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Art 4000
Dr. Hood
11/13/03
In African societies, the status of an individual is reflected in his or her
garments, personal markings, and paraphernalia. In some way, these items
acknowledge leadership, gender, age, and social status. However, the arts
surrounding leaders are often more grandiose than represented in other
contexts. Government in African societies range from highly centralized
leadership with kings, to loose associations with chiefs and clan leaders. Very
often, leadership is akin to religion. Leadership figures often serve as religious
forces in the community they serve. The community often views the leader as a
direct descendant of the deities they worship. The arts produced for and by
leaders and persons of high status are highly ornate and complex in spiritual and
ancestral meaning which serve to promote power.
The visual display of wealth among Akan rulers is an example of status
arts. The Akan live in a region that contains a vast amount of gold deposits. The
Asante leaders in particular are frequently adorned in weighted gold objects and
other items of value. Publicly, the adorned leader is a physical representation of
Asante strength. Figure 1 shows the accoutrements of Nana Diko Pim III. The
amount of jewelry on his hands reflects the opulence of the kingdom. The leader
is the ideal representation of his people. The ornaments are typically the
property of the state, and it is every leader's responsibility to add to the
leadership regalia. Figures 1 and 2 also show the Asasia Kente cloth, which is
only woven and worn by the Asantehene. Because portions of these cloths
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Art 4000
Dr. Hood
11/13/03
contain unwoven silk strands, only the elite are able to afford such luxury. The
fabric, jewelry, and personal adornments on the leaders serve as emblems of
collective Asante wealth and spiritual powers. The person holding office is
secondary to the title he holds.
Similarly, the Luba bowstand is a part of the leadership arts of the Luba
Empire. The power in this region did not rest with a single leader, but was
spread among a particular group called the Mbudye. This group focused on
political and historical doctrines and dispersed information privately in rituals.
Those initiated into this society often had stools, weapons, and other items
fashioned for such an occasion. The Luba bowstand (figures 5a and 5b) is a
symbol of high affiliation in Luba society. The bowstand refers to the lineage of
the leader to his ancestor Mbidi Kiluwe, a fierce hunter, and connects the
importance of hunting to leadership. The representation of the female gives
reference to Luba female ancestors. The hands crossing the chest refer to the
Luba notion that certain women guard royal secrets. Unlike the Asante items, the
Luba bowstand wasn't meant to be viewed by the public. Its sacred spiritual and
ancestral power was reserved only for rulers. When the king had to appear in
public, a female clasp a bow between her breasts representing the bowstand.
Certain symbols of royalty were too powerful for others to view.
Similarly, the Yourba king, known as an Oba, follows the same principle.
The Yoruba view the king as a direct descendant of the god Obatala and
Oduduwa. The king's regalia reflects the beilefs of the society he leads. The
king is seated higher than others and is assisted in his every move. The crown
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Art 4000
Dr. Hood
11/13/03
that adorns him is beaded so the power of the Oba will now overcome the
individual in front of him. Also, it is considered rude to look such a great person
as the king in the face. The crown also bears ancestral faces that evoke power,
as well as a bird on the helm which represents Oduduwa, the Yoruba deity.
Figure 3 is an example of the raiment typical of Yuroba kings. Again, individual
holding the office is less important than the office he holds. The garments that
surround and adorn him give credence to the leadership.
Another item that denotes status is the divination bowl carved by Olowe of
Ice. Yoruba diviners, known as Babalawa, are important in society. They serve
as a link to the deities and are often consulted for spiritual matters. The
divination bowl holds the substances used in Yorba spiritual process. Figure 4 is
a picture of the highly ornate divination bowl commissioned by a Babalawa. To
afford such an ornate piece denotes the diviner's status in the community. Not all
of the leadership arts belong to Kings and Chiefs. Those that are affluent and
respected can commission fine works of art as well.
Overall, some of the most notable works of art have those that were
commissioned by leaders. Some of these items are publicly displayed, while
others are kept for private use. The works of art seek to promote the spiritual
and ancestral power that leadership brings. Therefore, the person holding the
office becomes the physical embodiment of the beliefs of the society. Because
these arts represent varied beliefs and meanings, their acknowledgment is
necessary in the study of African Art.
Neshieka Hancock
Art 4000
Dr. Hood
11/13/03