Art of

Africa

Art of

AfricaThe materials in this curriculum packet are designed to be used by students of all ages and their teachers.We would appreciate your comments on these materials. Please log on to the Saint Louis Art Museum’swebsite at www.slam.org/packetevaulation to complete the online evaluation form.

This curriculum packet contains the following items:• Posters of 12 artworks from the collection of the Saint Louis Art Museum.

Each poster offers information about the work of art and suggested questions for discussion with younger and older students.

• Teacher’s guide, which includes a map, images, teaching suggestions, a glossary of terms, and an annotated list of source materials on African art

• CD of the 12 images and additional supplementary material

We encourage classes to visit the Saint Louis Art Museum to view the works in this curriculum packet.

Tours are free and may be scheduled for school groups (prekindergarten through college) as well as forother institutions. All groups, whether led by a Museum docent or self-guided, must preregister with theMuseum to arrange a tour or reserve a time in the galleries. Please allow at least four weeks’ notice.

To schedule a tour, complete the tour request form on the Museum’s website at www.slam.org or call the Tour Hotline at 314.655.5484.

Written by Bill Appleton, Ann Burroughs, Louise Cameron, Jennifer Doyle, Mariel Gonzalez, Emily Horton, Louis Lankford, Andréa Morrill, and Mary NicholsWith assistance from John Nunley, Lisa Stelling-Jokisch, and Tammy O’ConnorEdited by Kate WagnerDesigned by Lauri Kramer©2005 Saint Louis Art Museum

Cover Image: Plaque, 16th–17th century; Edo, Nigeria, Africa; bronze; height: 17 inches;Museum Shop Fund and gift of Sharon McDonald Hollander and Stuart Hollander 10:1996

African Art and Life

Art has always been part of life in Africa. For centuries,

artists have created works of art to honor their leaders

and ancestors. Other artworks have an important place

in community festivals or in the rituals of secret societies,

groups that only reveal their knowledge and traditions

to members. Many African cultures believe that art has

the power to transform situations or to bring about

specific events. A work of art also can maintain favorable

relationships between humans on earth and the unseen

forces of the spiritual world.

The artworks in this curriculum packet are organized

into three themes based on their functions: Political Order,

Masks and Festivals, and Power Objects. Because of their

rich meanings and multiple purposes, some of the objects

in this packet could belong to more than one category.

Political Order

People who lived in traditional African societies did

not depend on the written word. Instead, they shared

experiences, memories, and information through stories

and songs, speech making, and the visual arts. Specific

edicts, rules, and laws, as well as ideas of governance,

were often communicated through the visual arts rather

than through written forms.

The Chokwe (CHOKE way) and Edo (ed oh) people

used “portrait” heads to signify leadership. The heads

included along the top of the Royal Chair (poster 1)

represent past rulers in the Chokwe culture. The presence

of these heads proclaimed the chief’s royal ancestry and

illustrated his right to rule. Other scenes on the chair

illustrate Chokwe daily life, over which the chief presided.

Royal artists of Benin (beh NEEN) made the Head of

an Oba (poster 2) after their oba, or king, died so they

could memorialize his life. The symbolism of the materials

used to create the sculpture and the regalia shown on

the head demonstrate his power.

Leaders in African societies also used sculptures and

other objects to illustrate their strength and societal

standing. The Plaque (poster 3) once hung in the royal

palace of Benin. It shows a man from the Benin court,

possibly a royal guard, raising a ceremonial sword to

honor the oba. The gesture of the guard and the material

from which the Plaque is made—only the oba’s artists

could use bronze—confirm the oba’s leadership role and

proclaim his high status. Like the knife in the Plaque,

the Kuba (koo bah) Knife (poster 4) is also a ceremonial

weapon. Knives with this blade shape were introduced

by a 17th-century king when he outlawed the use of

throwing knives. This type of knife is a symbol of peace

and therefore a testament of the king’s ability to bring

peace to his people.

Artists frequently incorporated animal imagery to

symbolize the power of African leaders. The Headrest

(poster 5) has the shape of a leopard, a fierce animal that

represents the power, and sometimes the ruthlessness,

of kings and chiefs in Africa. The Yaka (yah kah) chief

who owned this headrest renewed his connection to the

animal’s power every night when he placed his head on

the leopard’s back.

Masks and Festivals

While political art has always separated the people in

a community according to task and rank, festivals

bring people together in celebration. Community-wide

celebrations, called masquerades, are still an important

part of African life. They are often held in African

villages or town plazas so people can gather to watch

and participate. The performers in these festivals,

masqueraders, communicate through masks, costumes,

and dance steps. Musicians play drums and other

percussion instruments to accompany the dancers.

Masqueraders mediate in human-to-spirit transactions,

offer prayers for abundant harvests, and negotiate for

favorable weather conditions. During a masquerade to

honor the spirit known as Chi Wara (chee WAH rah) one

dancer wore the male Headdress (poster 6) while another

wore its female counterpart. The Bamana (bah ma nah)

people believe that Chi Wara taught them how to farm,

so dancers perform in headdresses like the one in this

curriculum packet during the planting or harvest season.

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Table of Contents

Introduction 3

Map of Africa 5

Royal Chair 6

Head of an Oba 7

Plaque 8

Knife 9

Headrest 10

Headdress 11

Initiation Mask 12

Mask 13

Mask 14

Leopard Society Emblem 15

Reliquary Figure 16

Twin Figures (ibeji) 17

Communication Arts Teaching Suggestions 18

Fine Arts Teaching Suggestions 19

Kinetic/Performing Arts Teaching Suggestions 20

Social Studies Teaching Suggestions 21

Science and Math Teaching Suggestions 22

Glossary of African Terms 24

Suggested Resources 25

Useful Websites 26

Information about the CD 27

2

Introduction

5

Masqueraders also perform in festivals that celebrate the

major events of the life cycle: birth rites, the initiation

of adolescents into adulthood, and the final passage of

the dead into the world of the ancestors. The Mende

(MEN day) Initiation Mask (poster 7) and the Mbunda

(im BOON dah) Mask (poster 8) were both used to

celebrate the coming-of-age of young people. The tradi-

tional education for Mende girls included time spent in

the bush, or forest, with members of the women’s secret

society. After this instruction was complete, the town

celebrated the girls’ transition into adulthood with a

masquerade performed by female dancers. The Mbunda

Mask was originally used in the initiation ceremonies

of boys. The mask was part of circumcision rites that

moved boys from the protection of their mothers into

the patrilineal system.

Fertility was an important element of many festivals

and rituals. The Yoruba (yur ah bah) people used the

double-faced Mask (poster 9) in performances of the

Gelede (geh luh day) Society. These performances honored

the older women in the village. The Yoruba believed that

these women controlled female fertility. If the masquerade

pleased the older women, they could ensure that the

village’s young women had numerous healthy babies.

Power Objects

Many cultures in Africa used power objects for protection

or good health, but the objects could also bring harm

to an enemy. The power attributed to these objects

usually came from the materials used to make them—

human and animal hair, fur, feathers, and bone, as well

as minerals in the form of stones and metal, and plant

parts such as roots, leaves, and seeds.

Large power objects, like the Leopard Society Emblem

(poster 10), were usually for group use. The men’s group

known as the Leopard Spirit Society originally hung

this emblem on the wall of its meeting house. Various

materials contained in it kept evil from harming the

group’s members.

Smaller objects were used in domestic settings. The

Reliquary Figure (poster 11) once sat on the porch of

a lineage house on top of a basket containing ancestor

bones. The bones empowered the figure so it could

protect the family that owned it from evil and danger.

Twins are considered good luck among the Yoruba.

If one or both twins die young, diviners who communi-

cate with the spirit world advise parents to commission

sculptures like the Twin Figures (poster 12). The Yoruba

believe that the children’s souls dwell in the figures, so

the mother cares for them as if they were real children.

If the surviving twin is a girl, she may care for the figure

of her twin once she comes of age. The love and care

given to the figures pacifies the spirits of the twins so they

do not bring harm or evil to the family or the village.

By exploring the themes and artworks included in this

packet, teachers and their students can learn about

traditional African art. In some parts of Africa, artists

still make art objects that are very similar to these

examples, and people still use them. Though the artworks

in this packet are on display in a museum today, when

they were created, they were a vital part of African life

and culture.

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11

1

2

3

45

6

7

8

9

10

12

Map of Africa

Numbers refer to posters in this packet.

Africa

AsiaEurope

AtlanticOcean

Indian

Ocean

This sculpture probably represents a specific king, or

oba, of Benin (beh NEEN). Artists made the portrait

out of bronze and added iron into the circular eyeholes

to give the oba a piercing stare. They also put iron

into the rectangles on the forehead, though most of

the iron is missing today. The tight-fitting necklace

looks like coral jewelry worn by members of the

Benin court. Because coral comes from the sea, wearing

it connected the oba with the god of the sea. A carved

elephant tusk originally projected out of the top of

this head and showed important scenes from the oba’s

life. The oba’s son would have placed this portrait

head, together with its tusk, in a shrine in the palace

after his father died.

For younger students

If you could touch this sculpture, how do you think it

would feel? (Think about the different parts of the

sculpture such as the hair, the face, and the necklace.)

What are some ways that we honor important people

in our society?

For older students

Would you describe this sculpture as real, stylized,

or abstract? Why? (Use details from the sculpture to

support your answer.)

Why do you think family members would want to

commemorate a leader through art?

7

In Chokwe (CHOKE way) communities, only powerful

people such as chiefs, elders, or priests can own richly

decorated objects like this chair. The carvings on the

chair tell people about the chief. The heads of five

ancestor chiefs along the top remind viewers of the

chief’s family. The next row of three masked men

refers to masquerading, a social activity led by the

chief. Below the seat on the right, two men carry

a wood slit drum, which was used in important

ceremonies and initiations. Other carvings around

the bottom of the chair show everyday activities from

Chokwe life. The chief who owned this chair would

have leaned against it during special ceremonies while

sitting on a lion skin on the ground.

For younger students

Choose one of the scenes carved on the bars below

the seat of the chair and make up a story about what

is happening.

Besides a chair (or throne), what other special items

might a leader use?

For older students

What can you tell about the dress and appearance of

the Chokwe people in the 19th century by examining

details on this chair?

What objects do you own that communicate something

about your personality or responsibilities? What do

those objects tell people about you?

6

1

Royal Chair, 19th century

Chokwe, Angola, Africa

wood and hide28 1/8 x 12 x 17 1/2 inchesMuseum Purchase 7:1943

2

Head of an Oba, 15th–16th century

Edo, Nigeria, Africa

bronze and iron7 11/16 x 7 1/8 x 6 7/8 inches Museum Purchase 12:1936

Political OrderPolitical Order

The blade on this knife has the shape of a plant leaf.

According to Kuba (koo bah) legend, a 17th-century

king introduced this type of blade when he outlawed

dangerous weapons known as throwing knives. These

new knives were a symbol of peace, and Kuba men

wore them whenever they appeared in public. Artisans

often decorated these well-made blades with incised

lines and other geometric details.

For younger students

Find a knife with a similar shape on another poster

in this packet. How are these two knives similar?

How are they different?

If you could design a shield or helmet for the Kuba

people, what materials would you use to make it?

What shape would you give it?

For older students

Examine the details on this knife. How do you think

it was made?

This knife is a symbol of peace. What objects are

symbols of peace in our culture or in other societies?

9

The man on this plaque is holding a sword up next

to his head. This may seem like a threatening gesture,

but this type of sword is used for ceremonies, not for

fighting. The gesture is actually like a salute; it

expresses loyalty and respect for the oba, or king,

of Benin (beh NEEN). The man wears jewelry that

shows he is a member of the Benin court: a beaded

headdress; a wide, beaded necklace that hides his chin;

a leopard-head clasp that secures his wrap-around

skirt; and ankle bracelets. He is probably a warrior

because he also wears a leopard-tooth necklace.

Royal artists made plaques like this to decorate the

walls of the oba’s palace. The plaques showed palace

visitors that the oba was wealthy and powerful.

For younger students

What three words would you use to describe the man

on this plaque?

Did you notice the rough edges of this plaque?

Make up a story about how this metal plaque could

have been broken.

For older students

Compare the head of this warrior to the Head of an

Oba (poster 2). What is similar? What is different?

What are some ways that we show respect for authority

figures in our society? What gestures of respect are used

in other cultures?

8

3

Plaque, 16th–17th century

Edo, Nigeria, Africa

bronzeheight: 17 inchesMuseum Shop Fund and gift of Sharon McDonald Hollander andStuart Hollander 10:1996

4

Knife, late 19th century–early 20th century

Kuba, Democratic Republic of Congo, Africa

brass16 inchesGift of Morton D. May 303:1983

Political Order Political Order

The Bamana (bah ma nah) people who made this

headdress combined the appearance of long, curved

antelope horns with the small, humped body of an

aardvark or a pangolin. This combination represents

the spirit called Chi Wara (chee WAH rah). The

Bamana believe that Chi Wara taught them how to

farm. According to legend, the people became so good

at farming that they took Chi Wara’s gift for granted.

Chi Wara left the people in sadness. To show that they

were sorry, the people made headdresses to remember

Chi Wara and honor his gift. In some areas, pairs of

dancers still perform in headdresses like this during

planting and harvest times to entertain the farmers.

Both dancers are men, but one wears a male Chi Wara

headdress like this example and the other wears a

female Chi Wara headdress. The holes that you see

in the legs of the headdress allow a dancer to attach

it to a cap on his head.

For younger students

The artists who made this headdress carved designs

into the wood. What shapes can you find in the designs?

How would you move if you were a dancer wearing

this headdress?

For older students

African artists often incorporate images of animals

into their work. Consider the antelope, aardvark, and

pangolin. Why do you think those animals are associated

with Chi Wara?

The Chi Wara headdress is part of a long tradition for

the Bamana people. What traditions do you celebrate

to honor your family’s or your community’s history?

11

This wooden headrest shows a leopard crouching on

top of a round base. Because leopards are strong and

powerful, they are often associated with chiefs and

other authority figures in Africa. This headrest once

belonged to a chief of the Yaka (yah kah) people.

When the chief slept, he rested his head on the leopard’s

back. Though the headrest may look uncomfortable,

the deeper brown color on the curve of the leopard’s

back shows that the chief really used it. Over time,

the natural oils from his skin darkened that part of

the wood.

For younger students

What do you think of when you hear the word leopard?

What words would you use to describe the leopard on

this headrest?

If you had to choose an animal to represent you, what

would it be? Why?

For older students

Compare and contrast a leopard’s role in the animal

kingdom with a chief’s role in society.

What other animals are symbols of power in art

or literature?

10

5

Headrest, late 19th century

Yaka, Democratic Republic of Congo, Africa

wood and copper 6 1/2 x 8 11/16 x 4 1/2 inches Museum Purchase 20:1942

6

Headdress, early 20th century

Bamana, Mali, Africa

wood, pigment, and metallength: 25 3/16 inchesMuseum Shop Fund 68:1998

Political Order Masks and Festivals

This mask, with its big forehead, arched eyebrows, and

small, rectangular mouth, represents the great hunter

Sachihongo. Masks like this once performed during

the Mbunda (im BOON dah) ceremony when boys

were “stolen” from their mothers and taken away

to learn the responsibilities of men. The performance

celebrated the change from boyhood to manhood

and entertained the boys’ mothers. The Mbunda do

not practice this ceremony today, and only a few of

these masks still exist. Dancers now wear these large

masks to perform at weddings, political events,

and other parties. Although these masks no longer

celebrate the coming-of-age of Mbunda males, they

are still strong symbols of Mbunda culture.

For younger students

Make a list of adjectives that describe this mask.

Use your hands to show how big you think this mask is.

Check your answer with the measurements. How close

were you?

For older students

Many masks, including this one, were worn with a

costume. Examine the details on the mask and use your

imagination to describe the costume that you would

wear with it. (Consider designs, symbols, and materials.)

The Mbunda people used this mask in a ceremony

that celebrated the transformation into adulthood.

What ceremonies in our society mark similar changes?

13

Masks like this one are models of beauty and behavior

for the Mende (MEN day) people. The polished black

color refers to beautiful black skin, and the neck ring

is a sign of good health. The small, closed mouth rep-

resents silence and seriousness. The square ornament

on top of the fancy, ridged hairstyle is an amulet that

protected the woman who wore this mask. In the

Mende culture, older women teach young girls how

to be good wives and mothers. When this teaching

period is over, the girls are initiated into the women’s

secret society, and dancers perform wearing masks

like this one. These masks are unique because they

are the only masks worn by women in West African

celebrations. The Mende still hold these traditional

coming-of-age masquerades.

For younger students

What are some words that we normally use to describe

masks? Would you use the same words to describe this

mask? Why or why not?

Where and how do young people in our society learn

to be good parents?

For older students

Compare and contrast this mask with one from another

African culture, considering both its use and appearance.

What ceremonies do people hold in our culture to

mark important events in their lives?

12

7

Initiation Mask, first half 20th century

Mende, Sierra Leone, Africa

wood15 1/2 x 8 3/4 x 12 inchesFriends Fund 206:1992

8

Mask, 19th century

Mbunda, Zambia, Africa

wood, fiber, and pigmentdiameter: 30 inchesPartial gift of Thomas Alexander and Laura Rogers, and funds givenby the John R. Goodall Charitable Trust, the McMillan-Avery Fundof the St. Louis Community Foundation, Dr. and Mrs. William H.Danforth, Mr. and Mrs. Sam Langsdorf Jr., Mr. and Mrs. JeffersonMiller, Ms. Jane Stamper, The Gateway Apparel CharitableFoundation, Mr. and Mrs. Charles F. Knight, Mr. and Mrs. WilliamF. Schierholz, and donors to the 1993 Art Enrichment Fund 6:1994

Masks and Festivals Masks and Festivals

This collage of bones and other powerful objects once

hung on the wall in a men’s meeting house. It was an

emblem for the group known as the Leopard Spirit

Society, which governs some villages in West Africa.

The skulls are probably from animals that the Society’s

members hunted and then ate during a group feast.

The drum at the center of the emblem looks like drums

that the members play during the Society’s masquerades.

The group’s messengers also beat drums like this when

they make announcements to the people of a town.

The brooms to either side of the drum swept evil

away from the Society’s members. All these details

combine to represent the Society and its activities and

to keep the men who belonged to the group safe.

For younger students

Artists used wood, bone, fiber, hide, metal, and cloth

to make this emblem. How many of those materials

can you find in the picture of the emblem?

If you were going to make an emblem for a group that

you belong to, what kinds of objects would you put on

it? Why?

For older students

The artists who made this emblem included skulls from a

variety of animals such as bush cows, gorillas, monkeys,

and small antelopes. Which ones can you identify?

Groups like the Leopard Spirit Society are known as

“secret societies” because you have to be a member to

learn details about the group’s business and rituals.

What organizations, if any, have a similar rule in our

society? What positive or negative effects do these groups

have on the community as a whole?

15

This is a very rare, double-faced mask. The two faces

represent twins, who are very special in Yoruba

(yur ah bah) culture. Twins bring good luck to the

family and to the women who have them. A performer

wore this mask in rituals of the Gelede (geh luh day)

Society, which is a group that honors women. Gelede

performances entertain the elder mothers in Yoruba

villages. When these older women are happy, the

Yoruba believe that young women are more likely

to have many healthy children. To emphasize the idea

of fertility, the hairstyles on this mask have braids on

the sides that look like rows of crops in a farmer’s

field. Just as food is essential for survival, having

children is essential for society to survive.

For younger students

Look at the two faces closely. Are they identical? If not,

how are they different?

Make up a story about the two faces on this mask.

What are their names? How old are they? Where do

they live?

For older students

How do you think this mask was worn? How does

that compare to other masks in this packet?

This mask recognizes the importance of children and

food to ensure a society’s survival. What else does our

culture need to survive and continue into the future?

14

9

Mask, early 20th century

Yoruba, Nigeria, Africa

wood and traces of indigo13 1/2 x 10 1/8 x 8 11/16 inches Museum Shop Fund 67:1995

10

Leopard Society Emblem, early to mid-20th century

Ejagham, Nigeria, Africa

wood, bone, fiber, hide, metal, and cloth44 1/2 x 45 3/4 x 9 inchesGift of Thomas Alexander and Laura Rogers 187:2003

Masks and Festivals Power Objects

These small figures represent twins. They stand

perfectly straight on small, round bases and have

large heads, long arms, and very short legs. Both

wear tall, elaborate hairstyles. In Yoruba (yur ah bah)

society, parents ask artists to make small figures like

these when one or both of their twin children have

died. The mother, or the living twin (if a girl), carries

the figures wrapped inside her robe, as she would

carry a living child. The mother may also place the

figures in a shrine in her room. The Yoruba believe

that the children’s souls dwell within the sculptures,

so the figures are fed, dressed, and cared for as if

they were real children.

For younger students

How big do you think these figures are? Check your

answer with the measurements.

Family members regularly dressed these figures in

elaborate costumes. Today, they are still wearing jewelry.

Use your imagination to describe how their living

relatives might have dressed them.

For older students

The size of the figures’ heads and their tall, elaborate

hairstyles indicate the importance that the Yoruba place

on the head of an individual. Compare the hairstyles of

the twin figures to the hairstyles on other representations

of people in this packet. What are some of the similarities

and differences?

How do other cultures and societies mourn those who

have died?

17

This figure’s bold face and pose were designed to

protect a Kota (KOH tuh) family. The Kota people

believe that relics—the bones and personal objects of

their ancestors—are very powerful. Families once put

these relics in containers called reliquaries and kept

them on the porches of their homes. This figure sat

on top of a reliquary in order to gain power from the

items inside. Aided by the power of the relics, the

skeletal face, staring eyes, bared teeth, and shiny

surface would have frightened away evil forces.

For younger students

Which geometric shapes do you see in this figure? Do

any of these shapes remind you of the human body?

If you made a figure to guard items that are important

to you, what would it look like?

For older students

How do you think this sculpture was made? (Consider

the materials used in its creation: wood, brass, copper,

and iron.)

Why do you think people regard relics with such

importance? What are some aspects of relics that give

them their power?

16

11

Reliquary Figure, 1880–1910

Kota, Gabon, Africa

wood, brass, copper, and iron25 1/2 x 16 1/4 x 4 1/2 inchesFunds given by May Department Stores Company, and gift of Mr. and Mrs. Alvin S. Novack, Morton D. May, Ernest Anspach,Thomas Alexander, Michael Roth, J. Lionberger Davis, Jerry O.Wilkerson, and bequest of Morton D. May, by exchange; MuseumPurchase and Friends Fund 23:1989

12

Twin Figures (ibeji), early 20th century

Yoruba, Nigeria, Africa

wood, fiber, and beads11 15/16 inches Gift of Dr. Donald M. Suggs 224:1977.1,.2

Power Objects Power Objects

19

Mythical CreaturesAll cultures have myths that explain important parts

of their history. Show the Headdress (poster 6) and

discuss the Chi Wara myth with your students.

Have each student invent a creature and then write

a myth in which the creature helps humans in some

way and humans show their appreciation.

For younger studentsAsk each student to use words and pictures to tell a story about an animal that helps humans.

For older studentsEach student can choose another creature myth toinvestigate (mermaid, phoenix, Loch Ness Monster, etc.)and then write a fictitious account about witnessingone of the creature’s appearances.

MAP Content Standards: CA1, CA4, CA6, FA5MAP Process Standards: 1.5, 2.1, 2.2, 2.4

18

The following teaching suggestions are designed for arange of grade levels. For each suggestion, the generalentry on the left introduces the main idea of the suggestionand the related artworks. The activity in this general

entry may be most appropriate for middle school students.Incorporate the variations for younger or older studentsto customize the activity for your class.

Images of PowerSome African people use power objects to ensure

good health or to protect themselves. In this packet,

the Leopard Society Emblem (poster 10), Reliquary

Figure (poster 11), and Twin Figures (poster 12) are

power objects. Have each student choose one object

and then find out how it was originally displayed and

used. Ask students to imagine that they are archaeolo-

gists who discovered their chosen object in its original

setting and have them write about that experience.

For younger studentsAs a class or working in small groups, have studentslist objects that people use and things that people do to protect themselves from sickness in our culture.

For older studentsAsk students to compare the role of relics and theappearance of reliquaries in two different cultures (one being an African culture) and then write a report or deliver a presentation to the class.

MAP Content Standards: CA3, CA4, FA3, FA5MAP Process Standards: 1.2, 1.9, 2.2, 4.7

Creating with WordsThroughout Africa’s history, performers have recited

poetry before audiences, often with musicians and

dancers accompanying them. Ask each student to

choose one of the objects in this packet as inspiration

for a poem. Have each student use the title of the

artwork or a word that describes the object to compose

an acrostic poem. (Ask students to write the titles or

adjectives vertically on their papers and then use each

letter to begin a new word or phrase about the objects.)

For younger students Ask each student to compose a “five senses poem” aboutone of the objects in this kit. (In this type of poem, eachline focuses on a different sensory experience.) You mayprovide prompts for each line of the poem.

For older studentsHave each student choose an object and write a diamante poem to describe it. (A diamante poem is adiamond-shaped poem with seven lines consisting ofnouns on the first and last lines, adjectives on the second and sixth lines, gerunds on the third and fifthlines, and nouns or a short phrase on the central line.)

MAP Content Standards: CA2, CA4, CA7, FA3MAP Process Standards: 1.5, 1.6, 2.1, 2.4

Communication Arts Teaching Suggestions

Gender Roles Although the societal roles of women and men may be

vastly different, the importance of each gender’s role is

frequently recognized in African art. Discuss the Mende

Initiation Mask (poster 7), Mbunda Mask (poster 8),

and Yoruba Mask (poster 9) and how they acknowledge

the roles of women and men in African society. Ask

students to brainstorm about the ways that women and

men work together in society today and have them use

mixed media such as painting and collage to represent

their ideas.

For younger students Have students make drawings or collages that depictgirls and boys helping each other accomplish an important project.

For older studentsDiscuss conditions or issues that might help or hindergender equality in society, especially in the workplace,and then ask students to design posters that promotegender equality. Students could produce limited-editionposters with wood or linoleum block printing, lithog-raphy, serigraphy, or a computer.

MAP Content Standards: FA2, FA4, FA5, SS6MAP Process Standards: 1.10, 3.1, 4.2, 4.3

Personal Symbols People have always used art to communicate ideas.

Have students discuss the symbolism of the Head of

an Oba (poster 2), Knife (poster 4), Leopard Society

Emblem (poster 10), and Reliquary Figure (poster 11).

Artists also use animals as symbols in many cultures.

Show the Headrest (poster 5) and talk about the

symbolism of a leopard. Using the works as inspiration,

have students paint or construct symbols for themselves,

a family or community member, or a club to which

they belong.

For younger studentsAsk each student to draw a picture of a favorite animaland make a list of the qualities associated with it.

For older studentsHave students investigate the use of animals as symbols in other cultures, making lists of animals andthe meanings associated with them. Students can usethat information to construct symbols for themselves, a family or community member, or a club to whichthey belong. As an extension activity, students couldwork together to design a wall mural that incorporatesevery classmate’s symbol.

MAP Content Standards: FA1, FA3, FA5, SC3MAP Process Standards: 1.5, 1.6, 2.4, 2.5

Fine Arts Teaching Suggestions

Discovering MasksMany African cultures make and use masks for impor-

tant occasions. Have students examine the posters and

compare all the works that were once worn on a dancer’s

head. After choosing a type of head covering they want

to make (helmet mask, face mask, or headdress) and a

motif to use on it (face, animal, etc.), students can draw

designs for their own creations. Have them transform

those designs into three dimensions using art materials

available in the classroom (clay, papier-mâché, cardboard,

construction paper, etc.).

For younger studentsDiscuss the appearance of the Headdress (poster 6)with your students. Have them search for pictures ofantelopes or other horned animals to use as inspirationfor their own horned headdresses, which they can makefrom construction paper or other classroom materials.

For older studentsHave students work in groups to plan a festival arounda theme. Ask the groups to construct masks that reflecttheir themes.

MAP Content Standards: FA1, FA2, FA4, MA2MAP Process Standards: 1.5, 1.9, 2.5, 4.1

21

Emblems and Identity Many groups create distinctive badges or emblems as

symbols that identify them. Discuss the Leopard Society

Emblem (poster 10) with your students, considering

the materials that were used to make it and how it

represents the group that used it. Have students work

in teams to design and construct a class emblem.

To reflect the Leopard Society Emblem, ask students

to include musical instruments within the emblem.

The instruments can be played during an emblem

dedication ceremony.

For younger students Ask students to draw objects that are important tothem (or to bring objects from home) and help studentsassemble the pieces together to create a class emblem.Celebrate the finished emblem by providing the studentswith a variety of improvised percussive instruments sothey can dance and play music.

For older studentsHave students compose an instrumental score and/orlyrics for a class anthem that refers to ideas expressedby their class emblem. Students could choreographmovements to accompany the anthem.

MAP Content Standards: CA5, CA6, FA3, FA4MAP Process Standards: 1.5, 2.3, 2.5, 4.6

20

Kinetic/Performing Arts Teaching Suggestions

What’s My Story?Each of the objects in this packet can tell a story.

Have each student choose an object in the packet and

then research the object and the culture that made it.

Students can assume the role of their objects and

write stories (using the first person) about the objects’

creation or functions in the community. Ask students

to perform their stories before the class.

For younger studentsPlay a game in which each student gives voice to one ofthe objects and the class guesses which object is speaking.

For older studentsAsk students to add props and costumes to their oralpresentations.

MAP Content Standards: CA1, CA3, CA5, FA4MAP Process Standards: 1.1, 1.2, 1.7, 2.1

Animal Tales Storytelling is an important form of performance art in

many cultures. In Africa, stories often feature animals

as the main characters. Ask students to look through the

posters in this packet and make a list of all the animals

they see. Choose an African story that includes one

of these animals, such as Leelee Goro or Half-a-Ball-

of-Kenki (see the Suggested Resources on page 25),

and read it to the class while modeling successful

storytelling techniques. Divide the students into small

groups and have them prepare an African story that

features animals for an oral performance, such as a

choral reading.

For younger studentsChoose an African story that focuses on animals andhave the students act out the story as you read it aloud.

For older studentsHave students conduct research on African folktalesand choose one, editing it as necessary in order todeliver it before the class. If working in groups, studentsmight write and perform a play based on the story.

MAP Content Standards: CA1, CA2, CA5, CA6MAP Process Standards: 1.5, 2.1, 2.2, 4.6

Rulers in SocietyIn Africa and many other countries, leaders use

architecture and art to show their power and to set

themselves apart from the people they rule. Have students

examine the Royal Chair (poster 1), Head of an Oba

(poster 2), Plaque (poster 3), and Headrest (poster 5),

and discuss how those objects reinforce ideas of authority

or leadership. Ask students to choose a utilitarian object

and design it for a leader’s use, including scenes or

symbols that communicate ideas of power.

For younger studentsAsk students to draw a picture of a chair that a king or queen could use when he or she is crowned for thefirst time.

For older studentsHave students research a leader and use what theylearn about his or her background and responsibilitiesto design a utilitarian object for that leader’s use.

MAP Content Standards: SS3, SS6, FA1, FA5MAP Process Standards: 1.9, 2.4, 2.5, 4.3

Social Studies Teaching Suggestions

Food for CelebrationIn Africa and other cultures, food is an important part

of festivals. As a class, look through the posters and

separate the objects used in festivals or celebrations.

Ask students what the festival objects have in common

and how they differ. Discuss various festivals held in

the Midwest, and ask students to write a summary

about a festival that features a seasonal food item

such as strawberries, corn, or apples.

For younger studentsEncourage students to think of a food that is part of a special occasion in their home or community, andask them to draw a picture of the celebration (includingthe food).

For older students Ask students to research and compare a seasonal festivalfrom another culture with one celebrated in their region.Students can organize their research in an outline orVenn diagram and then write a report. Students mayalso design posters or dioramas to inform others aboutthe festivals they researched.

MAP Content Standards: SS5, SS6, CA1, CA4MAP Process Standards: 1.6, 1.8, 1.9, 2.1

Art for TeachingSome African artworks are associated with the

traditional education of young women and men.

Show students the Mende Initiation Mask (poster 7)

and the Mbunda Mask (poster 8), and discuss their

original and current roles in their respective societies.

Brainstorm with the class about responsibilities and

skills that young people in our culture learn in prepara-

tion for adulthood and compare those to ones that past

generations (such as grandparents) may have learned.

Have each student choose one responsibility from the

discussion and give a class presentation about its

importance for both an individual and a community.

For younger studentsAs a class, make a list of activities that the students do regularly (tie their shoes, brush their teeth, etc.), and then discuss how and where those activities werelearned and why they are important.

For older students Have students write a report and/or create illustrated posters about a woman or man whoachieved recognition either for following a traditionalpath in life or for breaking with tradition and forgingan unconventional path.

MAP Content Standards: SS2, SS6, HP2, CA6MAP Process Standards: 1.10, 4.3, 4.7, 4.8

23

Exploring the EnvironmentThe objects in this packet reflect the traditions and

lifestyles of many different ethnic groups. Have students

sort the objects based on the people that created them

(Edo, Chokwe, Yoruba, etc.). Students can work

together to research one of those cultures, paying

particular attention to the environment in which the

culture lives, specifically the climate, flora, and fauna.

Ask students to prepare a class presentation on the

culture they researched, incorporating posters, maps,

and/or photographs as appropriate.

For younger studentsAs a class, discuss one or more of the environmentsfound in Africa (rainforest, desert, grassland, etc.),focusing on the weather and seasons. After the discussion, ask students to draw or paint pictures of one of the regions. Assemble the pictures in a class book on Africa.

For older studentsHave each student write a report or prepare a classpresentation (using posters, transparencies, Power Point,and/or multimedia) on an African culture included inthis packet. Ask students to focus on the environment in which the culture lives, highlighting how the environment has affected the culture’s lifestyle and traditions and vice versa.

MAP Content Standards: SC4, SC8, SS5, SS7MAP Process Standards: 1.4, 1.8, 1.9, 2.7

22

Science and Math Teaching Suggestions

How Was It Made?African artists worked with materials that were part

of their everyday world or available through trade

networks. Have students work in teams to determine

what materials artists used to make the objects in this

packet. Once a list of materials has been compiled,

ask groups to develop a classification system for the

materials. Examples of classification systems include

the source or type of the material (animal, vegetable,

mineral) or the process used to prepare it (cast, carved,

processed, found). What generalizations can students

make about artists and their materials based on the

information in their lists?

For younger students As a class, put each artwork in this kit into one ofthree categories: wood, metal, or other, and discuss the physical properties of both wood and metal.

For older studentsAsk students to select an object, investigate the materialsused in its construction, and prepare a report. Reportscould include information about where the materialscame from, whether they were found or cultivated, andhow use of those materials affects the environment.

MAP Content Standards: SC1, SC4, SC8, CA6 MAP Process Standards: 1.6, 2.3, 2.4, 3.5

Twins The Yoruba believe that twins are good luck. Have

students compare and contrast the two Yoruba art-

works that feature twins: the Mask (poster 9) and

Twin Figures (poster 12). Representations of twins

may be common in Yoruba art because the Yoruba

have a higher rate of twin births than most other

cultures and countries—about 4 percent of Yoruba

births are twin births. Have students calculate how

many births are expected to be twin births if the total

number of births in a year is 100, 1,000, 10,000, or

choose random numbers.

For younger studentsShow the class the Twin Figures and ask students howmany arms, legs, toes, etc. the twins have in total. Then ask more complicated word problems such as,“If both twins own two bracelets each, how many totalbracelets do the twins have?” Ask students to writemathematical expressions to represent the problems.

For older studentsHave students search for the incidence of twin births in various cultures and then compare those statistics to the incidence of twin births among the Yoruba.Students can record their findings on a chart specifying,for example, total number of births in a given period,percentages of twin births, and the number of twinbirths out of 1,000. Ask students to write a summaryof their findings, including citations for their research.

MAP Content Standards: MA1, MA3, MA4, MA5MAP Process Standards: 3.1, 3.3, 3.4, 4.1

Art for SleepingA pillow can affect how well a person sleeps and how

rested, alert, and energetic he or she feels the next day.

Lead a discussion about the Headrest (poster 5) with

your class, concentrating on how it was made and how it

was probably used, and compare it to pillows that we

use today. Have students focus on their sleep experiences

for a week by keeping “sleep logs,” including, for

example, when they went to bed and when they awoke.

After a week, have students look for patterns in their

sleep-related behaviors.

For younger studentsAsk students to compare their own pillows with theHeadrest. Have them draw or paint pictures of them-selves, another family member, or their pets sleeping,and, as a group, discuss the importance of getting agood night’s sleep.

For older studentsDiscuss the field of sleep medicine with your studentsand have them choose a sleep issue to investigate(sleep apnea, insomnia, narcolepsy, etc.). Ask studentsto write reports about the conditions, their possiblecauses, and treatments.

MAP Content Standards: SC3, MA3, HP2, HP3MAP Process Standards: 1.6, 3.1, 3.4, 3.5

25

Glossary of African Terms

aardvark—a nocturnal, almost hairless animal, with

a humped body, powerful claws for digging, long

snout, sticky tongue, and no teeth; feeds on ants

and termites

amulet—a small personal ornament that contains

powerful ingredients; used to provide its owner with

magical protection or powers

Chi Wara (chee WAH rah)—the mythical creature or

spirit who taught the Bamana people how to farm

coming-of-age—a point in time, determined by a culture,

when a child is recognized as an adult; many African

cultures celebrate this occasion with a ceremony

diviners—individuals who use supernatural powers to

foretell future events, resolve conflicts, communicate

with the spirit world, and create medicines that protect

and heal

emblem—a design or an object used as a symbol to

represent a group; emblems are often used to protect

the group from evil

fertility—the ability to produce offspring, crops,

or vegetation in abundance

Gelede (geh luh day) Society—a group within the

Yoruba culture whose performances are meant to

honor and please women elders, ancestors, and deities

headrest—a piece of furniture that supports one’s

head while sleeping; wooden headrests are found

throughout Africa

initiation—the period of training and the ceremonies

that mark the transition from one life stage to another;

in African cultures this period often refers to the time

when a boy or girl is welcomed into adulthood

Leopard Spirit Society—a men’s group in the Cross

River region in Nigeria and Cameroon whose rituals

invoke and keep peace with the leopard spirit; the

group uses its power to govern the community, make

decisions, and control fines and punishment

lineage house—a multi-chambered dwelling where

all members of an extended family live together

masquerade—an event that may involve masks,

costumes, music, dance, and poetry; masquerades are

held during rituals, ceremonies, festivals, and other

celebrations for a variety of purposes

masquerader—someone who performs in a celebratory

event, usually wearing a mask and costume; these

performers entertain and/or are entertained by the

community as they take on the presence of gods,

ancestors, or other spirits

oba—king or ruler of the Kingdom of Benin

pangolin—a scaly, nocturnal animal with a small

humped body, long snout, sticky tongue, and no teeth;

feeds on ants and termites; when threatened, this

animal rolls into a ball and protects itself with

its hard scales

relics—remains or personal items of a deceased person;

in many African cultures the bones and personal

objects of ancestors are thought to be very powerful

and are usually placed in special containers or locations

reliquary—a container that holds the remains, such

as bones or hair, or personal items, such as a piece

of cloth, of a deceased person

secret society—a group that requires its members to

keep certain activities, knowledge, and traditions

hidden from nonmembers

shrine—a special container or place where items

relating to a deceased person are kept and honored

24

Books for Younger StudentsAardema, Verna. Misoso: Once Upon a Time Tales

from Africa. New York: Knopf, 1994.

The author collected the 12 entertaining folktales

in this book from different parts of Africa. The book

contains Leelee Goro, a Temne tale that includes an

antelope and a leopard, and Half-a-Ball-of-Kenki, an

Asante tale about a fly and a leopard.

Bingham, Jane. African Art & Culture. Chicago:

Raintree, 2004.

This book introduces Africa, its history, and its art,

including architecture, body adornment, masks, metal-

work, textiles, and woodcarving. It has a glossary and

a variety of color photographs.

Harvey, Miles. Look What Came from Africa. New

York: Franklin Watts, 2002.

This richly illustrated book describes many things that

originally came from Africa such as art, music, fashion,

food, and animals.

Knight, Margy Burns, and Mark Melnicove. Africa Is

Not a Country. Brookfield, CT: The Millbrook Press,

2000.

By highlighting the daily lives of African children in

different countries, this award-winning book introduces

the diversity that exists across the African continent.

Stelzig, Christine. Can You Spot the Leopard?: African

Masks. Munich and New York: Prestel, 1997.

Part of the Adventures in Art series, this book describes

masks used in the ceremonies of African peoples. Imagery

and function are discussed in entertaining language.

Books for Teachers and Older StudentsMeyer, Laure. Art and Craft in Africa: Everyday Life,

Ritual, Court Art. Paris: Finest S.A./Editions Pierre

Terrail, 1995.

Arranged thematically, this book focuses on furnishings,

culinary arts, textiles, jewelry, weapons, and regalia.

———. Black Africa: Masks, Sculpture, Jewelry. Paris:

Finest S.A./Editions Pierre Terrail, 1992.

This book describes the role of masks and reliquaries

in African cultures and the use of terracotta, bronze,

ivory, and gold to make sculptures and other objects.

Perani, Judith, and Fred T. Smith. The Visual Arts of

Africa: Gender, Power, and Life Cycle Rituals. New

Jersey: Prentice Hall, Inc., 1998.

This book provides a comprehensive introduction

by geographic region of the important traditions of

African art within their individual artistic and historical

contexts. It addresses all art forms and mediums.

Phillips, Tom. Africa: The Art of a Continent. London:

Royal Academy of Arts, 1995.

Associated with an exhibition at the Guggenheim

Museum, this book provides a survey of African artworks,

including catalogue entries and essays that discuss the

nature of African art and its appreciation.

Tembo, Mwizenge. Legends of Africa. New York:

MetroBooks, 1996.

This book focuses on African myths, folktales, and

traditional and contemporary legends. It includes many

color photographs of people and art, a bibliography,

and a glossary.

Willett, Frank. African Art. 3rd ed. New York:

Thames and Hudson, 2003.

Part of the World of Art series, this book addresses the

development of African art studies and includes chapters

on architecture, sculpture, and contemporary art.

Suggested Resources

2726

Africa: One Continent, Many Worlds

http://www.nhm.org/africa

This resource has a student-friendly format and

provides information on African history, a database of

African art images, and ideas for classroom activities.

Many themes, including art, society, and natural history,

are addressed. The site is a collaborative project

between the Field Museum in Chicago, the Natural

History Museum of Los Angeles County, the California

African American Museum, and the Armory Center

for the Arts.

Art and Life in Africa Online

http://www.uiowa.edu/~africart/toc/index.html

This site contains information about African art and

culture, including facts on over 100 African cultures in

the “Peoples Resources” section. Some of the material

on this site was adapted from the Art and Life in Africa

CD-ROM produced by The University of Iowa. This

site is appropriate for educators or older students.

EDSITEment

http://edsitement.neh.gov/subject_categories_all.asp

In the History and Social Studies subject category,

“World History: Africa” provides access to lesson plans

that focus on African masks, art from Benin, and women

in Africa. Cross-cultural lesson plans on animal fables,

including African stories, are also available. This site

was developed by the National Endowment for the

Humanities, the Council of the Great City Schools,

the MarcoPolo Foundation, and the National Trust

for the Humanities.

Facing the Mask

http://www.africanart.org/facingthemask/home.html

Presented by the Museum for African Art in New York,

this website focuses on African masks. The site includes

student-friendly information in the “For Families” section

and a teacher’s guide that encourages interdisciplinary

study. The teacher’s section also contains a map, glossary,

and bibliography.

National Museum of African Art, Smithsonian

Institution

http://www.nmafa.si.edu/pubaccess/index.htm

This extensive resource for educators and older students

allows users to explore the museum’s collection themat-

ically. Three themes are included: the diversity of African

art, the uses of African art, and imagery in African art.

The site also includes a list of useful books and websites.

These sites were last accessed on October 25, 2005.

Useful Websites Information about the CD

Minimum system requirements:

For Windows

Windows 98, Pentium II processor, 64MB RAM

Windows 2000, Pentium III processor, 128MB RAM

Windows XP, Pentium III processor, 128MB RAM

800 x 600 monitor with medium (16-bit) color quality

For Macintosh

Power Macintosh G3, Operating System 10.1.5 or

higher, 128MB RAM

800 x 600 monitor with thousands of colors

If the program does not auto-start after the CD is inserted

into the CD drive:

For Windows

Select My Computer and double-click on the CD

drive, usually labeled (D:). If necessary, double-click

on the “Art_of_Africa_for_PC” file, which is marked

by a round icon containing an orange graphic.

For Macintosh

Double-click on the Art of Africa CD icon on the

desktop. Then double-click on the file titled “Art of

Africa for Mac.osx,” which is marked by a round

icon containing an orange graphic.

28

One Fine Arts Drive, Forest Park, St. Louis, Missouri 63110-1380Telephone 314.721.0072 www.slam.org© 2005 Saint Louis Art Museum