Art of Africa Final

kibongo

luba D.R.C.

ro figure

lulua Arts D.R.C.

Ngaady a mwaash

-Queen's mask/woman's mask -(mwaash=mask) -metaphor for earth/mother earth -Kuba, DRC covered in beads and shells thin eyes and covered in scarification marks

Niombo

Kongo Democratic Republic of Congo Cloth - Coffins for important men - 8 ft tall, 300-400 lbs - Hand extended towards the sky - points to Nzambi (god) - Decorated with signs and symbols of the passing of life and the relationship between the world of the living and the world of the dead - Buried standing up used for burial of important social leaders

Mwaashamboy (Royal Mask)

Kuba Democratic Republic of Congo Cowrie shells and cloth - Elephant trunk and tusks usually worn by king

Lukasa (memory board)

Mbudye Society, Luba peoples (Democratic Rpublic of the Congo). c. 19th to 20th century C.E. Wood, beads, and metal More detailed information is conveyed on the front and back of the board. On the lukasa's "inside" surface (the front), human faces represent chiefs, historical figures, and mbudye members. The rectangular, circular, and ovoid elements denote organizing features within the chief's compound and the association's meeting house and grounds. Its "outside" surface displays incised chevrons and diamonds representing the markings on a turtle's carapace.

kishikishi

Pende Arts D.R.C. meant to protect the house from maleovolent sprits women figure holding child with spear

giwoyo

Pende Arts D.R.C. used during initiations and funerals represents spirit of the dead danced in the bush Believed to represent the spirit of the dead, giwoyo masks are worn on the top of the head of the dancer to give the appearance of a cadaver in a coffin during a wake.

Pumbu

Pende Arts D.R.C. represents war like nature of chief used by only most powerful chiefs symbolizes the power of the chief. onlly dances on rare occasions, like when a chief is ill , epidemics or famine occurs

Kipoko

Pende Arts D.R.C. symbolizes the nenevolent nature of he chief. pot shaped, top nknot, ears projecting outward, narrow nose painted red, while geometric designs in black and white cover at least the edge of the beard. embodies nuturing side of chief. large eyes and ears let king know he must be observent of kingdom.

idangani

Salampasu Arts D.R.C. mask with feathers as hair and twine as beard

muninka mask

Salampasu Arts D.R.C. masks were integral part of the warriors' society whose primary task was to protect this small enclave against invasions by outside kingdoms. Boys were initiated into the warriors' society through a circumcision camp, and then rose through its ranks by gaining access to a hierarchy of masks

kasangu

Salampasu Arts D.R.C senior mask is coverd with sheet copper most masks have pointed teeth reffering to the process of filing the teeth. part of initiation.

kholuka

Yaka Arts D.R.C. The whole mask refers to the power of the elders and their predecessors, and every element of the mask is the plastic translation of a cosmological term. Generally such masks were used only once. Used in dances and is made of sizeable mass of a coiffure in raffia fiber, this surmounted by a hat made from armature of vegetable fiber and covered with a resin-coated tissue

mweelu

Yaka Arts D.R.C. used to initiate boys into men worn to protect initiates worn to help steal food from neighboring villages and to welcome initiates home

misango

Yaka Arts D.R.C., Angola This hat was originally part of the regalia worn by a Yaka or a Suku regional chief The form and materials of Yaka and Suku beaded hats resulted from the complex political relationships that existed between the ancient Lunda empire and the peoples they conquered (upon whom they imposed their political structures and leadership symbols) and from contact with Europe. horns symbolize the buffalo symblozing strength and bulk feared +respected

m-mbwoolus-tsyo

Yaka Arts D.R.C. This is a classic Yaka figure with feathers. This figure has no magic charge but a cavity in the belly. It falls into the category of M'bwoolo or magic figures and may have been used for healing or for protection. uplifted nose and curve enlivened with berries

n-kooku

Yaka Arts D.R.C. Angola communicate w beyond prepare or warfare spirit alive in woods who can disappear

kuluzu

kongo arts DRC, Congo , Angola copper alloy crucifix facial featrues are africanized and secondary figures are abstracted. christian images still existed long after christianty disappeared in the kongo . form identifies with a spiritual and real world crossroad. new meaning and spirituality telephone to connect with ancesotrs way of calling to spiritis

toni malau

kongo arts DRC, Congo, Angola "anthony of good fortune" used as insturments of healing leftover icon from christian rule. saints of lost items featrures round face, definite hairline, taking on imagery of the kongo people

mbele a lulendo

kongo arts DRC, Congo, Angola double egded sword of authority made for currency and not use as sword crossing of realms spiritual and real world represented by cross human figure getsture up to god and down to ancestors

Nkisi

kongo arts, DRC, Congo, Angola magical object (can be figural)/ power object for giving medicine and for healing nail object power objects placed inside nail is put in each time a ritual occurs signifiying its use

Bwoom

kuba DRC Mask assocaited with leadership imported beads and cowlrey shells eye holes are covered to ecentuate blindess of mask sheet copper

Raffia cloth

kuba DRC used with cut pile embroidery cut raffia once used as currency . important in court ceremony and in funerals. today is used to represent loyalties, histories and relationships. can also be used as a burial cloth

Nsakakabemba

luba D.R.C. bow holder decorated with female figure with scarification luba style with its highly polished surgace, broad, rounded forehead, and elabrotate hairstyle figure referes to certain women who gaurd the secrets of royalty within their breasts. speicidfic women of luba history.

KIbiki

luba D.R.C. ceremonial axe worn over shoulders of kings and chiefs, sighns of status and weath. rendered head of a women weiled in dances and important cermonies tradition statred when kings were buried with them

Kipona

luba D.R.C. stool served as thrones, allude to the complex hierarchy of seasting prileigeses distingushing members of the court. state stools are a potenet so they must be kept in differnet villages from the possesors home to dimish the possibilty of theft. enshrines the soul of each king. female spirit medium names mwadi holds king

mukalenga wa nkashaama

lulua Arts D.R.C. Lulua carvers are known mostly for the ancestor figures they produced. The figures carry weapons and shields and represent the ideal warrior, has helmet and beard. power symbol of leopard hangs from neck

lupingu Iwa cibola

lulua Arts D.R.C. carved patterns on the neck abdomen and face recall lulua customs . used in religiouis association concerned with issues of childbirth and human fertilty. mother with child figure. ideal lulua female beauty rubbed with oil, camwood powder.