arts of africa final study guide.docx

The Kandaka

Artist: Merghani Salih,

• Wisdom is power

• Woman represents power

  • “Strong woman”

    • Title for queen mothers of the ancient African kingdom of Kush (Nubia and Ethiopia)

The Buli Master, stool,

• Luba peoples, Democratic Republic of Congo, 19th century. Wood, metal studs,

• Form: The stool is typically made of wood, with a sturdy, functional design. Its top surface is smooth, and the legs often feature intricate carvings, sometimes depicting figures or animals.

• Function: The stool serves as a seat, often used by important leaders or elders during ceremonies. It symbolizes authority, prestige, and the power of the person who occupies it.

• Content: The stool's carvings may include images of spiritual beings or motifs that represent cultural values, such as leadership, wisdom, and ancestral respect.

Context: The stool is not only a practical object but also a ceremonial one, often part of rituals or used in the presence of the community's ruler. It represents the connection between the living and the ancestral spirits.

Matrilineal society: In matrilineal societies, family heritage, wealth, and power are passed down from mother to daughter.

Kaposhi hairstyle: The hairstyle signifies social status, age, or marital status. It is used as an identifier within the community, reflecting individual or collective identity.

bavidye spirit: The Bavidye are ancestral or spiritual beings worshiped by certain African communities, often represented through masks, sculptures, or rituals.

Chibunda Ilunga figure

• According to legend, Ilunga, the son of a great Luba chief, wooed Lweji, a Lunda chieftainess.

• mwaat yaav is the term for the ruler

• Made of: Wood and human hair

• Function: represents a hero or cultural ancestor, often associated with the founding of the Lunda kingdom. It serves as a symbol of strength, leadership, and the divine right to rule.

• Content: Chibunda Ilunga is a legendary figure in Lunda history, said to be the first king or founder of the Lunda Kingdom. The sculpture reflects themes of heroism, kingship, and divine protection. His image is tied to mythological narratives about the origins of the Lunda people.

• Context: The figure is part of Lunda royal regalia and is used in ceremonies, often placed in important locations or sanctuaries to honor the memory of the founder and his spiritual power. It embodies the intersection of political, spiritual, and cultural values, linking the present rulers to their ancestral heritage.

ngomboyacisukabasket with ritual items

• shake the basket in which is a collection of seemingly miscellaneous objects known as tuphele.

• Basketry, wood, hide, seedpods, gourd, talons, metal, fiber, cloth, ceramic, and misc. materials

• Function: The basket serves a ritual or ceremonial function, holding sacred items used in religious or spiritual practices. It may be used in offerings, healing rituals, or as part of a divination process

• Content: The ritual items placed inside the basket are symbolic, often representing ancestors, spirits, or deities. These items are chosen for their spiritual significance, including their power to connect the community with the divine or supernatural realms.

• Context: The Ngomboyacisuka basket is part of a broader tradition of using everyday objects in religious and ceremonial contexts. It reflects the belief in the interconnectedness of the physical and spiritual worlds, where ordinary objects are imbued with ritualistic meaning and power to influence the outcome of rituals.

Mwana pwo mask

Made by: Chokwe

Location: DRC and Angola

Materials: Wood, plant fiber,

pigment, copper alloy

Function: The mask is used in initiation ceremonies, symbolizing the idealized female ancestor and embodying fertility, beauty, and wisdom.

Why is it important: The mask represents a young woman, often associated with the feminine aspects of life and the Chokwe people's spiritual beliefs.

• mikishi (sg. mukishi) is the collective name for masks and each mask will have a name that comes from the spirit they represent

nkisi nkondi

Wood, iron, resin, ceramic, plant fiber, textile, pigmen

• Function: This figure is used in ceremonies to call on spirits. People drive nails or sharp objects into it to activate the spirit inside. It can be used for protection, healing, punishing wrongdoers, or making promises that the spirits will help keep.

• Content: The figure represents a spirit, usually one that offers protection, helps with justice, or even brings vengeance. The nails are a way to wake up the spirit and make it do something, like solving a problem or punishing a wrongdoer.

• Context: Nkisi Nkondi figures are used by healers and spiritual leaders during rituals. The Kongo people believe that the physical world and spirit world are connected, and the Nkisi Nkondi helps bring these worlds together to bring about change, justice, or protection.

1. Minkisi (sing. Nkisi): Spiritual objects containing materials believed to house spirits, used for protection and healing in the Congo Basin.

2. Nganga (pl. Banganga): Spiritual healers and ritual specialists who create and manage minkisi, acting as mediators between the spiritual and physical worlds.

3. Bilongo: Medicinal or magical substances placed inside a nkisi, including herbs, minerals, and other spiritually powerful materials.

4. Nkondi (pl. Minkondi): A type of nkisi known for its aggressive nature, used to hunt down and punish wrongdoers or enemies.

Niombo funerary figure

• Form: Carved wooden sculpture depicting a human figure with realistic yet stylized features, often adorned with textiles, beads, and other materials.

• Function: Used in funeral ceremonies by the Kuba people to honor the deceased, representing their spirit and helping guide them in the afterlife.

• Content: Represents the deceased, emphasizing important qualities like status, strength, or beauty, with adornments having symbolic meanings.

• Context: Integral to the Kuba people's burial practices, ensuring a peaceful afterlife and maintaining the connection between the living and the dead.

nlo bieri head

• hairstyle recalls wig-like headdress (ekuma) worn by 19th-century Fang warriors

• Made with Wood, metal, palm oil.

• Function: Part of a "Bieri" figure used in ancestor worship, believed to house the spirit of an important ancestor, providing protection, guidance, and blessings.

  

• Content: Symbolizes ancestral power and wisdom, with stylized features reflecting ideals of beauty, strength, and wisdom.

• Context: Used in religious rituals and ceremonies by the Fang people to honor ancestors and maintain spiritual protection, typically kept in a shrine.

A reliquary is a container or shrine used to hold and display sacred relics, which are often associated with saints or other religious figures

Reliquary Figure (Bieri)

• Wood, wicker, metal, palm oil.

• Form: Wooden sculpture with an idealized, stylized human appearance, featuring a smooth face and body, high forehead, and large eyes, often decorated with beads.

• Function: Protects and honors ancestral relics, serving as a guardian to maintain the spiritual connection between the living and the dead.

• Content: Represents an ancestral spirit or guardian, symbolizing the power and wisdom of ancestors, offering protection, guidance, and blessings.

• Context: Placed near sacred relics or in shrines, used in religious rituals to maintain the spiritual link between the community and its ancestors, ensuring well-being and protection.

Ngil society mask

• Fang, Gabon, before 1890. Wood, raffia, kaolin, 21”

• Form: Carved wooden mask with a smooth, oval face, abstract and stylized features like large eyes and a flat mouth, often decorated with geometric patterns and painted in black, white, or red.

• Function: Used in ceremonies and rituals by the Ngil secret society to oversee justice, initiation, and social control, representing the spirit of justice.

• Content: Symbolizes authority, justice, and community protection, with a design that conveys power and seriousness.

• Context: Used in initiation rites, judicial ceremonies, and rituals to maintain social order, reinforcing the authority of society leaders and mediating between the spiritual and human realms in matters of justice.

Kaolin (White Clay): A soft, white clay used in industries like ceramics and cosmetics, often symbolizing purity or spiritual power in African art.

Ngil (Gorilla): A secret society of the Fang people, symbolized by a mask resembling a gorilla, representing justice and authority.

Men’s Societies (Baaz, Pl. Ebaaz): Secret societies for men, responsible for overseeing justice, cultural teachings, and social order in African communities.

Raffia: Fibers from the raffia palm used in weaving baskets, textiles, and ceremonial objects in African art and rituals.

Throne and footstool of Nsangu, King of Bamum

• The Throne and Footstool of Nsangu, King of Bamum is a royal artifact from the Bamum people of Cameroon, representing the authority and status of the king.

• Wood, textile, glass beads, cowrie shells

• Form: Made of wood with intricate carvings and decorative elements, adorned with symbolic motifs like geometric patterns, figures, or animals.

• Function: Symbols of the king’s authority and divine right to rule, used during royal ceremonies such as coronations and state events. The footstool symbolizes the king’s elevated status.

• Content: Filled with symbolic meanings, depicting the king’s role as protector, ruler, and spiritual leader, reflecting his connection to ancestors and the divine.

• Context: Central to the royal court of the Bamum people, used in political and ceremonial occasions to reinforce the king’s position as a political and spiritual leader, maintaining social hierarchy and emphasizing the monarchy's sacred nature.

• Spider – has many meanings; supernatural wisdom, auspicious power, industriousness, and ancestral spirit

• double-headed serpent represents protection

• Presented to German emperor Wilhelm II in 1908

• Thrones are consecrated and sacred

• fon = ruler, chief, king

Kuosi Society elephant mask

• men’s societies typically performed masquerades at royal festivals

• membership was through status or achievement and is highly regulated

• each society has its own house, masks, costumes, dances, and secret language

• societies act on behalf of the king to establish order and to preserve social and religious structure of the kingdom.

• Form: Made of wood, covered with beads, cloth, or cowrie shells, featuring a large, stylized elephant motif. Worn over the face or on top of the head, with a broad, rounded shape symbolizing the elephant’s head, tusks, and trunk.

• Function: Worn by Kuosi society members during ceremonies, symbolizing the power, strength, and wisdom of the elephant, as well as the authority of the society. Represents royalty and the king’s power and protection.

• Content: Highlights the elephant’s significance in Bamileke culture, symbolizing strength, dignity, and leadership, reflecting the values of the Kuosi society.

• Context: Used in rituals and royal ceremonies to reinforce the status and authority of the king and society members, representing the spiritual and political power of the king and the connection between the royal family, community, and ancestral spirits.

Igbo mbari house/shrine from Owerr

• Form: An elaborate, large, open-air shrine made of mud, wood, and thatch, decorated with sculptures and carvings of gods, spirits, ancestors, and mythological figures. The walls and roof may feature colorful patterns or motifs.

• Function: Serves as a shrine dedicated to Igbo gods and ancestral spirits, built in honor of Ala, the Earth goddess. Used in ritual ceremonies, including offerings, prayers, and festivals, symbolizing the community's reverence for the divine.

• Content: Contains sculptures and artwork representing deities, ancestral spirits, animals, humans, and mythological beings, reflecting Igbo religious beliefs, rituals, and moral values.

• Context: Constructed by the community during important cultural or religious events, such as harvests or crises. The building process is a communal effort to honor the gods and ensure the community's well-being, promoting fertility, prosperity, and spiritual balance.

Uli: Traditional Igbo body and wall painting designs used to decorate Mbari houses, featuring intricate and culturally significant patterns.

Mbari: A large, open-sided shrine adorned with sculptures and carvings, built to honor the gods, especially Ala, the Earth goddess.

Ala (Earth goddess): The Earth goddess in Igbo mythology, embodying fertility, morality, and creativity. Mbari houses are often dedicated to her.

Spirit worker: Builders and artists who create Mbari houses, responsible for crafting the intricate sculptures and decorations, and living apart from the village during the construction process.

ikenga

• Ikenga are personal shrines or altars for men

• means place of strength

• the object embodies his chi (personal spirit), his ndichie (ancestors), and ike (power).

• dedicated to strength of right arm

• Ichi: Traditional facial scarification marks among the Igbo people, symbolizing status, identity, and achievements.

• Ikenga Madu: A carved wooden figure representing the physical existence of its owner, symbolizing personal achievement, strength, and success.

• Ikenga Mmuo: A more abstract figure representing the spiritual aspects of the owner's life, including their connection to the divine and the spiritual realm.

• Form: A wooden sculpture shaped like a human figure with exaggerated features such as large horns, hands, or symbols of strength. It may include elements like a sword or staff, reflecting the owner's social status and accomplishments.

• Function: Symbolizes personal achievement and success, used for seeking protection, guidance, and strength from ancestral spirits. It is also an object of prayer to honor gods and ancestors.

• Content: Represents power, achievement, and prosperity. The horns symbolize strength and virility, embodying qualities like bravery, success, and wisdom, believed to empower the owner.

• Context: Used during personal milestones or ceremonies in Igbo communities, such as rites of passage or victories. It connects individuals to their ancestry and divine forces, reinforcing personal responsibility and social leadership.

Maiden spirit mask

Wood, kaolin, paint, wire, cotton string, and trade cloth

• Form: Made from wood, painted in natural colors like black, white, and red, featuring an idealized face with smooth, symmetrical features, a high forehead, broad eyes, and a gentle expression. It has an elongated appearance symbolizing beauty and grace.

• Function: Used in initiation rituals for the passage from girlhood to womanhood, representing the spiritual and moral qualities of an idealized young woman, guiding girls during their initiation into adulthood.

• Content: Embodies ideals of femininity, purity, and beauty, symbolizing ancestral spirits or female deities. Reflects cultural ideals about womanhood, emphasizing grace, maturity, and spiritual strength.

• Context: Worn during rites of passage and initiation ceremonies, teaching young girls the responsibilities of womanhood. Part of a broader tradition of masked performances in African cultures, bridging the human and spiritual worlds and guiding individuals through important life transitions.

• white face signals she is a spirit and works as a sign of beauty

Cylindrical head, from Ife

• Form: Sculpted figure made of terracotta or bronze, with a unique cylindrical shape, stylized facial features, large eyes, broad forehead, and smooth surfaces reflecting Yoruba artistry.

• Function: Created as a portrait of an important ruler or deity for ritual or commemorative purposes, used in ancestral worship or as part of royal regalia, symbolizing power, authority, and spiritual connection.

• Content: Represents idealized features of an important individual or spiritual being, embodying Yoruba values of beauty, wisdom, and divine authority. Large eyes suggest spiritual insight.

• Context: Produced during the Oyo Kingdom's Ife period (12th-15th centuries), reflecting the Yoruba belief in the connection between the spiritual and physical worlds. Likely placed in shrines or royal tombs to honor the deceased and maintain their spiritual presence.

Head from Ife

• Form: Highly detailed, life-sized or larger sculpture made of terracotta, bronze, or brass, featuring naturalistic facial features, intricate hairstyles, jewelry, and other decorative elements.

• Function: Served as a portrait of a king, deity, or important figure for rituals, ceremonial purposes, or as a commemorative object, possibly used in ancestor worship or royal/religious ceremonies.

• Content: Represents idealized or realistic facial features embodying wisdom, power, and spirituality. Large, detailed eyes signify spiritual insight, symbolizing divine connection or authority.

• Context: Produced between the 12th and 15th centuries, reflecting the Yoruba belief in the spiritual connection between the living and ancestors. Highlights the importance of leadership and divine kingship in Yoruba society, used in rituals to honor and invoke spirits of deceased rulers or deities.

Figure of an oni, Ife,

• Form: Highly detailed, life-sized or larger sculpture made of terracotta, bronze, or brass, depicting the Oni with realistic and idealized features, intricate jewelry, and detailed clothing.

• Function: Served as a portrait to immortalize the Oni and his divine connection, used in religious rituals, royal tombs, or shrines to honor the king’s memory and maintain his spiritual presence. It may also have had protective or ceremonial roles.

• Content: Represents the divine authority, wisdom, and leadership of the Oni, emphasizing the wisdom and spiritual insight associated with kingship. The detailed accessories and clothing highlight the king's wealth and status.

• Context: Created during the height of Ife’s artistic period (12th-15th centuries), reflecting the Yoruba belief in the connection between the spiritual and earthly realms. Used in royal and religious ceremonies to honor the ruler and invoke divine protection for the community.

Benin Plaque: Oba with Europeans

• Form: Made of brass or bronze, featuring a relief sculpture of the Oba (king) of Benin with European traders or diplomats, arranged in a detailed composition. The Oba is shown in a commanding pose, surrounded by attendants, with Europeans depicted in distinctive clothing.

• Function: Created to commemorate diplomatic events or trade interactions between the Benin Kingdom and European powers, particularly the Portuguese. It serves as a historical record and a symbol of the Oba’s authority, the kingdom’s wealth, and the strategic importance of foreign relationships.

• Content: Emphasizes the power and authority of the Oba, with his regalia and posture signifying royal dignity. European figures are shown as subordinate but significant, indicating political and commercial exchanges. Their depiction reflects their exotic status in Benin society.

• Context: Created in the 16th and 17th centuries during extensive contact with European traders. Typically placed on the palace walls of the Oba, highlighting the importance of diplomacy, trade, and foreign relations. These plaques recorded important events and asserted the Oba’s power and global reach.

Benin Royal ancestral altar of King Eweka II

• Form: Made of wood, brass, or bronze, featuring sculptural reliefs of kings, ancestors, and spiritual figures, decorated with royal symbols, figures, and representations of animals, gods, and deities.

• Function: Central space for ancestral worship and royal ceremonies, used to honor the spirit of King Eweka II and other Benin kings, maintaining a spiritual connection to the ancestors. Serves as a ceremonial site and symbol of the continuity of the Benin monarchy.

• Content: Reflects royal lineage, divine authority, and the spiritual power of the Oba. Depicts past kings in a stylized manner, highlighting their importance as political leaders and spiritual guardians. Includes objects signifying wealth, power, and royal history.

• Context: Created during King Eweka II's reign in the early 20th century, significant in Benin history. Plays a key role in upholding the Benin monarchy’s authority and maintaining cultural traditions. Used for rituals to ensure the kingdom's welfare, reflecting the blend of political power and spiritual authority in Benin society.

Queen Mother Pedant Mask

Made of Yvory

• Form: Made of bronze or brass, pendant-shaped, featuring a highly detailed face with a serene, dignified expression, intricate headdress, and jewelry. The facial features are realistic but idealized.

• Function: Symbolizes the Queen Mother’s authority, spiritual power, and royal status. Worn by the Oba's mother to signify her high rank, used in royal ceremonies, or placed on altars.

• Content: Reflects the Queen Mother’s spiritual connection, royal status, and wisdom. The calm expression symbolizes high rank and moral authority, with detailed headdress and jewelry emphasizing power and wealth.

• Context: Believed to commemorate Queen Idia, mother of Oba Esigie, from the 16th century. Highlights the Queen Mother’s role in military and political affairs, used in ceremonies to honor her influence and leadership. Reflects the cultural and political significance of the Iyoba in Benin society and the kingdom's rich artistic traditions.

Ogboni society edan (staff figures)

• form: The edan are typically made of brass or bronze, featuring paired male and female figures. They are often detailed with symbolic motifs and intricate designs.

• Function: Used in rituals and ceremonies by the Ogboni society to symbolize authority, justice, and the unity of male and female principles.

• Content: Represents the spiritual and judicial power of the Ogboni society, embodying ideals of balance, harmony, and moral integrity.

• Context: Created and used by the Ogboni society, a secretive and influential group within Yoruba culture, to maintain social order and uphold traditional laws.

Efe headdress, Yoruba

Form: Made of wood, often painted with natural colors like black, white, and red. It features a stylized human face with smooth, symmetrical features and may include intricate patterns or motifs..

Function: Used in the Efe performance, which is part of the Gelede festival. The headdress is worn during nighttime ceremonies to entertain and invoke spiritual forces, honoring female elders, ancestors, and deities.

Content: Represents the authority and wisdom of the Great Mother, with the design emphasizing beauty and grace. The light-colored paint helps make the mask visible in the dark.

Context: The Efe headdress is part of the Gelede festival, which celebrates "Mothers" and their spiritual power. The festival includes songs, poetry, and satire to entertain and educate the community, while also performing serious spiritual work

ere ibeji (twin figures),

• Form: Carved from wood, these figures often feature elaborate hairstyles and beaded jewelry. They are typically detailed with smooth surfaces and stylized features, representing an idealized form of beauty.

• Function: Created as memorials for deceased twins, these figures are cared for by the mother or surviving twin. They are ritually washed, dressed, and offered food, serving as a focal point for the spiritual energy of the deceased.

• Content: Symbolize the special powers and spiritual significance of twins in Yoruba culture. The figures embody the qualities of the deceased and are believed to bring good fortune to those who honor them properly.

• Context: Reflect the high rate of twin births among the Yoruba people and their cultural practices surrounding twins. These figures are part of a broader tradition of ancestor worship and spiritual practices aimed at maintaining a connection with the deceased

oponifa(divination board),

• Form: Typically made of wood, the Opon Ifá is a flat, circular or rectangular tray with a raised outer perimeter. It is often intricately carved with figures, objects, and geometric designs, with the top of the tray called the "head" (oju opon) and the bottom called the "feet" (ese opon).

• Function: Used by a babalawo (diviner) during divination sessions to communicate with Ifá, the Yoruba god of divination. The board helps identify causes and solutions to personal and collective problems, restoring harmony with the spirits

• Content: The carvings often include depictions of Esu, the messenger deity, and other symbolic motifs. These designs not only enhance the board's aesthetic appeal but also signify the diviner's status and the spiritual significance of the divination process

• Context: Integral to Yoruba religious practices, the Opon Ifá is used in conjunction with other divination tools like the iroke Ifá (diviner's tapper) and ikin Ifá (sacred palm nuts). It reflects the deep cultural and spiritual traditions of the Yoruba people, emphasizing the importance of divination in maintaining social and spiritual order

• Babalawo/diviner (father of secrets or father of ancient wisdom)

• iroke (divination tapper)

• ashe (life force)

Golden Stool, Asante

• Form: Made of solid gold, the stool is a curved seat about 46 cm high, 61 cm wide, and 30 cm deep. It is adorned with gold ornaments and bells, which are believed to warn the king of impending danger12.

• Function: Serves as the royal and divine throne of the Asante kings, symbolizing the unity and spirit of the Asante nation. It is never sat upon and is treated with the utmost reverence, only handled by the king.

• Content: Represents the soul of the Asante people, embodying their living, dead, and future generations. The stool is a symbol of power, authority, and the continuity of the Asante kingdom.

• Context: According to legend, the stool descended from the sky and landed on the lap of the first Asante king, Osei Tutu, signifying divine approval. It has played a crucial role in Asante history, including during conflicts with British colonial forces

• contains the essence, spirit, and history of the whole of the Asante nation

• sunsum (force or energy; also spirit)

Asantehene with Golden Stool

Form: The artwork likely features intricate gold detailing and traditional Asante craftsmanship, emphasizing the stool's ornate and regal appearance.

Function: The Golden Stool serves as a symbol of the Asantehene's (king's) authority and the unity of the Asante people. It is not just a seat but a sacred object that embodies the soul of the Asante nation

Content: The piece depicts the Asantehene with the Golden Stool, highlighting its significance as a divine throne that must never touch the ground. The stool is adorned with gold and bells, symbolizing its sacred and protective qualities

Context: The Golden Stool, created in the 17th century, is central to Asante culture and history. It was believed to have descended from the sky, signifying its divine origin. The stool has played a crucial role in various historical events, including conflicts with the British during the colonial period

Hwedom: This term refers to the throne or seat of the Asantehene, the king of the Asante people. It symbolizes the authority and power of the Asantehene.

Asantehene vs. Omanhene: The Asantehene is the king of the Asante people and the highest authority in the Asante Kingdom. The Omanhene, on the other hand, is a paramount chief who governs a specific state within the Asante Kingdom. While the Asantehene holds supreme power and can create Omanhene, the Omanhene are local rulers with authority over their respective regions

Kente Cloth: Kente is a traditional Ghanaian textile made of silk and cotton, known for its vibrant colors and intricate patterns. It is hand-woven and historically worn by royalty and during special occasions. Each pattern and color in Kente cloth has specific meanings, often reflecting the wearer's status, history, and cultural identity

Staff of office

• Form: This staff is typically made of wood and covered in gold foil. It features two human figures flanking a large web with a spider at its center

• Function: The staff serves as an insignia of office for an ȯkyeame, a high-ranking advisor or linguist to the Asante ruler. It symbolizes the ȯkyeame's role in mediation, judicial advocacy, and the preservation of royal history

• Content: The spider motif represents the proverb, "No one goes to the house of the spider Ananse to teach him wisdom." Ananse, the spider, is a central figure in Akan folklore, symbolizing wisdom and storytelling.

• Context: These staffs are used in ceremonial contexts and are a testament to the Asante's rich cultural heritage. The use of gold signifies the importance and sacred nature of the staff, reflecting the high status of the ȯkyeame within the Asante cour

• Okyeame: A chief's spokesperson or linguist in Akan societies, particularly among the Asante people, who communicates messages using proverbs and metaphors.

• Visual-Verbal Nexus: The relationship between visual and verbal elements in communication, enhancing the conveyance of meaning.

• Nyame the Creator God: The supreme god in Akan religion, considered the creator of the universe and the source of all life, associated with the sky and revered for omnipotence and omniscience.

kente cloth, The King Has Boarded the Ship, Asante,

• colors can have complex meanings

  • blue: peacefulness and harmony

  • green: vegetation and spiritual renewal, fertility

  • maroon: mother earth and healing

  • red: bloodshed for ritual and death associated with war

  • white: purity

  • yellow or gold: preciousness and royalty

Form: The cloth features vibrant, multicolored stripes on a blue background, showcasing intricate weaving patterns.

Function: It serves as a royal garment, symbolizing the authority and status of the wearer, often used during significant ceremonies.

Content: The design includes both warp and weft patterns, with the warp pattern relating to the proverb “Fie buo yE buna,” meaning "the head of the family has a difficult task".

Context: Originating from the Asante Kingdom, Kente cloth is deeply rooted in cultural traditions and is associated with royalty, wealth, and high social status.

akua ba

Akua'ba (also spelled akwaba or akuba) are traditional wooden fertility dolls from Ghana, particularly associated with the Akan people, including the Asante

Form: These dolls are characterized by their large, disc-like heads, tubular bodies, and small arms. They often feature a ringed neck and high, protruding breasts, symbolizing idealized female beauty and fertility

Function: Akua'ba dolls are used as fertility aids. Women who wish to conceive carry these dolls, treating them as real children by feeding, bathing, and caring for them. This practice is believed to help them become pregnant

Content: The dolls represent an abstracted female form, emphasizing features like a large forehead (symbolizing wisdom) and a full figure (indicating health and fertility). They are often adorned with beads and other decorations

Context: The use of Akua'ba dolls is rooted in Akan mythology. According to legend, a woman named Akua, who struggled to conceive, was advised by a diviner to create and care for a wooden child. After following this advice, she successfully conceived. This practice continues among some Akan women today.