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Africa Explores: 20th-Century African Art. Center for African Art, 1994. Woodward, Richard B. African Art: Virginia Museum of Fine Arts. The Museum, 2000. Roberts, Allen F., et al. Animals in African Art: from the Familiar to the Marvelous. The Museum for African Art, 1995. "Baga - Art & Life in Africa - The University of Iowa Museum of Art."
Nigerian Traditional Arts, Crafts and Architecture; Yoruban and Akan Art in Wood and Metal, Lakeview Museum of Arts and Sciences; For spirits and kings: African art from the Paul and Ruth Tishman collection, an exhibition catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on Yoruba art
Raphia fiber from dried stripped leaves of raphia palm was commonly used in West Africa and Central Africa since it is widely available in countries with grasslands like Cameroon, Ghana, and Nigeria. Cotton fibers from the kapok tree has been extensively used by the Dagomba to produce long strips of fibre to make the Ghanaian smock.
Part of the Africa 2020 initiative, a cultural program initiated by France’s president Emmanuel Macron to highlight pan-African projects, “Bonne Arrivée — Métiers d’Art Africains, Design ...
Along with sub-Saharan Africa, the Western cultural arts, ancient Egyptian paintings and artifacts, and indigenous southern crafts also contributed greatly to African art. Often depicting the abundance of surrounding nature, the art was often abstract interpretations of animals, plant life, or natural designs and shapes.
In much of the literature on African art the group that lives in the area of Bobo-Dioulasso is called Bobo-Fing. These people call themselves Bobo. They speak a Mandé language. The Bobo number about 110,000 people, with the great majority in Burkina Faso, although the area occupied by the Bobo extends north into Mali.
These masks showcase an ideal image of an Igbo maiden. This ideal is made up by the smallness of a young girl’s features and the whiteness of her complexion, which is an indication that the mask is a spirit. This whiteness is created using a chalk substance used for ritually marking the body in both West Africa and the African Diaspora.
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