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Direct images of African deities are relatively infrequent, but masks in particular are or were often made for traditional African religious ceremonies; today many are made for tourists as "airport art". [2] African masks were an influence on European Modernist art, which was inspired by their lack of concern for naturalistic depiction.
African art includes prehistoric and ancient art, the Islamic art of West Africa, the Christian art of East Africa, and the traditional artifacts of these, and other regions. Many African sculptures were historically made of wood and other natural materials that have not survived from earlier than a few centuries ago, although rare older ...
In the period around 1300 CE the artists at Ife developed a refined and naturalistic sculptural tradition in terracotta, stone and copper alloy—copper, brass, and bronze— many of which appear to have been created under the patronage of King Obalufon II, the man who today is identified as the Yoruba patron deity of brass casting, weaving and regalia. [3]
Gonjey music is found amongst the Dagomba people of Northern Ghana, which is in West Africa [3] and is known to the West through modern proponents such as Kenge Kenge [4] and the ethnomusicological archival activities of Nana Kimati Dinizulu, son of the late Nana Opare Dinizulu.
For the rock art of the Sahara, the most contentious among academic debates has remained the topic of chronology. [2] Round Head, Kel Essuf, and Bubaline rock art, as the oldest chronological types, have been regarded as less certain compared to the younger chronological types (e.g., rock art depicting Saharan animals, which could be chronologically approximated to a specific timespan). [2]
West Africa: Word, Symbol, Song. West Africa: Word, Symbol, Song was a major four-month exhibition at the British Library in London – the first of its kind in the UK to explore in detail the cultural history of the region, through literature, artefacts, art, music and performance [1] – which ran from 16 October 2015 to 16 February 2016.
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The crown's surface includes the remains of both red and black paint. The lifelike rendering of sculptures from medieval Ife is exceptional in Sub-Saharan African art, and initially was considered the earliest manifestation of a tradition that continued in Yoruba art, in early Benin art and other pieces.