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African Art has secured its place among the great art traditions. At first, the Western world recognized it through its influence on European avant garde artists at the beginning of the 20th century. That became a turning point in the advent of Modern Art, first by the breakthrough of Picasso but almost immediately by many others. Now, in the 21st century, it is an anachronism to refer to African art as "primitive." These diverse cultural expressions from the continent of Africa are acclaimed in their own rights by scholars, collectors, museums, and the public alike - their sophistication, vitality, and expressive affect having become apparent.
What the Western world first deemed as savage curios were, in their African context, actually objects imbued with power emitted through form, materials, color, and surface qualities. Now, African art is recognized as a vivid expression of African values and traditions, responsive to influences and changing conditions. This art, from the religious, mythological and historical to the decorative and functional are expressions from cities, towns and villages where the traditions are alive; traditions that slowly evolve, reflecting subtle and sometimes intense changes in form and detail through shifting values, foreign influences, migrations, and new technology.
It should be apparent that the exhibited objects are totally removed from their original context. Most masks were normally attached to a masquerade of raffia fibers or textile to hide or change the identity of the dancer. Music and dance were an integral aspect of their active use. Statues, on the other hand, were generally stored in special rooms or structures - sometimes shrines - and were generally not very accessible, especially to the uninitiated.
In seeing these sculptures we are viewing only one aspect of the ritual or ceremony, quite divorced from the environment with which it interacted - but their power of form, surface, or craftsmanship still carries multi-dimensional values to which we can relate. We have thus made sure to include costumes in the Permanent Collection, some for their consummate workmanship and beauty, and others for their projection of power and magical properties. They, too, are part of the larger expression of each African culture's interaction between art and life - between the vital forces of gods, spirits and ancestors, and the community.
Through the generosity primarily of New York City collectors, this collection range from the tall Dogon Sirigue mask with its "multi-storied" top, the massive Ibo Mbidiki mask with a motorcyclist on its top, and Kongo figure of a colonial administrator to the finest Zulu beadwork and a precious collection of brass and silver rings from many areas of Africa. They extend from simple, abstract forms of iron ritual implements and brass body ornaments to large and subtle utilitarian terra cotta containers.
The ring collection, powerful instruments of symbolism and imagery, covers a wide range of Africa. Seldom is such a comprehensive collection of rings seen anywhere. They range from abstract, symbolic shapes to full representational objects, such as a knife in a sheathe, a pair of sandals, a bound prisoner, and an equestrian, many illustrating folklore and mythology of their particular culture.
Equally important is a group of ancient Zulu objects collected in KwaZulu [land]. Many display the unique techniques and magnificent workmanship of their beadwork: body bands, necklaces, armlets, and belts. Other objects include an old lidded basket, a beaded beer pot lid, an embroidered sitting mat, and an elaborately decorated apron meant to cover a woman's cow skin skirt.
Included in the Permanent Collection is an outstanding example of Cameroon sculpture: a Tikar wooden headpiece with the raffia attachment and a full textile costume. The eyes contain small flashlight bulbs, an unusual and creative device seen on a few other Tikar headpieces collected in the 1970's.
Another significant Cameroon sculpture is a large royal beaded throne of the Bamileke, with two deities (one holding a gun) forming the tall back. The throne was carved at the beginning of the 20th century during the reign of Fon N'Kalakeu, one of the first rulers to receive the Europeans in the grasslands of Cameroon.
The Ivory Coast-Liberian border area is richly represented with many beautiful and contrasting masks of the Dan, We, and Kran complex. They are rich in materials applied to the face and large coiffures affixed to the rim holes. The We masks resourcefully combine form, pigment, material, and texture, all adding up to a rich "assemblage" of symbolic color and shapes. One mask has a most unusual device of large cocoons hung around the edges. Three of the Dan masks contain their original coiffures, one having a row of tiny duiker horns attached to the forehead. All the faces are very fine in the subtle "humanistic" style characteristic of Dan masks.
Costumes, an integral part of the African masquerade, form a significant part of the QCC Art Gallery's collection. One West African costume has many amulets (gri-gri) on the back and front enhancing the costume's effectiveness. The costume is dark and pigmented with earth colors, representing the bush [land remote from settlement], where spirits reside and must be tamed.
In contrast is a Bamileke "elephant" costume from Cameroon. Its long front and back hides the dancer and the the large, circular ears protruding represent an elephant. These masks constitute the regalia of societies which define the Bamileke social structure. The costume is entirely covered with 19th century Venetian or Czechoslovakian glass trade beads. The beads are not only symbolic allusions to wealth but of themselves constitute wealth.
Also included in the costume area are tunics and jewelry from the Wodaabe of central Niger. The finely embroidered costumes are worn by both young men and young women in dances and ceremonies associated with courtship.
We wish to express our deep appreciation and gratitude to all the donors of the pieces who have so generously relinquished their works of art to help this fledgling on-campus Art Gallery.
Leonard Kahan |
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