical Art.
New York: New York UP, 1974.
Wingert, Paul S. Primitive Art: Its Traditions and Styles. New York: Oxford UP, 1962.
Wittmer, Marcilene K. and William Arnett. Three Rivers of Nigeria: Art of the Lower Niger.
Atlanta: High Museum of Art, 1978.
Wolff, Norma Hackleman. “Egungun Costuming in Abeokuta.” African Arts 15.3 (1992): 6670+.
Page 50
Copyright © 1998, Ball State University Museum of Art