Art From Africa
Traveling Exhibit    

New Partnership, New Opportunities

For the first time ever, the African-American Research Library and Cultural Center (AARLCC) partnered with the Coral Springs Museum of Art to present AARLCC's first-ever traveling exhibition, Art from Africa. This stunning collection of 30 authentic artworks contains masks and statuary from various African tribes and locales, and all of the pieces were culled from AARLCC's own Steinman/Holbrook Collection.

From June 9, 2006 through August 19, 2006, the exquisite collection was on display at the Coral Springs Museum of Art, drawing thousands in to see the African sculptures and masks, which were made from bone, wood, copper alloys, cooked clay, ivory and stone. The Coral Springs Museum of Art is focused on displaying innovative and ethnically diverse exhibits for children and adults, such as Art from Africa.

"We are extremely proud of our partnership and excited to share this remarkable collection with the museum," said Julie Hunter, Broward County Library Assistant Director of Public Services. "It's an invaluable source of culture for the community to enjoy."


From the Beginning

The idea of the Art from Africa project was first conceived by local artist Charles Mills, an avid Friend of AARLCC who volunteers his time in the Special Collections section of the library. His relationship with the Coral Springs Museum of Art (he's had two exhibits of his own there) paved the way to establishing this collaborative working relationship.

After a series of meetings, plans were made to loan items from the Steinman/Holbrook Collection to the CSMOA. The artifacts would be on display at the Museum, and plans were made to have almost 1,000 local schoolchildren come in to view the exhibit.

The successful collaboration resulted in a highly attended exhibit that received a generous amount of public and media attention. Additionally, Art from Africa produced additional revenue for AARLCC, with a portion of the revenue going to Friends of the AARLCC to aid in programming for children, teens and families throughout the community.


About the Art

African masks are considered among the finest creations in the art world and are highly sought after by art collectors; in fact, many can be found in museums and art galleries throughout the world. African aesthetics generally have a moral basis, as indicated by the fact that in many African languages the word aesthetic means "beautiful" or "good." It is consistent with the use and meaning of African art that it should be both beautiful and good, because it is intended not only to please the eye but to uphold moral values.

The ethical and religious basis of African art may explain why the principal subject is the human figure; African art often appears in ritual contexts that deal with the vital moral and spiritual concerns of the human condition.


Masks, Statuary and Ceremony

Most of the 30 pieces of Art from Africa are masks and statuary that was used in some type of tribal ceremony or ritual. These rituals could be for fertility, protection, funerals, healing, or myriad other purposes and uses.

During celebrations, crop harvesting, war preparation, and peaceful times, African masks were worn by a chosen or initiated dancer; the masks often represent a spirit and it is strongly believed that the spirit of the ancestors possesses the wearer. Masks of human ancestors or totem ancestors (beings or animals to which a clan or family traces its ancestry) are often objects of family pride and may themselves be honored with ceremonies or gifts.

Ritual ceremonies generally depict deities, spirits of ancestors, mythological beings, good and evil, the dead, animal spirits and other beings believed to have power over humanity. During the mask ceremony the dancer goes into a deep trance, and during this state of mind he "communicates" with his ancestors. A wise man or translator sometimes accompanies the wearer of the mask to interpret the message. Rituals and ceremonies are always accompanied by song, dance and music played with traditional African musical instruments.

For thousands of years, rituals and ceremonies have been an integral part of African life. In Africa, masks can be traced back to the Paleolithic times; then, as now, they were made of various materials including leather, metal, fabric and various types of wood. Unfortunately, a vast number of people have lost some their tribal identity and culture due to their displacement as a result of colonialism; hence masking ceremonies are no longer commonplace in Africa.
 

Elements of the African Aesthetic

The African aesthetic was the criteria and elements by which African artists judged their work, primarily their statuary and masks. The realistic appearance of a piece, its expression and texture, all joined together to form what experts consider the African Aesthetic.

Resemblance to a human being: African artists praise a carved figure by saying that it "looks like a human being." Artists seldom portray particular people, actual animals or the actual form of the invisible spirits. Rather, they aim to portray ideas about reality, spiritual or human, and express these ideas through human or animal images.

Luminosity: The lustrously smooth surface of most of the African figural sculpture, often embellished with decorative scarification, indicates beautifully shining, healthy skin. Figures with rough surfaces and deformities are intended to appear ugly and morally flawed.

Self-composure: The person who is composed behaves in measured and rational ways; he or she is controlled, proud, dignified and cool.

Youthfulness: A youthful appearance connotes vigor, productiveness, fertility and the ability to labor. Illness and deformity are rarely depicted because they are signs of evil.

Clarity of form and detail, complexity of composition, balance and symmetry, smoothness of finish: African artists place a high value on fine workmanship and mastery of the medium.


The Exhibit Inventory

The 30-piece Art from Africa exhibit includes fine examples of traditional masks and statuary including:

• Atie People Royal Chief Figure
• Bamena People Ty-wara Headdress
• Bassa People Sande Society Bundu Helmet Mask
• Baule People Ceremonial Dance Mask
• Baule People Royal Warid Game Boar
• Bete People Female Ancestral Figure
• Bete People Ceremonial Dance Mask
• Bidjoko People Ceremonial Dance Mask
• Bobo Fing Doyo Society Plank Mask
• Dan Maono People Poro Society Ceremonial Mask
• Dan Mano People Poro Society Healer's Mask
• Dan Mano People Poro Society Ceremonial Mask
• Dan Yakuba People Poro Society Fire Runner Mask
• Dan Yakuba People Poro Society Ceremonial Bird Mask
• Dogon People Primordial Couple
• Fang People Ngil Society Ceremonial Dance Mask
• Fang People Ceremonial Dance Mask
• Guro People Ceremonial Dance Mask
• Djimini People Zoomorphic Ceremonial Mask
• Djimini People Hand-held Ceremonial Mask
• Ligbi People Ceremonial Dance Mask
• Luba People Kiefwebe Society Ceremonial Mask
• Mossi People Female Ancestral Figure
• Ogoni People Zoomorphic Ceremonial Dance Mask
• Pende People Ceremonial Dance Maks
• Punu People Ceremonial Dance Mask
• Sara People Ceremonial Dance Mask
• Toma People Ceremonial Dance Mask
• Yoruba People Shango Ceremonial Staff/Dance Ward

Opening Night

The Art from Africa collection, valued at almost $130,000 debuted at an opening reception on Friday, June 9, 2006 at the Coral Springs Museum of Art in Coral Springs, Florida.

A host of art lovers, notables, and community leaders turned out to greet AARLCC's first traveling exhibit, and the reception included speeches from CSMOA Executive Director Barbara O'Keefe, CSMOA Board of Directors President Paul Brite and Julie Hunter, BCL Assistant Director of Public Services. A traditional African libation ceremony was held along with performances by African dancers Anita and Monimia MacBeth, African drummer Shiela Anderson and a poetry reading by Ton Thomson.