Cycles: African Life through Art
Educators Guide
INDI AN APOLIS MUSEUM OF ART
2006
Table of Contents
I. Educator Guide Introduction ................................................................................. 3
II. Glossary ............................................................................................................... 4
III. Image Handouts ................................................................................................... 5
IV. Activities ............................................................................................................. 21
Youth
1. A Perfect Baby: Akuaba Fertility Figures
2. Rites of Passage: Mask-Making
Adulthood
3. Everyday Life in Africa
4. African Jewelry: From Man and Nature
5. Celebrate with the Music of the Mbira
Leadership
6. Gods and Rulers
7. The Healer as Leader: Twins in Yoruba
Ancestors
8. Learning from the Past: Shona Sculpture
9. Celebrating Life Through Dance
V. Bibliography ........................................................................................................ 37
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Cycles: African Life through Art
Educator Guide Introduction
Using This Guide:
This teaching resource, based on the award-winning website of the same name was
created to help you introduce students to life in Africa through art. Using cultural
objects, the activities represent a number of peoples and emphasize the complexity of
these societies.
The IMA also offers many other opportunities to learn about the art and life of Africa.
Visit the museum for a tour of the galleries or visit the Cycles: African Life Through Art
online activity on our website at www.imamuseum.org.
Helpful Hints:
 Use this guide to assist you in lesson planning.
 Activities are given grade level recommendations and have appropriate
standards listed for each one.
 Each activity has an estimated amount of time needed to complete an activity.
Activities are generally divided into one or two, 30-minute sessions. The 30minute format is designed to give you time for pre and post discussion or prep
and clean up for production activities.
 Images of the African works of art can be printed out in hardcopy and given to
students or projected digitally in the classroom (images can be found by typing
the accession number into our “Search the Collection” feature on our website at
www.imamuseum.org.
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Glossary
Akan
group of people in western Africa speaking Akan languages
Akuaba
small disc-headed figures made of wood by Akan carvers
bush
wilderness, undeveloped land
Ibeji
Yoruba word meaning, “twin”
material culture
things that society makes or uses, such as clothing, shelter, food,
tools and other things needed for both survival and enjoyment
matrilineal
ancestry traced through the female line
Mende
group of people in western Africa whose homeland is in southern
Sierra Leone and eastern Liberia
Mbira
Shona word that refers both to an instrument (thumb piano) and the
music it produces
nonmaterial culture
behavior, such as customs, traditions, beliefs, values,
interaction among people and ways of going about everyday life
rite of passage
ritual performed in some cultures at times when a individual
changes his or her status (as from adolescence to adulthood)
Shona
majority ethnic group in Zimbabwe
social status
position a person has in society
theocracy
government by priests or a monarch presumed to be divine
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female fertility figure (akuaba)
Asante people
Ghana
1880-1920
Accession Number: 1989.456
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Helmet mask (Landai) for Poro association
Loma people
Liberia
1930-1950
Accession Number: 1989.396
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Helmet mask for Sande association
Mende people
Sierra Leone
1930-1960
Accession Number: 1989.388
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Asante people
Ghana
1930-1970
Accession Number: 1989.480
stool
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ritual rice ladle
Dan people
Liberia
1900-1940
Accession Number: 72.115
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Swazi people
Swaziland
1900-1950
Accession Number: 1998.71
head rest
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brass bracelet
Senufo people
Cote d’Ivoire or Ghana, Western Africa
20th century
Accession Number: 82.163
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gold necklace
Baule people
Guinea Coast, Western Africa
1920-1970
Accession Number: 1996.342
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pendant
Pende people
Democratic Republic of the Congo, Central Africa
1900-1930
Accession Number: 65.9A
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necklace
Ida ou Semlal people
Morocco
1900-1950
Accession Number: 1999.20
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Sango staff
artist: Duga (birth date unknown)
Yoruba peoples
Nigeria
1900-1950
Accession Number: 1989.736
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Sango staff
Yoruba peoples
Nigeria
1900-1950
Accession Number: 1989.734
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ere ibeji (female and male)
Yoruba peoples
Nigeria
Early 20th century
Accession Numbers: 1989.705 and 1989.706
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Healing of Abiku Children
artist: Twins Seven-Seven (born 1944)
Yoruba people
Nigeria
Accession Number: 1993.82
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The Law Givers
artist: Nicholas Mukonberanwa (1940-2002)
Shona people
Zimbabwe
1999
Accession Number: 2001.5
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Egungun masquerade costume
Yoruba people
Nigeria
1930-1970
Accession Number: 1992.67
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Activity 1: A Perfect Baby
Recommended for Grades 6-12
One, 30-minute session
Objectives:



Students will examine stylistic features of an art object from Ghana
Students will compare and contrast traditions and rituals from African cultures to
those in other parts of the world
Students will create a research project (written or visual) that illustrates these
similarities and differences
Indiana Academic Standards met by this activity:
Social Studies: 7.5.1, 7.5.9, WG.4.10, S.2.8
Visual Arts:
6.1.1, 6.3.1, 6.4.1, 6.13.1, 7.1.1, 7.1.3, 7.2.2, 7.3.1, 7.13.1, 8.1.1,
8.2.1, 8.2.2, 8.3.1, 8.13.2, H.1.2, H.2.1, H.2.2, H.3.1, H.13.2
Supplies
 Images of African art from the IMA’s collection—female fertility figure (akuaba)
(digitally projected or printed out hardcopy)
Introduction:
Women of the Asante people of Ghana commission akuaba figures to be made when
she wants to be or is pregnant. The figure symbolizes a perfect and healthy child.
Artists create these figures with exaggerated features including a long neck, round face
and elongated, flat forehead since these are prized attributes in this society. Almost all
akuaba figures are female because the Asante are a matrilineal society that prefers
girls.
After a baby is born, the figure may be placed in a shrine, used as a learning tool for
girls or kept by the mother as a remembrance of the experience.
The name akuaba is believed by scholars to originate from a legend about a woman
named Akua who was unable to have children. After visiting a priest, she was told to
have a small wooden figure created and carry it with her as though it were her child.
While wearing it on her back in her village, she was mocked by others who began
calling the little wooden figure, “Akua’ba” which means Akua’s child. However, she
eventually gave birth to a beautiful daughter and many others began carrying akuaba
figures as well. Today, women still commission them to be made at the advice of a
priest.
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Procedure:
1. Ask students to examine the image of the female fertility figure (akuaba).
2. What can be learned from looking? Make a list on the board of student
observations about the material, overall shape, facial features and other
distinguishing characteristics. Can students determine what aspects of beauty
might be most important in Asante culture?
3. As a group, discuss the function of this object. Are there any practices students
can think of in their own culture, or a different one, that are similar?
4. What types of things do American women do to ensure a healthy pregnancy?
What about after a baby is born? Discuss cultural traditions and practices
surrounding the birth of a baby such as Christening, Bris, baby showers, or other
spiritual and secular practices. How do they related to the Asante tradition?
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Activity 2: Rites of Passage: Mask-making
Recommended for Grades 6-12
One, 30-minute session
Objectives:



Students will investigate how various African societies use masks during rites of
passage celebrations.
Students will exam masks from the IMA collection.
Students will create masks using found objects and natural materials.
Indiana Academic Standards met by this activity:
Social Studies: 6.5.1, 6.5.9, 7.5.1, WH.11.2, WG.4.10, S.2.1, S.2.8, S.4.6, S.5.4
Visual Arts:
6.1.1, 6.2.2, 6.3.1, 6.3.2, 6.4.1, 6.7.2, 6.7.3, 6.13.1, 7.1.1, 7.1.2,
7.1.3, 7.3.1, 7.3.2, 7.7.2, 7.7.3, 8.1.1, 8.2.2, 8.3.1, 8.3.2, 8.7.2,
8.7.3, H.1.2, H.2.2, H.4.2, H.7.2, H.13.2
Supplies:



Images of African art from the IMA’s collection— helmet mask for Poro
association, helmet mask for Sande association (digitally projected or printed out
hardcopy)
Objects gathered from nature, school and home
Art supplies to construct found object mask such as glue, paste, tape, scissors,
markers, paint, etc.
Introduction:
Both the helmet mask for Poro association and the helmet mask for Sande association
are used during initiation rituals for young men and women. These rites of passage
utilize masks as a tool, or conduit, to reach the next stage of life.
The first mask is a helmet mask for the Poro association, an organization of the Loma
people in Liberia responsible for the initiation activities of young men. This mask is
worn by a spiritual overseer who leads the ceremony during which he pretends to
devour the young men using the hinged jaw of the mask. It is believed that the boy is
reborn from the stomach as a man.
The mask is a composite of man and nature by combining the crocodile-like mouth with
human facial features including the beard, eyebrows and ear and nose hair of an elder.
The second mask is from the Sande association of the Mende people in Sierra Leone, a
women’s association with a similar function. This group educates girls who have
reached puberty at special initiation schools in the bush. During a period of several
months, girls learn skills and acquire knowledge necessary for the adult roles of women
in their villages.
The women who wear the masks are already initiated and use them to attract spirits.
For this reason they embody the ideals of feminine beauty in Mende society such as
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shiny black skin, neck rings and elaborate hairstyles. While the masks are worn by
women, they are carved by men.
In both cases, the masks play a large role in the rites of passage from adolescence to
adulthood, but the visual representation of each is different based on function and
societal ideals.
Procedure:
1. Using images of the helmet mask for Poro association and the helmet mask for
Sande association, discuss as a group how both masks function in the society
that produced them (Refer to Introduction). How do the appearances vary for
ceremonies held for boys and girls? (Visual characteristics of boys’ mask is
focused on function, girls’ mask is focused on aesthetics)
2. Next, evaluate the materials used to make each mask. Where would they come
from? What do they say about the culture that produced each?
3. Ask students to create a list of qualities that are important to them in becoming
adults. These can range from study, to work ethic, interests, etc.
4. Using the list as a guide, select objects found at school, home or in nature to
symbolize these characteristics. For example, photocopies of textbooks,
photographs or clippings from newspapers or magazines could be used as a
base layer with 3-dimensional objects applied in layers on top of them.
5. To construct the mask, use any medium available in the classroom. Construction
paper can be cut into a specific shape and used as a foundation to add symbolic
elements. The finished product can have string attached for wearing or can be
designed for display.
6. As a group, encourage students to discuss their finished masks. What did they
choose to include? Why? How do the student masks relate to the African
examples?
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Activity 3: Everyday Life in Africa
Recommended for Grades 6-12
One, 30-minute session
Objectives:
 Students will exam African household objects and images of a variety of common
daily items.
 Students will compare these objects to ones used in their own culture.
Indiana Academic Standards met by this activity:
Social Studies: 6.5.2, 6.5.9, 7.5.1, WG.4.10, S.2.1, S.8.1
Supplies:


Images of African art from the IMA’s collection— stool, ritual rice ladle, head rest
(digitally projected or printed out hardcopy)
Photos or found objects students bring from home
Introduction:
The stool, ritual rice ladle and head rest are personal ones used in everyday life that
also have special features or functions related to their use and ownership.
While viewing these objects be sure to encourage discussion that touches on not only
the use of each but also the importance of owning such a thing in a personalized way.
Stools are a very important item in daily life of the Akan people. Not only are they
functional as a household object, they also have sacred and sometimes even a political
function. For example, elaborately decorated stools may be displayed for ceremonial
use by prominent figures. There is also a special connection between a stool and its
owner. It is used in everyday life, but after a person dies it may become sacred, in part,
through a blackening of the surface that serves as a reminder to pay respect to
ancestors. This stool has not been made sacred.
This ritual rice ladle belonged to a Dan woman from Liberia. She was given this object
because she was highly regarded in the community and viewed as hospitable and hard
working. When she used it to serve rice to guests and community members at
important events it represented her high status. The spoon also refers to agricultural
and human fertility since the spoon becomes a source of life when filled with food.
In many parts of Africa headrests are used to support the head like a pillow and can aid
in protecting elaborate hairstyles as well as dreaming, a vehicle for communication with
ancestors. This head rest may represent a simplified cow, representing the importance
of this animal for herding people.
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Procedure:
1. Ask students to examine the images of the stool, ritual rice ladle and head rest.
These items are examples of the material culture of Africa. What observations
can students make about the items? Make a list recording the group discussion.
Focus on topics like materials and function. Note when comments overlap and
when they differ. Focus on the idea of personalization of objects in the images of
the stool and head rest.
2. As a group, discuss why it is important to have objects that are both functional
and personal. Think about this topic as it relates to both African culture as well
as American culture.
3. To continue the discussion, ask students to bring in a functional item that they
enjoy using such as a cell phone, coffee mug or favorite cereal bowl, or perhaps
an heirloom object such as piece of silverware. Or if preferred, ask them to bring
photos of the objects. This may be an opportunity to utilize their interests by
allowing photos to be sent to you via e-mail from camera phones, digital
cameras, etc. If photos are selected, consider compiling them into a PowerPoint
presentation or iPhoto slideshow to display them for the group. (Or assign a
student to do so.)
4. As a group, review the objects selected by the students and discuss how the
importance of the individual even within everyday tasks. Why do they think this
concept applies to humans in general (regardless of age, race, gender, etc.)?
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Activity 4: African Jewelry: From Man and Nature
Recommended for Grades 6-12
One or Two, 30-minute sessions
Objectives:
 Students will examine examples of African jewelry.
 Students will create their own pieces of jewelry inspired by themes identified
while looking at African examples.
Indiana Academic Standards met by this activity:
English/ Language Arts: 6.5.2, 7.4.1, 7.4.5, 7.5.7, 8.4.1, 8.4.2, 8.5.7, 9.4.1, 9.4.2,
9.5.8, 10.4.1, 10.4.2, 10.5.8, 11.4.1, 12.4.1, 12.4.4
Visual Art: 6.1.1, 6.3.1, 6.7.2, 6.7.3, 6.8.1, 6.9.1, 7.1.1, 7.1.3, 7.3.1, 7.3.2, 7.7.2,
7.7.3, 7.8.1, 7.9.1, 8.2.2, 8.3.1, 8.3.2, 8.7.2, 8.8.1, 8.9.1, H.1.2, H.7.2,
H.7.3, H.9.1
Supplies:
 Images of African art from the IMA’s collection— brass bracelet, gold necklace,
pendant, necklace (digitally projected or printed out hardcopy)
 Art supplies to create a piece of jewelry to support a theme (such as photos,
found objects, natural material, recycled material, etc. collected by students)
Introduction:
These jewelry objects represent a variety of functions and materials. Bracelets, anklets
and pendants are worn everyday as personal adornment, in ceremonies and special
events and some items are worn only by specific individuals to indicate social status.
The most rare and precious materials are used for the latter.
Leather, animal hair, ivory, brass, glass beads and other metals are all materials used
to make these pieces of jewelry. Glass beads are typically acquired through trade.
Other materials such as leather, animal hair and other natural products are found in
nature and incorporated into African objects used for adornment, rituals and everyday
life.
Some jewelry depicts imagery of animals and people. Students should consider why
these are important within African societies.
Jewelry in African life functions in similar ways to that of jewelry in American culture with
some pieces reserved for special occasions and others worn everyday based on
personal preference and accepted trends.
Procedure:
1. Circulate the images of African jewelry—brass bracelet, gold necklace, pendant,
necklace. Allow students to work in small groups to create a list of ideas about
the form and function of each piece. Specifically, ask them to note what can be
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observed by examining each piece and thinking about how it was made, what it
is made out of and what the intended purpose may be.
2. Once each group of students has had an opportunity to look at every piece,
share the individual lists to create a larger group discussion about the themes
that have emerged as a result of observation. Examples are: a combination of
natural and man-made materials, depictions of animals, depictions of humans,
objects used to create sound, objects for personal adornment, etc.
3. Allow each student to select a theme and create a piece of jewelry by gathering
materials found at home, at school or in nature to support the selected theme.
Provide some class time for brainstorming individually or in small groups.
Production of jewelry may be completed during class time or as a homework
assignment.
4. Ask students to write a one-page artist statement that describes the African
jewelry example that most inspired their work and a brief interpretation of the
piece they created.
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Activity 5: Gods and Rulers
Recommended for Grades 6-12
One, 30-minute session
Objectives:


Students will identify the relationship between religion and political power in
African societies.
Students will examine the connection between religion and government globally.
Indiana Academic Standards met by this activity:
Social Studies: 7.1.19, 7.1.21, 7.2.4, 7.2.7, 7.2.9, 7.5.2, WH.11.2, S.5.2, S.5.3
Visual Arts:
6.1.1, 6.3.1, 6.3.2, 6.13.1, 7.1.1, 7.1.3, 7.3.1, 7.3.2, 7.13.1, 8.1.1,
8.2.2, 8.3.1, 8.3.2, H.1.2, H.3.1
Supplies:
 Images of African art from the IMA’s collection— sango staffs (digitally projected
or printed out hardcopy)
 Newspapers or on-line articles from reliable sources
Introduction:
Some African kings rule by virtue of divinity and are considered to possess god-like
powers. While there is no historical evidence to suggest a connection, some
contemporary African societies have theocracies that function similar to those of ancient
Egypt where kings were believed to be simultaneously the highest political and religious
figure in society.
The images of Sango staffs included are from Nigeria. They were created by Yoruba
people who belong to a group worshipping Sango, a legendary king who is believed to
have become a god.
These objects would be carried by followers during rituals. The imagery represented in
Sango staffs is typically that of worshippers rather than the king himself. When talking
with students, consider how not being seen affects a position of power. What does it
say about the king’s social status?
It is important to consider that leaders utilize and exploit art as a vehicle for
communication all over the world in communities that are small as well as expansive
and Africa is no exception. African art related to leadership is complex, layered with
symbolism and information instantly decodable by followers. Typically it is also more
ornate, visually complex than other art and functions to give rulers power, prominence
or protection.
Procedure:
1. Using images of the Sango staffs, discuss the use of these objects in African
culture. During this discussion, ask students to define “theocracy” and relate the
idea to the objects being viewed. Also include discussion of “social status” as it
relates to these objects.
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2. In a larger sense, discuss the positive and negative aspects of a government
influenced by divine rule. What are the biggest benefits, challenges?
3. Using contemporary newspapers, or reputable online sources, ask students to
find examples of how religion is a part of contemporary politics in a global sense.
Evaluate the consequences (positive and negative) as a result of religion in
politics. Students should then create written or oral reports to present to
classmates.
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Activity 7: The Healer as Leader: Twins in Yoruba
Recommended for Grades 9-12
One, 30-minute session
Objectives:


Students will examine a contemporary work by an African artist.
Students will utilize a variety of sources to create a persuasive essay interpreting
a work of art incorporating ideas from group discussion and the artist’s intention.
Indiana Academic Standards met by this activity:
Visual Art: H.1.2, H.1.3, H.2.2, H.3.1, H.3.2, H.4.2, H.5.1, H.5.2, H.6.2
Science:
B.1.21, B.1.27, B.1.35
English/ Language Arts: 6.5.2, 6.5.5, 7.4.1, 7.4.5, 7.5.4, 7.5.7, 8.4.1, 8.4.2, 8.5.4,
8.5.7, 9.4.1, 9.4.2, 9.5.4, 9.5.8, 10.4.1, 10.4.2, 10.5.4,
10.5.8, 11.4.1, 11.4.4, 12.4.1, 12.4.4
Supplies:
 Images of African art from the IMA’s collection—ere ibeji, Healing of the Abiku
Children (digitally projected or printed out hardcopy)
 Video—Prince Twins Seven-Seven: Healing of the Abiku Children
This video can be found on-line at by visiting the IMA website
(www.imamuseum.org) and clicking on the “Interact” tab. Links to the IMA pages
on iTunes U and YouTube are located there.
Introduction:
The Yoruba have one of the highest rates of twin births in the world, along with a very
high rate of mortality for one or both of the infants. Because of this phenomenon,
people have developed many practices related to harnessing positive energy and
protection for twin children. Families who have twins are said to be very blessed
because they are viewed as spirits with remarkable ability to bring wealth and
happiness to those who respect them. But twins are also viewed as unpredictable,
precocious and fearless. When one or both of the twins dies, it is said to be a very bad
omen for the family. So it becomes important to the Yoruba to make spiritual amends to
reconcile the loss of such an important and potentially powerful figure member of their
family and society.
Two practices that deal with this loss are represented in this activity. The two objects,
female and male ibeji (twin) figures are commissioned by a mother to represent a
deceased child. It is then cared for within the home. The mother will carry it with her,
dance with it, feed it, and adorn it with clothes and jewelry.
The other practice is represented in the image of the work Healing of the Abiku
Children. This work of art depicts a religious practice. Abiku are children believed to be
reborn into the same family several times after dying shortly after birth. In order to stop
this cycle, mothers bring their children to divination priests. The priest can be seen in
this picture behind the large central figure of the mother. The internationally renowned
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artist changed his name to Twins Seven Seven from Taiwo Olaniyi Oyewale due to the
fact he is the only survivor of seven sets of twins born to his mother.
Procedure:
1. First, allow students to look at the work Healing of the Abiku Children and
discuss what is going on in the work of art. What observations can be made to
build ideas about the intended meaning? Identify the focus of the narrative and
allow students to speculate about the role of specific figures, location, cultural
origin, etc. by grounding their observations with visual evidence. Also identify
areas that, in the students view, cannot be interpreted without additional
information.
2. Next, watch the Prince Twins Seven-Seven: Healing of the Abiku Children video.
Ask students to compare their interpretation of the painting with that of the artist.
What is the same? What is different?
3. Circulate the images of the ibeji figures and allow students to examine them.
Using information provided in the Introduction, discuss the function of these
objects in Yoruba culture including the genetic frequency of twins.
4. After hearing the artist speak, as well as examining the images of the ibeji
figures, ask students to look at the image of the Healing of the Abiku Children
painting again and write a one-page interpretation of the using the artist’s
explanation, information gathered from studying the ibeji figures and the group
discussion to support their own interpretations.
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Activity 8: Learning from the Past: Shona Sculpture
Recommended for Grades 6-12
One, 30-minute session
Objectives:
 Students will compare an image of a work of art in IMA’s collection to an actual
example of Shona carving.
 Students will speculate about the meaning and purpose of Shona sculpture.
 Students will create a work of art based on their examination and speculation.
Indiana Academic Standards met by this activity:
Visual Art:
6.1.1, 6.2.1, 6.2.2, 6.3.1, 6.3.2, 6.7.2, 6.7.3, 6.9.1, 7.1.1, 7.1.2, 7.3.1,
7.3.2, 7.7.2, 7.7.3, 7.9.1, 8.1.1, 8.1.3, 8.2.2, 8.3.1, 8.3.2, 8.7.2, 8.7.3,
8.9.1, H.1.2, H.2.2, H.7.2, H.7.3, H.9.1
Supplies:
 Image of African art from the IMA’s collection— The Law Givers by Nicholas
Mukomberanwa (digitally projected or printed out hardcopy)
 Photographs or other objects collected by students
 Art supplies to create a work of art depicting the importance of ancestry collected
by students
Introduction:
The Shona people of Zimbabwe feel a strong connection to their ancestors, as do many
African peoples. This awareness and respect has led to the creation of art
remembering the spirits of the deceased and reminding the living of their ancestors’
contributions and wisdom which are communicated through the elders in the
community.
The Law Givers by Nicholas Mukomberanwa is an example of a contemporary sculpture
created to pay homage to ancestors. This contemporary artist has created a work that
depicts the powerful and benevolent embrace of the elders being guided by ancestor
spirits. The elders can be identified by their flowing beards, made of stylized wavy lines.
In reference to the title of the piece, the artist comments that, “We accept what the
elders decide and their decisions become our laws.”
Spirits, both good and evil, play a vital role in these decisions and affect the lives of all
Shona. The world of spirits is complex, varies from region to region, and often the
guidance provided is unclear, left to the living to interpret and administer. For this
reason it is very important for village elders to be attuned to the intricate and subtle
communication of ancestor spirits.
When discussing this work of art challenge students to think about what life would be
like in an African village with limited access to things like technology or life outside the
place where the Shona live. How could this affect beliefs and the resulting art?
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Procedure:
1. Speculate with students about the meaning of The Law Givers by Nicholas
Mukomberanwa. How does it depict a respect for ancestry? Think about the
universal elements used for communication such as facial features or body
language, etc.
2. Next, think about art as a vehicle to remember people important to a community
in a local or larger sense as well as an individual or family. Ask students to find
examples of other works of art that also pay homage to important people. What
do these works have in common? How do they differ?
3. Using photographs, objects and other supplies, ask students to create a work of
art in remembrance of someone important to them. It can be a family member,
friend or other influential figure that has affected their lives in an important way.
Using information gathered from studying African art, as well as contrasting
examples of remembrance in art, students should carefully choose methods of
communicating information in a presentation to support their goal.
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Activity 9: Remembering with Dance
Recommended for Grades 6-12
One, 30-minute session
Objectives:
 Students will investigate the role of dance in African and other cultures.

Students will practice a traditional African dance.
Indiana Academic Standards met by this activity:
Visual Art:
6.1.1, 6.3.1, 6.3.2, 6.13.1, 7.1.1, 7.1.3, 7.3.1, 7.3.2, 7.13.1, 7.14.1,
8.1.1, 8.2.2, 8.3.1, 8.3.2, 8.14.1, H.1.2, H.2.2, H.3.1, H.14.1
Social Studies: 6.5.2, 6.5.9, 7.5.1, WG.4.10, S.8.1
Dance:
6.5.1, 6.5.3, 7.5.1, 8.5.1, H.5.1, H.5.2
Supplies:
 Image of African art from the IMA’s collection— Egungun body mask (digitally
projected or printed out hardcopy)
Introduction:
This object is an Egungun body mask used by the Yoruba people in Nigeria. Egungun
is translated to mean “powers concealed.” It is used to honor ancestors by providing a
link between the worlds of the living and dead. Those who wear the mask are
responsible for acting as the mediator between these two worlds and are also expected
to comfort families grieving over the loss of a loved one. It is used during funerals and
annual festivities that combine entertainment, social commentary and remembrance.
The Egungun body mask is also accompanied by a box-like object that covers the face.
Sometimes this portion is covered in matching fabric or is comprised of a wooden face
mask or headdress. The inside of the Egungun is made of local cloth while the outside
panels (seen in Slide 11) are elaborate, expensive textiles imported from other places.
Each year new layers are added to the outside of the garment.
The function of this garment is as a costume for dance. Dance is a featured element in
rituals and can go on all night and include singing, poetry, riddles and jokes.
Procedure:
1. Using the image of the Egungun body mask, discuss with students what can be
learned from looking at this object. Focus on topics such as function, materials,
cultural origin, etc.
2. Using the information in the Introduction, talk with students about the various
ways dance is used in African culture and how the Egungun body mask would
function. Include discussion of examples of material (Egungun body mask) and
nonmaterial (Dance) aspects of culture.
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3. Next, ask students to research African dances and music on the Internet or in the
library.
4. In groups or as individuals have students present their findings on a particular
dance or type of music to the class.
5. As a follow up exercise, students can write about how dance plays a similar role
in other cultures familiar or new to them. Or, students can perform the new
dance they learned for an audience.
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Bibliography
A History of Art in Africa. Prentice Hall, Inc. and Harry N. Abrams, Inc. Publishers. New
York, 2001.
Chemeche, George. Ibeji: The Cult of Yoruba Twins. 5 Continents Editions, Milan,
2003.
Cycles: African Life Through Art. http://www.ima.museum/cycles, 2006.
Eieljorg Gallery of African Art, Indianapolis Muesum of Art, labels and panels, 2006.
Mbira. http://www.mbira.org/mbiramusic.html. 2006.
Perani, Judith, and Fred T. Smith, The Visual Arts of Africa: Gender, Power and Life
Cycle Rituals. Prentice Hall, New Jersey, 1998.
Ponter, Anthony and Laura. Spirits in Stone: The New Face of African Art. Ukama
Press, California, 1997.
Sieber, Roy. African Furniture & Household Objects. Indiana University Press.
Bloomington, Indiana, 1980.
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