Figurative: artthat portrays stems perceived inthe vee worl: especialy human or ‘imal forme Teare-ctt:ioa-rich cy, fred alow temperature, which steadily Drownish-orangein color Coiling: thee of long coils of ay—rather than ‘wheel—to bud che wali of a potery vessel ling: hesting ceramic dats or enamel objets in Sata harden them, fise {he component fe 2 dare tothe surface HISTORY AND CONTEXT 3.5 Art of Africa and the Pacific Islands ‘As diverse as they may at first seem, the artworks produced on the expansive continent of Africa and in the remote islands of the Pacific Ocean have some intriguing similarities. In both areas art integrates and responds tothe environment, incorporates important mythological beliefs, and follows traditional methods of construction and decoration. Both ofthese regions’ artistic traditions rely on such natural materials as wood: reeds, shells, and earth, For example, cowrie shells feature ‘prominently in the nisi nkonde (see .452) from the Democratic Republic of Congo and the decoration ofthe Abelam cult hhousein Papua New Guinea (see 3.8.16, 1.462). In both parts of the world, the shells are symbols of fertility. Natural materials often have symbolic significance, but because they—wood in particular—are usually perishable, few examples of ancient artworks made from such substances remain, ‘Ase find elsewhere inthe world, artists in Africa and the Pacific Islands tend to serve as communicators for and within their communities. They record events and relate important cultural beliefs, such a rules for acceptable behavior, or fables that seck to explain the mysteries ofthe world. In both areas, ritual is an integral part of their creations. Special objects ae produced for ceremonies to celebrate birth, tomarka child’s passage into adulthood, and to remember those who have died Perhaps the most stiking similavity between art made in Aftica and that of the Pacific Islands isthe continuity of waditional 450. HISTORY AND CONTEXT techniques. Artists usually have to undergo an apprenticeship lasting several years. In these cultures, learning traditional ways to make objects is more important than building an individual reputation, Although some artists have become legendary, the names of most have been forgotten over time Art of Africa ‘Modern Aftica includes 54 different countries, ‘more than 1.1 billion inhabitants, and at least 1,000 different languages. Archaeological evidence from about 200,000 years ago suggests that the first modern humans lived on the African continent, before moving to other parts of the world. As regards more recent records of uman activity, oral history has been more important for African communities than written documentation; records of spe not exist in many areas, especially south of the Sahara, Arthas therefore been a particularly important form of communication and cultural expression, Among the earliest examples of Aftican art are portable objects, such as beads made from shells that date back to 75,000 years ago. Wooden sculpture and architecture also have long traditions, though ancient examples have perished, fic events do Portraits and Power Figures For thousands of years, people have used art to tell stories about and create images of theirSahara desert Do ogBaeen™ ee SENUFO OF, nr Benin’ 4 4 %, J “ “ NGOMBE __CHOKWE Kalahari ~~ desert _zentet® Great Zimbabwe 4 daily lives. African rulers like elites everywhere, have used art to assert and reinforce their power, and some of the art they have commissioned has also emphasized their connection with the supernatural realm, thereby encouraging a sense that gods or ancestor spirits have bestowed upon them the authority to rule. It is also believed that, artworks can act as conduits to the spirit world, and permit supernatural forces entry into the human world, to bestow good or il fortu The objects themselves are invested with power, anda certain amount of power is also associated with the owner. Often objects or artworks communicate the rules and customs that members of society are expected to follow. These objects can be symbolic, related toa particular position or role; or they can tell, a tale, illustrating a proverb or a story with a specific message Although we do not know the exact, meanings and uses of some of the oldest known figurative sculptures in Aftica, they have a strong physical presence. The Nok of Nigeria made hollow, life-sized terra-cotta figures with coiling technique commonly used to make pottery vessels The features and details of the sculptures were carved in a manner similar to woodearving, Because clay is a durable but breakable material, very few ofthe sculptures have been found undamaged. In many cases only the heads remain intact. Tike many Nok heads, the piece in 38:2has distinctive hairstyle or headdress, with three conical buns on top. Also characteristic of Nok sculptuze the head has triangular-shaped eyes and holes inthe pupils, nostrils, mouth, and ears, Which probably facilitated ar low during fing, Inthe lifesized sculptures that have survived, Nok figures are shown standing, kneeling, and sitting, wearing detailed jewelry and costumes, ‘The heads ate proportionally much larger than the bodies, a feature that is also common in later traditions in African art: the head, because of its association with knowledge and identity and the fact that tis often considered the location ofa person's spirit, is emphasized in many figurative sculptures fom Rain Kurs, igh. National Museum, Lagos, Nigeria ART OF AFRICA AND THE PACIFIC ISLANDS 481‘The Yoruiba of western Nigeria contributed much to the rich tradition of figurative sculpture in Africa, Sculptors working inthe Yoruba city of lle-Ife produced impressive terra-cotta and metal sculpture; and the twin figure in 3.8.8 displays Yoruba skill at woodcarving, Is features, characteristic of the regional style, include small size, large eyes, and elongated breasts. Such figures, known as er ibefi, were sometimes carved when a twin died at birth or in infancy, in order to harness the life force ofthe deceased and bring prosperity to their families. This twin figure shows how Yoruba hand-made objects are invested with spiritual powers oftheir own, Also known for a strong sculptural tradition, the Yombe use power figures as reminders of social obligations and enforcers of proper behavior. Objects called minkisinkondi (the singular nkisi means “sacred medicine”; nkondi comes from konda, “to hunt”) could take the form of shells, bags, pots, or wooden statues. Substances, or actual medicines, might be placed inside the minkisi to give them certain properties. In carved figures, these medicines 452, HISTORY AND CONTEXT 35.3 lr let Iven figure pr Ado Odo in Yorubaland, pre-1877 3.54 [lett Standing male igure Inkisi Mangaaka}, late 1% century. Wood iron afi, cera, kaolin pigrrer, rea camwoad powder tuku, resin. it leaves, animal skin, and cowrie she 4 15th 11, Dallas Museum of Ary, Texas ‘were placed in the head or stomach area. A particular type of nisi ealled nkisi Mangaaka, isa standing figure with a beard that served as an additional reservoir for magical properties (28.6), White kaolin clay, shells, and other reflective objects on figures like this one symbolized contact with the supernatural Ritual specialists, believed to have the power to release the spiritual presence within the object, activated all minkisi Each figure served a specific function, but generally an nkisi Mangaaka was responsible sure that oaths sworn in its presence ‘were honored, Each time the figure was needed, the ritual specialists would drive nails blades, and other metal objects into its wooden surface to make it“angry” and “rouse it into action.” As mediator between the ancestral spirit world and the living world of human beings, the nkisi ‘Mangaka was able to bring prot healing to the community. The nkisi Mangaka shown here has been activated many times by iron blades. The giant covrie shell on its abdomen is a symbol of fertility and wealth for for ma tion and35.8 lexlewrapper luentel 20%hcentary Sie #101 long, Nationa Museum of rican Ar Smithsanian Iatituson, Wash ngton, Dc, Abatract an ariwork the focen of which is sispife, Aiorted, or exagerted in appearance Itmayrepreient a recogniabe form that ha been slightly altered, orit rmaybeacompeseynon- representational depiction Representational: achat depict gues and object so that we recogni whats represented, sh I the Yombe people as well a other cultures; such shells are also widely used as currency. This nkisi Mangeaka has wide, staring eyes and an imposing stance to help ensure that no other forces will interfere with the fulfillment ofits situal function, Personal Stories and Symbolism Because many kinds of information have ‘traditionally been communicated visually rather than verbally in Africa, objects are often made ‘with a specific purpose or even a specific person in mind, Artworks that contain abstract designs and patterns can convey information that is just as important, recognizable, and specific as representational images. They can also communicate a great deal about the maker or the user of an object. The symbols that decorate utilitarian objects, from clothing and pipes to bowls and chairs, and the care that went into ‘making them, give them significance. ‘The colors, materials, and designs of textiles can indicate a person's age, station i i = in life, and cultural connections. In the West African kingdom of Asante in Ghana, woven fabrics called kente were traditionally worn only by royalty and state officials: they were too expensive for ordinary people to wear the cloth, ‘More recently kente have become accessible to the general public, though they ate typically reserved for special occasions Making kente requires a loom that allows the weaver to integrate vertical and horizontal designs ina strip ranging from 2 in. to 4in. wide. ‘The strips are sewn together to make a complete cloth of geometric shapes and bright colors. ‘Women wear the cloth in two parts, asa floor- length skirt and a shawl over the shoulder, while ‘men drape it around themselves like a toga. ‘The kente in 35.8 contains yellow, representing things that are holy and precious; gold, a symbol ‘of royalty, wealth, and spiritual purity; green, for growth and good health; and red, for strong political and spiritual feelings In museums, masks are often presented as lifeles objects on display isolated from the vibrant sights sounds, smells, and movements of the masquerade, For African groups, though, ART OF AFRICA ANO THE PACIFIC ISLANDS 4533.8.ba Kanaga mas hide, 4" high. Musé Barbier-Mueller 454 HISTORY AND ONTEXT ‘the mask is most meaningful when being. performed. In fact, sometimes masks are created, for a particular event and discarded afterward because they are no longer “alive.” In other cases, ‘masks are maintained from year to year and {generation (o generation by the performers and their apprentices. ‘The Dogon of Mali in West Africa traditionally used the Kanaga maskin ‘ceremonies designed to assist the deceased in their journey into the spiritual realm (2.8.68 and 3.5.68). According to one interpretation, the ‘two cross bars on the mask represent the lower cearthly realm and the upper cosmic realm of the sky. In performance, dancers swoop down and touch the mask to the grounds loud noises, like the crack of gunfire, scare away any souls that, ‘might be lingering in the village. Today such funeral rituals, called dama, continue tobe performed, though rarely and still include masks3.8.7 Nonday morket, Great Mosque, Djenné, Mal ite che dizecion to Mecca, toward which Masts ace when praying Minaret lender come paticuaey ona ‘masque. rom which the faithfl tc called to prayer African Architecture The history of architecture in Africa is difficult to track because so many buildings were made of perishable materials, such as mud-brick and wood. Some ceremonial structures, places ‘of worship, and royal residences have been maintained over time, but others have fallen into ruin, creating only a mysterious sense of the past. The symbolism of the structures and omamentation of the buildings communicate to us the importance of spiritual concerns, ties to ancestors, and connections with nature, The town of Djenné in Mali has long been atrade center and site of Islamic learning and pilgrimage. The town’s Great Mosque (3 located next to Djenné's bustling marketplace, An earlier building on this site was a mosque adapted from the palace of Koi Konboro when he converted to Islam in 1240, Several centuries lates, in 1834, Sheikh Amadou Labbo ordered that the mosque be demolished, He considered the original too lavish, and built a more modest ‘one on the site. The current building, more in keeping with the thirteenth-century version, vas finished around 1907 while Mali was under French occupation, Itis considered the largest mud-brick structure in the world The Great Mosque combines characteristics of Islamic mosques with West African architectural practices. The gibla, ox prayer wall, faces east toward Mecca, Three minarets, ‘or towers, ate used to call faithful to prayer Spiral staircases inside the minarets lead to the roof, which feature cone-shaped spires topped by ostrich eggs. These ostrich eggs are important symbols of fertility and purity for the people of Djenné, The clay-mud and palm-wood exterior of the building is similar to the houses of Mali Numerous wooden beams line the mosque’s surface, not only to give ita distinctive look, but also to serve functional purposes. Some beams structurally support the ceiling, but most are used to access the walls for annual maintenance, ‘The area’s hot climate has also affected the CA AND THE PACIFIC ISLANDS 48535.8 Conical tower, 1850-1450, Great Zimbabwe, Zimbabwe building's design, with roof ventilation to cool the building, and mud-brick walls to regulate the temperature. The walls thickness ranges from 16 to 245 they are thickest where they are tallest They absorb heat to keep the interior cool during the day, and release it at night to keep it warm. Amongst the largest and most impressive examples of architecture south ofthe Sahara Desert ate the massive stone walls of Great Zimbabwe, built and expanded from the thirteenth to the fifteenth century in southern Africa (3.8.8). The name Zimbabwe comes from the Shona phrase for “houses of stone” or “royal "indicating that the modern-day Shona believe the site may have been used formerly by clite inhabitants, The remnants of altars, stone monoliths, and soapstone sculptures found at Great Zimbabwe suggest that it served as both « political and religious center for the Shona state. During its prime, from about 1350 to 1450, this 486 HISTORY AND CONTEXT site functioned as an important cattle farm and trade center. Exports of gold, copper, and ivory ‘went to the Indian Ocean region and East Africa; loth, glass beads, and ceramics were imported from India, China, and Islamic countaies. It is estimated that at east 10,000 people lived in the city’s surrounding area, with several Ihundred elite residing inside the walls ofthe Great Enclosure. But by the end of the fifteenth century, when centers of trade moved tothe north, the site had been abandoned. ‘Many ofthe original mud-and-thatch buildings and platforms have long since disintegrated, but the sturdily built stone walls and structures remain. The walls likely served asa symbolic display of authority, a way to distinguish the areas used by royalty from the rest ofthe village. The curving walls were built ‘without mortar from slab-like pieces of granite ‘quarried from the nearby hills. They range in thickness from 4 to 17 ft, and are about twice as high as they are wide. The stability ofthe walls is increased by their design, which slopes slightly inward atthe top. The purpose of the Conical “Tower, an imposing structure that is completely solid and rises above the high wall ofthe Great Enclosure, remains a mystery Sculptures are often integrated into buildings as decoration and to invest the space with symbolic meaning, Eight carved pieces of soapstone, each about 16. tall, were found on top of columns at Great Zimbabwe. The mage of the creature in 3.8.9 combines the features ofa human-like bird and crocodile (the erocodile’s eyes and zig-zag mouth are visible just below the bird's leg and tail feathers). ‘The bird’ beak has been replaced with human lips, and its claws look more like fet, suggesting that these figures have supernatural significance. In fact, the Shona believe that royal ancestral spirits visit the living world through birds especially eagles. Birds are considered messengers from the spirits because they traverse freely between the realms ofthe sky and the Earth ‘These sculptures reflect some of the core beliefs jin many African cultures: the symbolic use of ‘emblems of royal authority, reminders of familial tclationships, and expectations of spiritual revard in the afterlife. Monelith: s monument ot sculpture made from single piece of one 8.9 Bird en oy Soapstone, Gi high (rd imagel we Sie Museum, ZimbabweAUSTRALIA “Fen 7 wawan \ \ . \ . ay N 4 oN MARQUESAS , . ISLANDS \ oy ee, . eS rawITE ES , EASTER \ ISLANDS. Art of the Pacific Islands ‘The geographic area ofthe Pacific Islands includes Polynesia, Melanesia, Micronesia, and Australia (see Perspectives on Art: Australian Rock Art). The islands are separated by enormous expanses of ocean, butsince ancient times the people living there have been connected by shared beliefs, languages, and similarities in their cultures, which strongly value customary ways of life and behavior, such as farming, ancestor worship, and the preservation of social and artistic traditions. ‘The art ofthe Pacific Isands includes such portable objects a jewelry, furniture, and weapons; body ornamentation; wooden sculpture; paintings on rock; monumental sculptures; masks; and ceremonial architecture, ‘The works often combine practical usefulness with sacred significance, thus linking the everyday world and living people with their ancestors and gods New Zealand ‘The Maori of New Zealand have one of the most elaborate traditions of tattooing in the world. Their words fort are ta moko, Tattoos (ormoko) are made by injecting a pigment or dye under the skin so that a permanent mark is eft on the body. Itis not known when the first tattoos were made. The earliest preserved tattooed bodies date back toc. 3300 sce and feature abstract tattoos composed of designs with dots andline patterns; Maori designs are part ofthis tradition (38.1) 38.10 Map ofthe Pact Itands 35.11 Syoney Parkinson, Drawing af radional Macri tatoo, from Journal of Voyage athe South Seas (178), pl.16 “Tattoos: designs marked ‘on the body by injecting dye tnder the skin ART OF AFRICA AND THE PACIFIC ISLANDS 457Perspectives on Art: Paul Tacon Australian Rock Art 35:12 Xray kangaroo rock panting, 1900 (her ana kaolin pant, 691 high. Kakadu National Pare, Northern Territory, Austealia Contour: the outline hss define form Paul Tacon is an Australian anthropologist and archaeologist who specializes inthe art ofthe Aboriginal people of Australia, Here he describes how Aboriginal rock paintings thousands of {years old served communal purposes. He also connects them tothe practice of contemporary Aboriginal artists Rockart subject matter in Australias often derived from the life experience of the ‘Aboriginal people and from nature, but it also has much mythological content. In many cases itis intimately linked to oral history and storytelling, singing, and performance. Hunting kangaroos would have been a familiar activity, but the slender figure, a “Mimi,” is cone ofthe spirits who taught humans to hunt and paint during one ofthe earl eras of the “Dreaming,” or the creation period. Paintings of this type from Arnhem Land in Australia's north are less than 4,000 years old. They often show figures with aspects of internal or “X-ray” detail, such as an indication of the spine and some internal organs, in addition tothe exterior contour lines. Although these paintings could be used to teach young people 458 HISTORY AND CONTEXT about hunting and food-sharing practices, itseems most paintings were not used as a ‘magical aid to hunting. Rather, both X-ray and solid infill animals were more often painted after they were caught and as part of storytelling Aboriginal Australian designs are tremendously variable across the country and over time. Some form of art has been practiced for at least 40,000 years, although most surviving prehistoric artis less than 15,000 years old. Itis estimated there are well over 100,000 surviving rack art sites—places with paintings, drawings, stencils, carvings, and figures made out of beeswax; these artworks have been made on the walls and ceilings of rock shelters, in caves, on boulders, and on rack platforms. Today, Aboriginal artists paint on such surfaces as sheets of bark, paper, canvas, bodies, houses, cars. They use cameras, make films, and produce ‘multimedia and computer-manipulated works. ‘Aconcern for the land, people, and other creatures has always been important forall Aboriginal groups.‘The designs mark specific events in the ‘wearers life such as reaching puberty, becoming a warrior, making kill, getting married, having a child, and so on. Tattoos covering the entire face and body were originally worn by chiefs and their families, indicating lineage and social status. The patterns may seem to be the same at first: however, upon closer inspection, no two designs are exactly alike. In fact, elaborate facial designs were so distinctive and specific to an individual that at times they were used as a form of legal signature. Hawaii The frst inhabitants of Hawaii (c. 600 ce) were Polynesians from the Marquesas Islands, ‘more than 2,000 miles away. Five hundred years later, Tahitian settlers introduced a strict social hierarchy based on a system of kapu (or taboo) and a new host of gods and demigods. King Kamehameha unified the islands warring factions during the eighteenth century. In ‘modern times Hawaii became the fiftieth state of the United States in 1959, though ithas also kept ‘cultural connections with its Polynesian and ‘Tahitian roots ‘The ceremonial and warfare attire for Hawaiian nobility included thickly woven cloaks called ah'ula, made of feathers (38.438 and 35.138). These garments were used asa kind of armor in hand-to-hand combat; more importantly, however, they were believed to offer the protection of the gods. Ahuula cloaks ‘were generally made by men. This was a time- ‘consuming task that required a great degree of 35.198 leak o! red and yellow fathers Hawai, 1th century CL With 26% 128 Griich Museum, Loncen, England 5.138 Devsilof Hawaiian feather cloak ART OF AFRICA AND THE PACIFIC ISLANDS 459skill,and was by and large considered a sacred activity. The feathers were tied to aplant-fber netting with cording, based on an ancient belief that knots reflected a metaphorical binding ‘between humans and gods “The cloak in 38.138 (seep. 459) is decorated ‘with geometric designs, and identifies the wearer asa high-ranking member of society. The red feathers on ahu'ula came from the iwi itd, and the yellow feathers from the’o'o bird, Because the yellow birds were very are, cloaks ‘with more yellow feathers were considered more valuable, and all-yellow cloaks were the most valuable of ll "These feather cloaks were prized possessions that were pased from generation to generation, 460. HISTORY AND CONTEXT unless they had been collected by enemies as war trophies or presented as political gifts ‘One famous cloak was presented by King Kamehameha Ill to American naval officer Lawrence Kearny asa gesture of gratitude for his, diplomatic service on behalf of Hawaii, Easter Island Easter Island i small, measuring 15 miles long and 7 miles wide. Itisalso extremely isolated, almost 1,300 miles off the nearest inhabited landmass the coast of Chile. Easter Island's famous stone sculptures are called ‘moai (meaning “seamount,’“image,”“statue?” or“bearers of the gift”), The term refers to 2.5.16 Mosi ancestor es, Ah Nau Nau, Easter Ilana [Ciel Polynesia before the stncentunyabstract monolithic stone sculptures found throughout Polynesia (3.8.14). Between 900 and 1500 cr, about a thousand of these huge figures were carved out of voleanic rock and scattered around the island, especially along the coast. They represent deified ancestors who were chief. The large quantities and size of the moai also suggest some kind of ritual, ceremonial, or cultural importance. Measuring from 10 to 60. in height and weighing as much as 50 tons, these figures have unique individual features as well as common general characteristics. While their heights and body shapes vary, they all have deep eye sockets (perhaps originally inlaid), angular noses, pointed chins, elongated carlobes, and an upright posture; their arms are by their sides, and they have no visible legs. Many of the moai (887 documented to date) ‘were originally placed on platforms along the coastline, facing inland; a small number of them ‘wore flat cylindrical hats of red volcanic stone, ceach weighing more than 10 tons. Scholars believe it ikely that the hats on the sculptures represented crowns, identifying them as ancestor chiefs and thus providing a connection between the present and the past, the natural and the cosmic realms. During a period of civil strife from 1722 to 1868, all of the moai on the coastline were torn down by islanders. Thanks to recent archaeological efforts, many of the statues have been put back in their original place, and appear to emerge from the sea Papua New Guinea The Abelam live in the wetland areas of the northern part of Papua New Guinea. One of the principal activities of their society is farming, especially yams, taro, bananas, and sweet potatoes. Yams are the main crop of Abelam. society. Symbolically, they are associated with sale fertility. The Abelam hold yam festivals ceach year to display the most impressive yams, with the grower ofthe largest yam achieving. higher social status and helping to secure the prosperity of the village as a whole. In the festivals associated with these contests, the yams actually wear masks made of baskets and wood (3.5.8). 38:18 Yam m inted cane, 181" Musée Barbier- Mueller, ART OF AFRICA AND THE PACIFIC ISLANDS 4613.5.16 Interior ofAbelam cult house, Bongiora, Maprik Papus New Guinea, Melanesia, Museum der Kulturen, aasle, Swtzerand Another important ceremony for the Abelam has traditionally been the initiation cycle for male members of the community. Eight separate rituals take place over the course of twenty or thirty years before a man is fully initiated, The elaborate ceremonial houses where some rites of passage take place are meant to impress the initiate with the power and intrigue of Abelam deities and traditions (38.16). The interior spaceis filled with detailed wooden figures representing supernatural beings, and with meaningll objects Colors and shapes have symbolic meaning in Abclam ar; for example, white is believed tomake long yams grow, and the pointed oval shape represents the belly ofa woman. The use of yellow, ed, and white is common. Certain objects, such as large cowrie shells, represent {erllty and prosperity. Abelam see individual carvings, as well as the entire ceremonial houses, as temporary. They are important during use but tobe discarded afterward. Because of the powerful nature of the objects and imagery, they. must be taken far away from the village, and are sometimes abandoned in the jungle or sold to collectors or museums. Discussion Questions Discuss three artworks that have been used in a ritual context. ‘Consider how they were made and why they might have been made that way. You might choose onework 3, from another chapter in this book, for example: 1.9.9, 42.6, 635. 2. Consider the ways in which inanimate objects have been imbued. with power What has to be done to them for their power to be activated? What happens to that power over 462 HISTORY AND CONTEXT time? You might choose one work from another chapter in this book, for example: 24.18,6.2.7,3.9.7,1.4.21 ‘Choose three artworks connected with family or ancestors. Consider how the artworks express ideas about family and ancestors and why these concepts might be important. ‘You might choose one work from another chapter in this book, for example: 31.22 4.34, 439,683, Mythology and legend have been very informative to the makers of artin these areas. Consider the stories that are being told according to the evidence we have about the artworks in this chapter. What kinds of information are we missing? How ‘ight we fil the blanks?Images Related to 3.5: Art of Africa and the Pacific Islands ure. Heaa, siblyaking, West of Qn, eariy at Africa, 12th= iste century, century, 9.150 se 683 6.6.8 China lr ‘Kuck ti-moks, Hawa, Téthor Wthcontury st 4.8 Asmat culture, ican Bis ancestor poles, late 1950s, p. 591 Aspect of Negro Lite: Savery through Reconstruction, 193, 7.539 2.9.19 JoaneMichal acauiat. The Mle, 198, 853 Jacob Lawrence Brown Retained & 47.10 Borin Plaque with 19.9 daira warrior and attendants, Republic of Pala, c. 1700, enin,téth=I7eh century, pan bi (0.0.22 Bonin his pondan th century. pA 2.4.26Unidentified Dan ore atict, Mask, Wory Coast, bolore 1914, p. 266 4.3.6 Kceing female Yornbe (possibly 96h late 1th early 200m century, 9.591 hab Kare Kiel Cottn 49 Yorube culture, ledé masqueragersin Benin, 1971, p. 569 1W6e7 Ramare Bes Pod, 1970, p.108 TheDave, 1964 410.9 Sikes from De tha Right Thing, 789, p. 682 st 4A0A0 Carrie Moe Weems, You Became Scient fie Profi,” 1995 682 Portrait Bust of Cori Richelieu, 2009, 5. 652 ART OF AFRICA AND THE PACIFIC ISLANDS 663