Relate/compare your chosen art object/s to the broader collection of African art in the museum

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Humanities

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From your Evaluation Paper, please post one (1) paragraph to answer each of these questions on the Discussion Board. That is a total of three (3) paragraphs.


(1) Choose at least one object of art on display in the museum and describe/analyze it What is it? What material/s is it made of? What is the size, shape and color? Where was it made? Who made it? Why was it made? What does it represent?


(2) Relate/compare your chosen art object/s to the broader collection of African art in the museum


(3) Draw a connection between the chosen object and an aspect of class discussions thus far.

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THE C The Yaka, Kuba Cult T The Yaka people of the Wester of Congo are represented in example of their masking tra anthropomorphic mask surrounde headpiece, and was probably used newly initiated young men would A mask, presumed to be from t used in dances to accompany the circumcision. This ceremonial masla a bulging forehead and braided raffia that extend across the face with ball The Pende live in the upper Kwalu R Republic of Congo CM The Kuba kingdom of the Demo long and rich history. The kingdom between 1870 and 1890. The presene the carly 1600s by the dynamic rules royal court was a center for creativit the king and court attendants to it designs. The king was often actively Kuba artisans arved other masks an courtly art such as head shaped cups and boxes with geometric designs Cele Mal called Meath Me Mid A highly omate Mwash ambooy comprise an elaborate masquerade res A third female mask Ngady a Mwash are part of the dynamic myth. The ma during funeral and all three may appe king undergoes an extensive initiation the initiation of the male youth in the appears as Mwash ambooy, which per and bringer of civilization to the Kutu Mbwoom accompanies this performa the king's younger brother and repres Mbwoon engages in a mock fight with the affections of his sister. The Ngady a the sister (alternatively, mother) of We the king, and women in general functie Ngady aMwash personifies the plight o hardship. Within the context of this man of Incestuous rivalry, royal power and THE CONGO The Yaka, Pende and Kuba Cultures he Yaka people of the Western region of the Democratic Republic of Congo are represented in the exhibition by an excellent example of their masking traditions. This mask is an abstracted anthropomorphic mask surrounded by painted raffia with a fabric headpiece, and was probably used following Nkanda rites. Presumably, newly initiated young men would wear the masks in a ceremonial dance. A mask, presumed to be from the Pende culture, was commonly used in dances to accompany the return of initiates to the village after circumcision. This ceremonial mask, of a schematized human face, has a bulging forehead and braided raffia hair. The mask has raised eyebrows that extend across the face with half-closed eyes and a pointed chin. The Pende live in the upper Kwilu River area of the Democratic Republic of Congo ACOSSONO SPONT The Kuba kingdom of the Democratic Republic of Congo has a long and rich history. The kingdom reached its pinnacle in the years between 1870 and 1890. The present Kuba dynasty was established in the early 1600s by the dynamic ruler Shyaam ambula Ngoong. The royal court was a center for creativity, from the extensive regalia of the king and court attendants to its architecture and elaborate textile designs. The king was often actively involved in the creative process. Kuba artisans carved other masks and utilitarian objects aside from courtly art such as head shaped cups, a variety of vessels and cups, and boxes with geometric designs. A highly ornate Mwaash ambooy mask and Mboom helmet mask comprise an elaborate masquerade reenacting a mythical narrative. A third female mask, Ngady a Mwaash, completes the entities that are part of the dynamic myth. The mask of Mwaash ambooy is worn during funerals and all three may appear during initiation rites. The king undergoes an extensive initiation process after which he oversees the initiation of the male youth in the area. During initiation rites, he appears as Mwaash ambooy, which personifies Woot, the first human and bringer of civilization to the Kuba peoples. The other mask Mbwoom accompanies this performance and appears as a Pygmy, the king's younger brother and represents commoners in general. Mbwoon engages in a mock fight with the king (Mwaash ambooy) for the affections of his sister. The Ngady a Mwaash mask, which represents the sister (alternatively, mother) of Woot, the wife (and sister) of the king, and women in general, functions as a pawn in this pageant. Ngady aMwassh personifies the plight of women as having a life of hardship. Within the context of this masquerade is the mythic story of incestuous rivalry, royal power and conflict. NEW GUIN he objects from New traced to the Sepik at an ancestral totem, The two works from the M Abelam peoples. Most of t are made in association wil prominent are the Yam Cole men's societies from which Traditionally, yumns were from New Guinea Amom sidered to have equal im speaks to the importance 25 a material bond bet connecting element bebe and women have designate of the yarns. Women prepa the planting of the yast The men's house is a pla of the Tamberan society a sculpture is moresented by chibition. These figures se yors. The elders of the Ta seeds against the ancestral ancestors are petitioned a powes Creat emphasis The polychromed yello probably used in the rod Thisho to a mythological being o Ancestral Male Figure Abela Er Con KC NEW GUINEA he objects from New Guinea in the exhibition can be traced to the Sepik and Maprik regions. Represented are an ancestral totem, a hook image, and a ceremonial mask. The two works from the Maprik region can be attributed to the Abelam peoples. Most of the artifacts produced by this group are made in association with one of several societies. The most prominent are the Yam Cult and the Tamberan Cult, two powerful men's societies from which women and children are excluded. Traditionally, yams were a staple in the diet of the people from New Guinea. Among the Abelam, the yam was con- sidered to have equal importance with man, a relationship speaks to the importance of land. It is believed that land serves as a material bond between the living and the dead, and is the connecting element between the past and the present. Men and women have designated tasks in the preparation and planting of the yams. Women prepare the soil, while the men oversee the planting of the yams to the harvest period. The men's house is a place where the artifacts and symbols of the Tamberan society are kept. An example of a clan ancestral sculpture is represented by the figure in the round in this exhibition. These figures serve a function in the planting of yams. The elders of the Tamberan ritually place the yam seeds against the ancestral totem figure. Through rituals, the ancestors are petitioned, and are believed to bestow fertility powers. Great emphasis is placed on the growth of the yam. The polychromed yellow, orange and black hook image was probably used in the dwelling place to secure foodstuffs from rodents. This hooked head figure has characteristics that refer to a mythological being that has wide-open eyes, and a gaping mouth with an extended tongue.
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Running head: ART ANALYSIS

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African Artwork: The Epitome of Culture
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ART ANALYSIS

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African Artwork: The Epitome of Culture

(1) Choose at least one object of art on display in the museum and describe/analyze it.
What is it? What material/s is it made of? What is the size, shape, and color? Where
was it made? Who made it? Why was it made? What does it represent?
The first mask on display in the museum is a masking object used by three different ethnic
tribes in the Democratic Republic of Congo: the Yaka, Pende, and Kuba communities. It is an
abstract anthropomorphic mask surrounded by painted raffia and fabr...


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