Jose Ortiz-Soto

AH 445 Sec01

Final Exam

African Art as Culture, Lineage, and Revolution

Africa is one of the largest continents on Earth, so it should be no surprise to learn that its

inhabitants have deep and rich cultures. Some may undermine the vastness of African art, but

this essay aims to demonstrate Africa’s array of cultures, functions, and periods. It is impossible

to boil African art down to one idea; the continent is too rich in culture, family lineage, people

empowerment, and much more. This essay explores Africa across ten images, grouped into three

geographical segments. Each image represents a way African art can be interpreted, connecting

spiritual, social, political, and ancestral.

Our first segment will focus on the region between Ethiopia and South Africa. Starting,

we will look at “Interior of Debre Berhan Selassie Church,” a praying chamber intricately

decorated with Christian imagery. This work dates back to the late 17th century. Its creator is

unknown, though some assumed it was done by a member of the orthodox church. This is

because it is owned by the Ethiopian Orthodox Christianity. The purpose of this elaborate

interior is to celebrate Christianity by retelling its stories with visuals painted on the walls. These

stories are believed to provide religious guidance and spiritual protection. This art highlights its

use as a tool to teach tradition and maintain faith, demonstrating its position as a cultural object.
 The next item to be discussed will be the “Lipiko (Mapiko) Mask.” These masks belong

to the Makonde culture, which originates from the countries Tanzania and Mozambique. The art

dates back to the 20th century, but it is unknown who the originator may be. These masks were

typically seen in initiation ceremonies for the newly maturing generation. Those wearing said

masks are meant to represent the ancestors of the village, embodying transformation and

enforcing social collaboration. The spiritual transformation used in this tradition shows how

African Art can be a rite of passage and method for community bonding.

Continuing, “Homes with Litema” are typically colorful patterns, and were displayed on

the outer walls of homes during South Africa’s apartheid. This practice was often done by the

Sotho-Tswana, more specifically, the designs were picked out by the women of the household.

These deigns were most prevalent during the late 20th century, at the peak of tensions in South

Africa. The purpose of these elaborate murals was for Africans to express themselves fully,

without government officials noticing. Often, these forms of expression spoke of cultural pride

and resistance toward their oppressors. These murals are a testament to art serving as a passive

protest and a shared identity amongst Africans at this time.

In this next segment, our focus will be on the regions of the Kongo, Igbo, and Mami

Wata. To start, “Ntadi on a Grave” are small stone figures that are typically placed at barrial

grounds. This practice originates from the Kongo culture, which is from the country Democratic

Republic of Congo, or DRC for short. Though the original creator is unknown, many people

from the Kongo culture practice this tradition. It is what these statues protect the spirit of the

deceased loved one. Additionally, these pieces are meant to identify a person, symbolizing their

occupation or social demeanor. The Ntadi helps to exemplify African art’s role in honoring those

who came before you, and maintaining a balanced connection to the spiritual world.
​ Moving forward, the “Mbudye Society Members” are an elite class of people and are in

charge of large decisions regarding religious, political, and historical principles. They stem from

the Luba culture, which is inside the Democratic Republic of Congo. The Mbudye Society dates

back as for back as the late 20th century, according to our records. Women of the Mbudye

society are tasked with preserving their history to reinforce kingship and spirituality. Their

dresses and objects symbolize continuity and legitimacy for their cause. This tradition shows

how African art is crucial to passing historical memories and shaping power structures.

​ Continuing, many African pieces are meant as symbols, such as the stone figures “King

(Oni) and Queen.” Stemming from the Ife culture, these pieces are often found in the country of

Nigeria. It is unknown who began the tradition of these figures, though we know they date as far

back as the 12th century. Their function is to demonstrate the collaboration needed between both

genders for success in the Ife royalty. The paired statues convey mutual power and equal support

between a king and queen. Art such as this holds the ability to define cultural and political

leadership.

​ In this final segment, our focus will be centered around the countries Nigeria, Mali, and

Bamana Mouride. Starting with “In The Mind of the Blessed Hunter.” This culture originates

from the Yoruba, a small fraction of the larger country, Nigeria. The artist goes by Twin Seven

Seven and painted this artwork in 1990. The vibrant display of colors draws from Yoruba

mythology and their spiritual beliefs. The art serves as a space for personal revolution and

mythological imagination.

UNFINISHED

(below is my outline)
7.​ Ana Mmuo

○​ Culture: Nsukka School

○​ Country: Nigeria

○​ Date: 1961

○​ Artist: Uche Okeke

○​ Function: Uli-inspired abstraction reclaims indigenous aesthetics for postcolonial

identity. Demonstrates how African art becomes a political act of cultural

recovery and innovation.

8.​ Toguna – House of Words

○​ Culture: Dogon

○​ Country: Mali

○​ Date: 20th century

○​ Artist: Community-built

○​ Function: Public space for elders to discuss and resolve conflicts. Low ceilings

force humility and respect in speech. Symbolizes communal wisdom, dialogue,

and social cohesion—key facets of African life expressed architecturally.

9.​ Gwan Figures – Female Equivalent of Komo

●​ Culture: Bamana

●​ Country: Mali

●​ Date: 20th century

●​ Artist: Unknown
●​ Function: Used in Jo societies to represent fertility and female power. Emphasizes

women's roles in community and ritual life, offering a visual counterbalance to

male-dominated systems like Komo.