The First Masks Over thirty thousand years ago, somewhere in africa, an indigenous Hunter had a idea For early indigenous peoples, masks were a way to the gods, and http://www.africans-art.com/index.php3?action=page&id_art=28378
African Studies: Art And Archaeology Artwork of various West african peoples, with some Makonde objects from East africa . A handful of images of baule figure art from Côte d Ivoire, http://www.columbia.edu/cu/lweb/indiv/africa/cuvl/AfArt.html
Extractions: CU Home Libraries Home Search Site Index ... Help Search Library Catalog: Title (start of title) Journal (start of title) Author (last, first) Keyword (and, or, not, "") Subject Go To CLIO >> Find Databases: Title Keywords Title (start of title) Keywords Go To Databases >> Find E-Journals: Title (start of title) Title Keywords Subject Keywords Go To E-Journals >> Search the Libraries Website: Go To Advanced Website Search >> About the Libraries Libraries Collections Digital Collections Hours Directions to Columbia Map of Campus Libraries More... Catalogs CLIO (Columbia's Online Catalog) Other Catalogs at CU and Nearby A-Z List of Library Catalogs Course Reserves More... E-Resources Citation Finder Databases E-Journals E-Books E-Data E-News E-Images Subject Guides More...
Black History peoples, including some groups of the Fon in Benin and the baule and Dan of With the Westernizing of African cities, much indigenous architecture http://www.britannica.com/Blackhistory/article.do?nKeyValue=384737
MSN Encarta - Search View - African Art And Architecture The baule, a subgroup of the Akan of western africa, have several types of indigenous african religions have had a greater influence on art objects than http://encarta.msn.com/text_761574805__1/African_Art_and_Architecture.html
Extractions: The search seeks the exact word or phrase that you type, so if you donât find your choice, try searching for a key word in your topic or recheck the spelling of a word or name. African Art and Architecture I. Introduction African Art and Architecture , works of art and architecture created on the African continent south of the Sahara. The immense Sahara acts as a natural barrier, separating African cultures to the north from those to the south. Although there has always been some intermingling of peoples on the two sides of the Sahara, differences in history and culture are pronounced. This article primarily discusses the art created south of the Sahara, a region known as sub-Saharan Africa. For information on the art of northern Africa, see Islamic Art and Architecture; Egyptian Art and Architecture; and Coptic Art and Architecture. The history of African art and architecture spans a vast period, beginning as early as 25,500
Secretary Of State Colin L baule groups began arriving from the mid18th century and settled toward the Most peoples in the southwestern quadrant practice indigenous religions, http://wwwc.house.gov/international_relations/108/toun0212.htm
Extractions: Geographical and cultural divisions remain despite the continuing migration of Ivoirians and foreigners from the subregion within the country, moving from east to west and north to south in search of fertile cash crop zones (largely for coffee and cocoa), commercial activities, urbanization, and education. Such population movement has been a source of productivity and growth, cultural diversity and international tourist attraction, as well as socio-political advances and setbacks. As part of this document, an article published in the Journal of Democracy, (2001(July), Vol. 12, no. 3, pp.63-72) in which I explain the persistence of the ethnic factor in national politics is attached. First, the U.S. should support the spirit of the Linas-Marcoussis Agreement signed by nine participating political parties and rebel groups on January 24, 2003. The discussions leading to the Agreement were witnessed by representatives of several African states, international financial institutions ( (World Bank, IMF) and global and regional organizations (UN, EU, AU, ECOWAS) The roundtable was held after the failure of the current regime led by President Gbagbo to respond to interventions by African heads of state and ECOWAS mediation. President Jacques Chirac and his government should be praised for accepting to intervene, both militarily to save lives and diplomatically by facilitating discussions that will, hopefully, lead to a peaceful settlement of hostilities and the appointment of a functional government of reconciliation.
EShopAfrica.com - Library baule african Art, Western Eyes, baule - african Art, Western Eyes Documenting the indigenous skills of africa that reveal the very old and very http://www.eshopafrica.com/library/
Extractions: There are so many wonderful books about Africa - even if you're not lucky enough to be able to visit you can learn so much. From gloriously illustrated picture books, to ideas on how to decorate your house in African style, to history, to beads... there's something for everyone... Send us your recommendations. Our featured book: An illustrated history of strip weaving by the Asante in Ghana and the Ewe who live in both Ghana and Togo. The individually patterned strips are sewn together to make kente cloth which has been known by European explorers since 15th century. Well illustrated with wonderful photographs and explanations of designs. Printed and Dyed Textiles from Africa (Fabric Folios) A beautifully illustrated book documenting the various methods of fabric dying in West Africa including mudcloth from Mali, adinkra from Ghana, adire from Yorubaland in Nigeria, ikats from Madagascar, indigo-resist dying and more. Useful both as a design reference and to learn about the traditional techniques.
In These Times 25/16 -- Out Of Africa The finest pieces, such as a baule mask from the Ivory Coast or a finely carved indigenous expression took on fresh value. Some Europeans, meanwhile http://www.inthesetimes.com/issue/25/16/zachary2516b.html
Extractions: sitemap Nearly a half century since the decolonization of Africa, the question remains: Why is Europe still the best place to view or buy traditional and tribal African art? While the world has started to pay attention to the collapse of health care systems in sub-Saharan Africaand the concomitant spread of AIDS and the resurgence of "vanquished" diseases such as malaria and tuberculosislittle is said about the continent's cultural collapse. The governments that have plundered the continent's resources also have ignored the vast cultural treasures in their countries. Only African music retains a firm footing, because of its commercial base and vague attraction to listeners of Western pop. But Africa's great traditions of sculpture, mask-making and textile design are poorly 16th century ivory Benin mask, seized BRITISH MUSEUM recognized at home. Even behemoths such as Nigeria, Africa's most populous nation, or South Africa, the richest nation of black Africa, boast no museums where visitors are presented with anything like the breadth, diversity and sheer quality of the art produced across the continent. Instead, museums in Africa tend toward the local and disconnected. And that's in places where museum curators aren't selling off pieces themselves or conspiring with thieves. To get a feel for the immense diversity of tribal African art requires a visit not to Africa, but to London, Paris, Berlin, Brussels, New York, Washington or Los Angeles.
Social & Cultural Parenting Christianity indigenous peoples Books Social Sciences Cultural The World and a Very Small Place in africa A History of http://www.growinglifestyle.com.au/au/j124882
WoYaa!: ARTS Discover firsthand the vitality and significance of african peoples, West africa, baule Culture, Spirit Figure The University of Central Florida Art http://www.woyaa.com/linksfr/ARTS/more10.html
Michael Stevenson Contemporary The Mlungu in africa art from the colonial period, 18401940 or foreignerin indigenous value system and rituals16 are the baule figure (no.45) and the http://www.michaelstevenson.com/contemporary/books/mlungu.htm
Extractions: A dictionary of South African English on historical principles, Oxford University Press, 1996, pp.466-467.'The old biological model of birth, flowering, decay, and death imposes on culture not only an order that is seldom there but also, in this case, the strong temptation to identify the onset of "decay" with the onset of colonialism. This is the historicist flaw in the authenticity test used to construct the canon of African art.' Sidney Kasfir The book The Mlungu in Africa: art from the colonial period, 1840-1940 explores African art that engages with the presence of Europeans in the 'contact zones' and colonial states in sub-Saharan Africa.
Office Of Public Affairs At Yale - News Release In conjunction with the gallery s current exhibit on baule art, known forits variety of authentic crafts from indigenous peoples around the world, http://www.yale.edu/opa/newsr/97-12-10-01.all.html
Extractions: Return to: All News CONTACT: Cynthia L. Atwood #137 For Immediate Release: Dec. 10, 1997 New Haven, CT Unique holiday gifts available at a number of Yale University gallery and museum gift shops include everything from holiday cards and Christmas tree ornaments to crafts from Peru, England and Thailand. Prices range from under $1 to several hundred dollars. Here is a sampling. Yale University Art Gallery 1111 Chapel St. The gift shop is fully stocked with a wide variety of international merchandise that "allows people to enjoy or experience art," says the store manager, Howard el-Yasin. "We sell all kinds of gifts that just give people a way to interact with art either by seeing it, touching it or reading about it." These include posters, books, mugs and note cards featuring items in the gallery's collections, as well as craft kits for children and adults that allow them to create art for themselves. Like the other campus shop managers, Mr. el-Yasin searches for one-of-a-kind gifts. These include ceramic hanging devils, which are created on demand by an artist from Chicago; Froeble building blocks for young adolescents, used by such famous architects and artists as Frank Lloyd Wright and Josef Albers in their young days; and handmade plush toys covered in patchwork from Sri Lanka.
Atlas - Cote DIvoire Map Added to this indigenous mixture, French, Lebanese, and African immigrants Thus the baule, as well as other peoples living east of the Bandama River, http://www.map.freegk.com/cote_divoire/cote_divoire.php
Extractions: Cote d'Ivoire Plants and Animal Back to Top In 1987 the farm animal area contributed about 6 % of agricultural output. About half of that total came from poultry and egg production, about one-quarter came from cattle, and the remainder came from sheep and goats. Although virtually all poultry consumed in Côte d'Ivoire was produced locally, domestic beef production met only about 40 % of demand. The remainder entered as live cattle from Mali and Burkina Faso or as slaughtered meat from Western Europe, Argentina, or southern Africa. In the 1980s, the government sought to strengthen farm animal production by providing education and training in modern animal husbandry and by introducing large-scale cattle fattening centers near Bouaké and Abidjan. Cote d'Ivoire Communications Back to Top
Project MUSE The baule subgroup began arriving from the mideighteenth century and settledtoward the Most peoples in the southwest practice indigenous religions. http://muse.jhu.edu/journals/journal_of_democracy/v012/12.3toungara.html
Extractions: Arts of Africa, Oceania and the Americas Sotheby's Saturday, May 19, 2001, 10:15AM Sale 7659 By Carter B. Horsley This season Sotheby's has combined its Tribal Art, American Indian Art and Pre-Columbian Art auctions into one catalogue. The 87 lots of Oceanic Art start the auction at 10:15AM, Saturday, May 19, 2001, followed by 159 lots of the arts of Africa. The afternoon session, which starts at 2PM, will begin with 27 lots of American Indian Art, the smallest number in many seasons, followed by 148 lots of Pre-Columbian Art. While the sale recorded some good prices, only 75.66 percent of the 419 offered lots sold fora total of $6,767,745 including the buyer's premiums. Oceanic Art The Oceanic section of this auction has many fine works included a superb canoe prow, a fine canoe splash board, a wonderful dance paddle, an excellent gope board, a nice "pig killer," a fine ancestor plaque, and some good masks. Lot 38, canoe prow, 83 inches long, Geelvink Bay, Irian Jaya The canoe prow, shown, above, Lot 38, comes from the Geelvink Bay in Irian Jaya and measures 83 inches in length and has a conservative estimate of $60,000 to $90,000. It sold for $55, 375 including the buyer's premium as do all results mentioned in this article.
FORE: Information-Contributor Biographies indigenous Religious Traditions and Modernity (forthcoming), African His published works include French Colonial Rule and the baule peoples http://environment.harvard.edu/religion/information/about/biolist.html
Extractions: Machine translation powered by Systran Forum on Religion and Ecology Information Religion ... Search Contributor Biographies Mary Barber Rosemarie Bernard is an anthropologist teaching at Waseda University in Tokyo. She has been a memeber in the Society of Fellows at Harvard University. Her research focuses on Shinto ritual, specifically on the rites of renewal at the Grand Shrines of Ise, and on Japanese imperial ritual. From April 1993 to March 1994 she was an information officer in the Public Relations Section of Jingu Shicho (the bureaucracy that manages The Grand Shrines of Ise). Thomas Berry Religions of India: Hinduism, Yoga, and Buddhism
African L. Dreams and Reverie Images of Otherworld Mates among the baule, West africa . indigenous Art of the Americas Collection of Robert Woods Bliss. http://www.dupontbooks.com/african.htm
Extractions: "Bedouin Encampment" A stunning photograph of a desert encampment. Mounted on board trimmed to the edges of the photo. Image size 10 5/8" x 8 1/2." Signed in the negative "Reiser." Although I can find no specific photographer by that name, I did come across a woman archaeologist named Reiser working in Egypt in the early 1900's. AFRICAN ART Adams, Monni. Designs for Living: Symbolic Communication in African Art African Art: Classic Style . DC: American Federation of Arts, 1953. in, The American Magazine of Art, Including 'Creative Art.' Volume XXVIII, No. 5. Wraps; pp271-278 Illustrated with photographs of 10 objects. Edgewear to the cover, o/w VG. #4090. $12.50 African Art from New Jersey Collections . Montclair, NJ: Montclair Art Museum, 1983. Soft Cover; a 6pp essay by Marshall W. Mount, followed by illustrations of 100 objects, each described. VG. #027668. $20 African Art: Permutations of Power African Art: The Spirit Manifest. Ann Arbor: U MI Museum of Art, 1981. Wraps; 68pp; an illustrated and annotated catalogue of 63 objects. Essay; bibliography. VG. #010359. $20 African Images : Art and Ornament . Ann Arbor, MI, U.S.A.: University of Michigan, Museum of Art, Alumni Memorial Hall, 1981. Wraps; 68pp; 1 color plate 1 text figure and an illustrated and annotated catalogue of 63 items. Essay and a lengthy bibliography. NF. #030317. $15
Report On The Implementation Of The Plan Of in cooperation with those groups (women, indigenous peoples, children, migrants, africa Adja Afrikaans Akuapem Twi Amharic Arabic (Alarabia) http://www.unhchr.ch/huridocda/huridoca.nsf/(Symbol)/E.CN.4.1999.87.En?OpenDocum
Baule baule African Art/Western Eyes National Museum of African Art, Washington DC, Feb . A primary technique used to discriminate between indigenous and http://social.chass.ncsu.edu/jouvert/v3i3/baule.htm
Extractions: Curator Susan M. Vogel To reach the National Museum of African Art (NMAfA) from Independence Avenue, one enters through the Enid Haupt Garden. Straight ahead, looming above formal knots of flowers, rise the neo-medieval turrets of the Smithsonian Castle; pansy baskets hanging from Victorian wrought-iron street lamps conduct museum-goers from the street to the green. On either side of this entrance stand handsome contemporary buildings of polished limestone and glass: the Sackler Gallery of Asian Art on the left, the NMAfA on the right. This highly organized entrance situates a visitor within a three-dimensional emblem of colonial history. Disciplining the view, the overdeterminedly faux-European castle, which recalls the Smithsonian Institution's foundational mimicry of Britain's Royal Geographic Society, presides over a strictly ordered architectonics, consigning the galleries enclosing imperially-acquired artifacts to the periphery of 'civilized' space. On the one hand, this entrance makes visitors complicit in a colonial vision of the world, a complicity increased by having to descend below ground in order to view exhibits at the NMAfA and the Sackler. On the other hand, experiencing colonial space is an excellent introduction to a recent show at the NMAfA, "Baule: African Art/Western Eyes." Curated by Susan M. Vogel and originating at Yale University, this is an exhibit
Jouvert: Editor's Introduction-4 Hyènes thus represents a part of africa to itself in a manner antithetical to projects) are the subject of my review of baule african Art/Western Eyes; http://social.chass.ncsu.edu/jouvert/v3i3/int33.htm
Extractions: Not long ago, a dear friend and I bet on who could identify a scientific invention that has produced only beneficial effects for humankind. The astrolabe, the steam engine, nuclear power, and the like were quickly ruled out. Medical breakthroughs such as smallpox vaccine or artificial blood vessels were strong contenders, although a dyed-in-the-wool Malthusian could argue that such technologies have upset the balance of nature and have contributed to current problems of overpopulation and skewed allocation of resources. My friend finally proposed eyeglasses (perhaps because he knows I can't see farther than six inches without them). From Galileo onward, he claimed, achievements in applied opticstelescopes, microscopes, and camera lenses as well as prescription spectacleshave afforded people clearer vision of the world. He won the bet, and I forked over the money for tickets at our local cinemaplex. Reading Barthes, and Morrison on Barthes, makes one appreciate how powerful minds raise questions for the future. Morrison indicates ways in which "On CinemaScope" predicts important themes in Barthes' own work-to-come, and suggests that the scopic regimes he mappedat a time when European empires were beginning to crumbleremain in place during this postcolonial age. If Barthes were alive today, what would he conclude about the relatively new visual technology that brings real-time war footage into homes around the world? Would he identify the spectacular imperialism enabled by CinemaScope as a forerunner to the virtually intimate globalism enabled by videocameras and satellite relays?
CMA For Schools And Teachers : Presentation Outline cultures blended with ancient belief systems of indigenous people. The baule mask in the presentation was made for a ceremony honoring a guest to http://www.clevelandart.org/educef/art2go/html/4033988.html
Extractions: The Noh mask in the presentation represents Hannya, a female demon. The designs of Noh masks were established hundreds of years ago, and new masks are copies. The oldest original masks are considered national treasures in Japan. With roots in Shinto dances and Buddhist traditions the Noh theater is purely Japanese and has enjoyed regular performances since the 1300s CE. Only males are allowed to perform, and can begin training as young as six or seven years of age. Young performers often start with masks less frightening and intense than those worn by adults. In addition to masks, the performers usually wear lavish robes and wigs that obscure much of their bodies. The plays are quite long and the action moves at a very slow pace, with very little talk or movement; the effort required to bring life to the wooden masks and create believable emotions is very strenuous for the actors. The stories in the Noh theater are serious and sad. Most of the characters in Noh plays are gods, dead warriors, ghosts, and demons. The Devil mask from Guatemala shows the influence of European cultures blended with ancient belief systems of indigenous people. During the 16th century, in order to maintain some of their own beliefs as Spanish missionaries sought to convert them to Christianity, indigenous people combined traditional celebrations with Christian holidays. For example, the Christian ceremonies marking All Souls and All Saints days (November 1-2) coincided with the indigenous festivals honoring ancestors. Devil masks depicted men with horns, painted red. The Diablado was a performance of masked dancers in which Lucifer and his band of devils try to conquer the earth, only to be driven back underground by the power of Christianity. Beating a devil in a ritual battle would be symbolic of defeating death, and of bringing an end to hardship. Even today, devil mask-making contests continue this artistic tradition in Mexico.
