Honoring our mothers The Religious Landscape Beta Madhane Alemi Lalibela largest of rock cut churches has a nave and four aisles and surrounded by a colonnade of plain square pillarsca 13 ID: 437751
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Slide1
Masking Traditions:
Honoring our mothersSlide2
The Religious LandscapeSlide3
Beta
Madhane
Alemi
,
Lalibela
, largest of rock cut churches,
has
a nave and four aisles and surrounded by a colonnade of plain square
pillars—ca. 13
th
centurySlide4
Djenne Mosque, Djenne, Mali, adobe bricks,
Completed in 1907 after the original 14
th
century modelSlide5
Igbo Mbari House to Ala, the Earth Goddess, Adobe and wood, 20
th
centurySlide6
Nkisi Nkonde,
Kongo Peoples, Zaire
Wood, cord, iron, nails, feathers, pigment
Natural fibers20th century h. 83 cmSlide7
Ifa
divination Tray—
Opon
Ifa, Fon Peoples, Republic of Benin,Wood, Late 16th- Early 17th centurySlide8
Today there are well over 100 million people who practice or profess the Yoruba Religious Traditions
Santeria—Cuba, Dominican Republic, Venezuela,
Puerto Rico
etcCandomble in Brazil201 Gods and Goddesses known as OrisaSlide9
The mask is …Slide10
Figure with Mask like Head,
Rock Painting, Tassili, 10,000 BPSlide11
African Art and the Modernist EngagementSlide12
Pablo Picasso,
Les Demoiselles d’Avignon
Oil on canvas, 1907Slide13
“the mask weren’t just like any pieces of sculpture…Not at all.
They were magic things…The Negro pieces were
intercesseurs
, mediators…I always looked at fetishes...” --Pablo PicassoSlide14
Pablo Picasso, Les Demoiselle
D’Avignon
(detail) 1907, oil on canvas
Mbuya (sickness) mask, Pende, Zaire, Polychrome wood,20th centurySlide15
Fang Mask,
Gabon, polychrome wood,
20
th century
Mask,
Republic of the Congo,
Painted wood
Late 19
th
century
Pablo Picasso,
Detail of Les Demoiselle
D’Avignon, 1907,
Oil on canvasSlide16
The mask is the mediating force at that delicate intersection
between the real and the imagined; the concrete and the imperceptible;
The serious and the playful; the whimsical and the terrifying; the living and the dead
Ancestral veneration/worship; mediationRites of passage—educationSocial control—punitive; intervention; social harmonyEntertainment—humor and satire.Slide17
Ancestor VenerationSlide18
Oba William Ayeni,
Orangun of Ila wearing the
Great Crown (Ade Nla) with beaded
Veil,Yoruba Peoples, Nigeria20th centSlide19
Chiwara Masquerades in performance during the agricultural cycle,
Bamana Peoples, MaliSlide20
Crest Mask,
Chiwara,
Bamana, Mali
Wood,20th centurySlide21
Bobo (Butterfly) mask,
Burkina Faso (Upper Volta),
Painted Wood, cloth,
20th centuryMembers of the Do in performanceDossi, Burkina Faso (Upper Volta)Wood, natural pigments, grass fibers20th
centurySlide22
Dje (antelope) masquerade in performance, Dabuzra, Cote D’IvoireSlide23
Rites of Passage
:
Initiation & EducationSlide24
Sowei Headdress,
Gola/Vai Peoples,
Liberia and Sierra Leone,
Wood, 20th centurySlide25
Sowei Headdress,
Sande society, (Gola, Vai Peoples)
Liberia Sierra Leone
Wood, pigment20th centurySlide26
Boys’ initiation, GabonSlide27
Fire spitter mask (kponugu), Senufo, Ivory Coast
Wood, 20
th
centurySlide28
Social ControlSlide29
Gelede Headdress with two pythons attempting to swallow a tortoise
Yoruba, Nigeria, wood, pigment, 20
th
centurySlide30
Ijele Mask at the 2
nd
Burial
Ceremony,Achalla, Nigeria,Mixed media, 20th centurySlide31
Yoruba Egungun Masquerade, mixed media, 21
st
centurySlide32
Egungun ensemble
Yoruba Peoples, Nigeria
Cloth, wood, metal
20th cent.Slide33
Egungun masquerade in
Dance motion
Yoruba Peoples, Nigeria/Benin,
20th cent.Slide34
Humor and SatireSlide35
Gelede masked performers, Yoruba Peoples, Ketu, Democratic republic of BeninSlide36
Masquerades, Yoruba, Nigeria, wood, cotton, 20
th
centurySlide37
Parodying the Colonial “Other”
(Egungun) Masquerade
Yoruba, Nigeria
wood, animal hide, cotton, pigments20th centurySlide38
Diasporic
TransformationsSlide39
Egungun
ensemble honoring Sango, Oyotunji
, Sheldon, South Carolina, May 26, 2014. Photograph by Bolaji Campbell. Slide40
Nick Cave
American, b. 1956
Soundsuit, 2006
Found knit sweaters, socks, drift wood, dryer lint, and paint Helen M. Danforth Acquisition Fund 2007.11 Slide41
Wole
Lagunju
Marilyn Monroe and my AfricanSensibilitiesAcrylic on canvas2013