FUNCTIONS OF AFRICAN ARThttp://www.aseyori-market.com/page/1001433There are two distinct and closely interdependent planes at which art functions. These are the spiritual and the secular. The spiritual domain involves religion, with the associational elements of ancestor worship and the various shrines -- communal and personal -- which are installed. Many African societies repose faith in their ancestors. Though dead, ancestors are believed to have the power to transform themselves into formidable spiritual entities who generally intercede in support of their offspring. It is this need to fulfill religious obligations, to appeal to, or venerate ancestors, or to appease malevolent powers, that has encouraged the production of artworks -- in wood, metal, clay or composite materials -- in considerable quantity.Art, then, has an aesthetic constant that is determined primarily by performance. Frequently, it is the medium that becomes the issue, sinceunimprovement in human conditions is often blamed on the ineffectiveness of the particular artwork.The concern for social security, group solidarity, personal and corporate welfare, procreation and survival is shared by many African societies. Survival in this context is not limited to human survival. It is recognized, for instance, that man cannot survive in the absence of reliable agricultural produce. Let us examine this a little further.Most African communities attempt to be as self-sufficient as possible. Indeed, of all things agricultural self-sufficiency is an imperative. For this is one of the cardinal principles of survival. An African proverb says that a hungry stomach cannot accommodate or tackle other issues. Yet, farmers recognize that tilling the soil and planting the seeds may not be sufficient, on occasions, to ensure good harvest. They recognize their powerlessness in the face of inclement weather. Lack of rain, or an excess of it, may spell disaster for the crops, which would either dry up or remain bloated underground. It is this desire to appease the unseen forces responsible for such developments that has led man to resort to extraordinary means.Enter the diviner. Through divination, he attempts to diagnose the cause and prescribe solutions. Probable questions the diviner might ask his oracle are: "Why are the gods angry with us?" "Have the ancestors forsaken us?" "What did we do wrong?" "How do we rectify this situation?" Responses from the oracle would vary from one situation to another. But it may result, as in the case of the Bamana of Mali whose chi wara headdresses are a specimen of creative elegance, in the people being advised to commission masks and dance with them.In some cases, the oracle may reveal that the ancestors had been angered through a misdeed. There would be need for propitiation. Sacrifices may be ordered to be offered at the community shrine. This may involve the appearance of masquerades to cleanse the society of the desecration. Several carved figures, masks and masquerades in African art serve this purpose of atoning for a misdeed, cleansing any defilement, purifying the soil, supplicating for rain or asking for a successful harvest.In this connection, art objects which are the usual physical elements of a shrine become the platform through which ancestral biddings are met. Sacrificial objects vary. In general, emphasis is placed upon edible things. Thus, animals such as pigeons, rats, chickens, snails, rams, goats and at times cows, may be sacrificed. What the ancestors need most is the blood of these animals, which is poured on the art objects in the shrine. Kola nuts, millet beer or palm wine, palm oil, corn and beans are some of the objects that may be used for sacrifice. Pieces of prepared dishes are also fed to the objects. It is the cumulative effect of this which produces the compulsive additiveness noted in some artworks, or the heavy encrustations on some of them. In many instances, encrustations are indicative of the degree of veneration which is attached to the spirit or medium personified by the art object.
Greetings Bro Kamal
I think some may be thrown off by the spiritual practices mentioned in this piece. I am glad you got the main thrust of the article, which is that African Art, in it's traditional use is infused within the culture of the people. It is not just to look at- as they often have when ending up in the museums of europe and in the u.s.- it is part of communal life and living (as opposed to the individualism you mentioned).
I find that for descendants of Africa throughout the diaspora, we look for the masks and the djembes, and the mud clothes, as a veneration of where we have come from, though we may not remember what their purpose is for, we still, in our new way give homage to our ancestors when we buy these pieces of artwork.
Much appreciation for your comments! Stay blessed!
I'm glad I was able to take the time to read this. I feel like I'm in Africa. It's always good to have ourstory and afirmations of our traditions, especially now a day when the western trend of individualism is increasing. Thank you!
Comments
No I dont reside in Africa, but I plan to!
Do you? Where in Africa are you or have you been?
Thanks for your post!
I think some may be thrown off by the spiritual practices mentioned in this piece. I am glad you got the main thrust of the article, which is that African Art, in it's traditional use is infused within the culture of the people. It is not just to look at- as they often have when ending up in the museums of europe and in the u.s.- it is part of communal life and living (as opposed to the individualism you mentioned).
I find that for descendants of Africa throughout the diaspora, we look for the masks and the djembes, and the mud clothes, as a veneration of where we have come from, though we may not remember what their purpose is for, we still, in our new way give homage to our ancestors when we buy these pieces of artwork.
Much appreciation for your comments! Stay blessed!
Kamal