document_title: African art

question_text: the earliest known form of african art is

question_tokens: the earliest known form of african art is

text: African art

text: Thematic elements[edit]

text:
Artistic creativity or Expressive individualism: In Western African art in particular, there is a widespread emphasis on expressive individualism while simultaneously being influenced by the work of predecessors. An example would be Dan artistry as well as its presence in the Western African diaspora.[8][9]
Emphasis on the human figure: The human figure has always been the primary subject matter for most African art, and this emphasis even influenced certain European traditions.[6] For example, in the fifteenth century Portugal traded with the Sapi culture near Ivory Coast in West Africa, who created elaborate ivory saltcellars that were hybrids of African and European designs, most notably in the addition of the human figure (the human figure typically did not appear in Portuguese saltcellars). The human figure may symbolize the living or the dead, may reference chiefs, dancers, or various trades such as drummers or hunters, or even may be an anthropomorphic representation of a god or have other votive function. Another common theme is the inter-morphosis of human and animal.
Visual abstraction: African artworks tend to favor visual abstraction over naturalistic representation. This is because many African artworks generalize stylistic norms.[10] Ancient Egyptian art, also usually thought of as naturalistically depictive, makes use of highly abstracted and regimented visual canons, especially in painting, as well as the use of different colors to represent the qualities and characteristics of an individual being depicted.[11]
Emphasis on sculpture: African artists tend to favor three-dimensional artworks over two-dimensional works. Even many African paintings or cloth works were meant to be experienced three-dimensionally. House paintings are often seen as a continuous design wrapped around a house, forcing the viewer to walk around the work to experience it fully; while decorated cloths are worn as decorative or ceremonial garments, transforming the wearer into a living sculpture. Distinct from the static form of traditional Western sculpture African art displays animation, a readiness to move.[12]

text:
Emphasis on performance art: An extension of the utilitarianism and three-dimensionality of traditional African art is the fact that much of it is crafted for use in performance contexts, rather than in static ones. For example, traditional African masks and costumes very often are used in communal, ceremonial contexts, where they are "danced." Most societies in Africa have names for their masks, but this single name incorporates not only the sculpture, but also the meanings of the mask, the dance associated with it, and the spirits that reside within. In African thought, the three cannot be differentiated.
Nonlinear scaling: Often a small part of an African design will look similar to a larger part, such as the diamonds at different scales in the Kasai pattern at right. Louis Senghor, Senegal's first president, referred to this as "dynamic symmetry." William Fagg, the British art historian, compared it to the logarithmic mapping of natural growth by biologist D'Arcy Thompson. More recently it has been described in terms of fractal geometry.[13]

text: Scope[edit]

text: The study of African art until recently focused on the traditional art of certain well-known groups on the continent, with a particular emphasis on traditional sculpture, masks and other visual culture from non-Islamic West Africa,  Central Africa, and Southern Africa with a particular emphasis on the 19th and 20th centuries. Recently, however, there has been a movement among African art historians and other scholars to include the visual culture of other regions and time periods. The notion is that by including all African cultures and their visual culture over time in African art, there will be a greater understanding of the continent's visual aesthetics across time. Finally, the arts of the people of the African diaspora, in Brazil, the Caribbean and the southeastern United States, have also begun to be included in the study of African art.

text: Materials[edit]

text: African art takes many forms and is made from many different materials. Most African artworks are wood sculptures, probably because wood is a very widespread material. Jewellery is a popular art form and is used to indicate rank, affiliation with a group, or purely for aesthetics.[14] African jewelry is made from such diverse materials as Tiger's eye stone, haematite, sisal, coconut shell, beads and ebony wood. Sculptures can be wooden, ceramic or carved out of stone like the famous Shona sculptures,[15] and decorated or sculpted pottery comes from many regions. Various forms of textiles are made including chitenge, mud cloth and kente cloth. Mosaics made of butterfly wings or colored sand are popular in west Africa.

text: Traditional African religions[edit]

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text: The Traditional African religions had been influential in African art. The very nature of African art stem from their themes of religious symbolism, functionalism and utilitarianism. In the various Traditional African beliefs, Africans draw from their artistic traditions as sources of inspiration. "These images have religio-metaphysical themes, which serve as the focal point of power, which links the African’s physical world to his beliefs on his essence and existence. Indeed the African art reflect images of ancestral spirits, and pantheons of indigenous gods and goddesses."[16]

text: History[edit]

text: The origins of African art lie long before recorded history. African rock art in the Sahara in Niger preserves 6000-year-old carvings.[17]  Along with sub-Saharan Africa, the western cultural arts, ancient Egyptian paintings and artifacts, and indigenous southern crafts also contributed greatly to African art. Often depicting the abundance of surrounding nature, the art was often abstract interpretations of animals, plant life, or natural designs and shapes. The Nubian Kingdom of Kush in modern Sudan was in close and often hostile contact with Egypt, and produced monumental sculpture mostly derivative of styles that did not lead to the north. In West Africa, the earliest known sculptures are from the Nok culture which thrived between 500 BC and 500 AD in modern Nigeria, with clay figures typically with elongated bodies and angular shapes.

text: More complex methods of producing art were developed in sub-Saharan Africa around the 10th century, some of the most notable advancements include the bronzework of Igbo Ukwu and the terracottas and metalworks of Ile Ife Bronze and brass castings, often ornamented with ivory and precious stones, became highly prestigious in much of West Africa, sometimes being limited to the work of court artisans and identified with royalty, as with the Benin Bronzes.

text: Influence on Western art[edit]

text: During and after the 19th and 20th century colonial period, Westerners long characterized African art as "primitive."  The term carries with it negative connotations of underdevelopment and poverty. Colonization during the nineteenth century set up a Western understanding hinged on the belief that African art lacked technical ability due to its low socioeconomic status.

text: At the start of the twentieth century, art historians like Carl Einstein, Michał Sobeski and Leo Frobenius published important works about the thematic, giving to African art the status of aesthetic object, not only of ethnographic object.[18] At the same time, artists like Pablo Picasso, André Derain, Henri Matisse, Paul Gauguin, Joseph Csaky, and Amedeo Modigliani became aware of, and inspired by, African art.[6] In a situation where the established avant-garde was straining against the constraints imposed by serving the world of appearances, African art demonstrated the power of supremely well-organized forms; produced not only by responding to the faculty of sight, but also and often primarily, the faculty of imagination, emotion and mystical and religious experience. These artists saw in African art a formal perfection and sophistication unified with phenomenal expressive power. The study of and response to African art, by artists at the beginning of the twentieth century facilitated an explosion of interest in the abstraction, organisation and reorganisation of forms, and the exploration of emotional and psychological areas hitherto unseen in Western art. By these means, the status of visual art was changed. Art ceased to be merely and primarily aesthetic, but became also a true medium for philosophic and intellectual discourse, and hence more truly and profoundly aesthetic than ever before.[citation needed]

text: Influence on Western architecture[edit]

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text: European architecture was strongly influenced by African art. Pioneers like Antonio Sant'Elia, Le Corbusier, Pier Luigi Nervi, Theo van Doesburg and Erich Mendelsohn were also sculptors and painters. During the 1950s, European architects transformed buildings into big-scale sculptures, replacing unnecessary decoration (so criticized by Adolf Loos), by integrating textured murals and large bas-reliefs in walls. During the 1960s, African art influenced Brutalism, both in language and symbolism, particularly in the late Le Corbusier, Oscar Niemeyer and Paul Rudolph. The powerful work of John Lautner reminds of artifacts from the Yoruba; the sensual projects of Patricio Pouchulu honour the bare wooden sculptures of the Dogon and Baoulé. Unlike Europe, African art never established boundaries between body art, painting, sculpture and architecture; thanks to this, Western architects can now extend towards different art expressions.

text: Traditional art[edit]

text: Traditional art describes the most popular and studied forms of African art which are typically found in museum collections.

text: Wooden masks, which might either be of human, animal or mythical creatures, are one of the most commonly found forms of art in western Africa. In their original contexts, ceremonial masks are used for celebrations, initiations, crop harvesting, and war preparation. The masks are worn by a chosen or initiated dancer. During the mask ceremony the dancer goes into deep trance, and during this state of mind he  "communicates" with his ancestors. The masks can be worn in three different ways: vertically covering the face: as helmets, encasing the entire head, and as crest, resting upon the head, which was commonly covered by material as part of the disguise. African masks often represent a spirit and it is strongly believed that the spirit of the ancestors possesses the wearer. Most African masks are made with wood, and can be decorated with: Ivory, animal hair, plant fibers (such as raffia), pigments (like kaolin), stones, and semi-precious gems also are included in the masks.

text: Statues, usually of wood or ivory, are often inlaid with cowrie shells, metal studs and nails. Decorative clothing is also commonplace and comprises another large part of African art. Among the most complex of African textiles is the colorful, strip-woven Kente cloth of Ghana. Boldly patterned mudcloth is another well known technique.

text: Contemporary African art[edit]

text: Africa is home to a thriving contemporary art fine art culture.  This has been understudied until recently, due to scholars' and art collectors' emphasis on traditional art. Notable modern artists include El Anatsui, Marlene Dumas, William Kentridge, Karel Nel, Kendell Geers, Yinka Shonibare, Zerihun Yetmgeta, Odhiambo Siangla, Elias Jengo, Olu Oguibe, Lubaina Himid, and Bili Bidjocka, Henry Tayali. Art bienniales are held in Dakar, Senegal, and Johannesburg, South Africa. Many contemporary African artists are represented in museum collections, and their art may sell for high prices at art auctions. Despite this, many contemporary African artists tend to have a difficult time finding a market for their work. Many contemporary African arts borrow heavily from traditional predecessors. Ironically, this emphasis on abstraction is seen by Westerners as an imitation of European and American cubist and totemic artists, such as Pablo Picasso, Amedeo Modigliani and Henri Matisse, who, in the early twentieth century, were heavily influenced by traditional African art. This period was critical to the evolution of Western modernism in visual arts, symbolized by Picasso's breakthrough painting Les Demoiselles d'Avignon.[19]

text: Today Fathi Hassan is considered a major early representative of contemporary black African art. Contemporary African art was pioneered in the 1950s and 1960s in South Africa by artists like Irma Stern, Cyril Fradan, Walter Battiss and through galleries like the Goodman Gallery in Johannesburg. More recently European galleries like the October Gallery in London and collectors such as Jean Pigozzi,[20] Artur Walther[21]  and Gianni Baiocchi in Rome have helped expand the interest in the subject. Numerous exhibitions at the Museum for African Art in New York and the African Pavilion at the 2007 Venice Biennale, which showcased the Sindika Dokolo African Collection of Contemporary Art, have gone a long way to countering many of the myths and prejudices that haunt Contemporary African Art. The appointment of Nigerian Okwui Enwezor as artistic director of Documenta 11 and his African centred vision of art propelled the careers of countless African artists onto the international stage.

text: A wide range of more-or-less traditional forms of art, or adaptations of traditional style to contemporary taste are made for sale to tourists and others, including so-called "airport art". A number of vigorous popular traditions assimilate Western influences into African styles such as the elaborate fantasy coffins in shapes such as airplanes, cars or animals of West African cities, and the banners of clubs.

text: By country, civilizations or people[edit]

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text: West Africa[edit]

text: Nigeria[edit]

text: Nok[edit]

text: The Nok culture is an early Iron Age population whose material remains are named after the Ham village of Nok in Kaduna State of Nigeria, where their famous terracotta sculptures were first discovered in 1928. The Nok Culture appeared in northern Nigeria around 1500 BC[22] and vanished under unknown circumstances around 500 AD, thus having lasted approximately 2,000 years.[23]

text: The function of Nok terracotta sculptures remains unknown. For the most part, the terracotta is preserved in the form of scattered fragments. That is why Nok art is best known today only for the heads, both male and female, whose hairstyles are particularly detailed and refined. The statues are in fragments because the discoveries are usually made from alluvial mud, in terrain made by the erosion of water. The terracotta statues found there are hidden, rolled, polished, and broken. Rarely are works of great size conserved intact making them highly valued on the international art market. The terracotta figures are hollow, coil built, nearly life sized human heads and bodies that are depicted with highly stylized features, abundant jewelry, and varied postures.

text: Little is known of the original function of the pieces, but theories include ancestor portrayal, grave markers, and charms to prevent crop failure, infertility, and illness. Also, based on the dome-shaped bases found on several figures, they could have been used as finials for the roofs of ancient structures. Margaret Young-Sanchez, Associate Curator of Art of the Americas, Africa, and Oceania in The Cleveland Museum of Art, explains that most Nok ceramics were shaped by hand from coarse-grained clay and subtractively sculpted in a manner that suggests an influence from wood carving. After some drying, the sculptures were covered with slip and burnished to produce a smooth, glossy surface. The figures are hollow, with several openings to facilitate thorough drying and firing. The firing process most likely resembled that used today in Nigeria, in which the pieces are covered with grass, twigs, and leaves and burned for several hours.

text: As a result of natural erosion and deposition, Nok terracottas were scattered at various depths throughout the Sahel grasslands, causing difficulty in the dating and classification of the mysterious artifacts. Luckily, two archaeological sites, Samun Dukiya and Taruga, were found containing Nok art that had remained unmoved. Radiocarbon and thermo-luminescence tests narrowed the sculptures’ age down to between 2,000 and 2,500 years ago, making them some of the oldest in Western Africa. Many further dates were retrieved in the course of new archaeological excavations, extending the beginnings of the Nok tradition even further back in time.[24]

text: Because of the similarities between the two sites, archaeologist Graham Connah believes that "Nok artwork represents a style that was adopted by a range of iron-using farming societies of varying cultures, rather than being the diagnostic feature of a particular human group as has often been claimed."

text:
Nok seated figure; 5th century BC – 5th century AD; terracotta; 38 cm (1 ft. 3 in.); Musée du quai Branly (Paris). In this Nok work, the head is dramatically larger than the body supoorting it, yet the figure possesses elegant details and a powerful focus. The neat protrusion from the chin represents a beard. Necklaces from a cone around the neck and keep the focus on the face.

Nok artwork; 5th century BC – 5th century AD; length: 50 cm (19.6 in.), height: 54 cm (21.2 in.), width: 50 cm (19.6 in.); terracotta; Musée du quai Branly. As most African art styles, the Nok style focuses mainly on people, rarely on animals. All of the Nok statues are very stylized and similar in that they have this triangular shape eye with a perforated pupil, with arched eyebrows.

Male head; 550-50 BC; terracotta; Brooklyn Museum (New York City, USA). The mouth of this head is slightly open. It maybe suggests speech, that the figure has something to tell us. This is a figure that seems to be in the midst of a conversation. The eyes and the eyebrows suggest an inner calm or an inner serenity.

Male figure; terracotta; Detroit Institute of Art (Michigan, USA)

text: Benin art[edit]

text: Benin art is the art from the Kingdom of Benin or Edo Empire (1440–1897), a pre-colonial African state located in what is now known as the South-South region of Nigeria. The Benin Bronzes are a group of more than a thousand metal plaques and sculptures that decorated the royal palace of the Kingdom of Benin in what is now modern-day Nigeria.[a] Collectively, the objects form the best known examples of Benin art, created from the thirteenth century onwards, by the Edo people, which also included other sculptures in brass or bronze, including some famous portrait heads and smaller pieces.

text: In 1897 most of the plaques and other objects were taken by the British during a punitive expedition to the area as imperial control was being consolidated in Southern Nigeria.[27] Two hundred of the pieces were taken to the British Museum, London, while the rest were purchased by other European museums.[28] Today, a large number are held by the British Museum.[27] Other notable collections are in Germany and the United States.[29]

text:
Plaque with warriors and attendants; 16th–17th century; brass; height: 47.6 cm (183⁄4 in.); Metropolitan Museum of Art (New York City)

Plaque equestrian an Oba on horseback with attendants; between 1550 and 1680; brass; height: 49.5 cm (197⁄16 in.), width: 41.9 (161⁄2 in.), dimater: 11.4 cm (41⁄2 in.); Metropolitan Museum of Art

Plaque that probably represents a musician; 17th century; bronze; 48.26 cm (19 in.) x 18.42 (71⁄4 in.) x 8.89 cm (31⁄2 in.), irregular; Los Angeles County Museum of Art (USA)

Rooster; 18th century; copper alloy; National Museum of African Art (Washington, D.C., USA)

Bronze Head of Queen Idia; early 16th century; bronze; Ethnological Museum of Berlin (Germany). Four cast bronze heads of the queen are known and are currently in the collections of the British Museum, the World Museum (Liverpool), the Nigerian National Museum (Lagos) and the Ethnological Museum of Berlin

Leopard aquamanile; 17th century; brass; Ethnological Museum of Berlin. The bronze leopards were used to decorate the altar of the oba. The leopard, a symbol of power, appears in many bronze plaques, from the oba's palace

Figure of a horn blower; 1504-1550; copper alloy; 62.2 x 21.6 x 15.2 cm (241⁄2 x 81⁄2 x 6 in.); Brooklyn Museum (New York City). Blowing a horn or flute with his right hand, his left arm is truncated. He also wears a netted cap with chevron design decorated with a feather

Benin ivory mask of the Queen Mother Idia; 16th century; ivory, iron & copper; Metropolitan Museum of Art. One of four related ivory pendant masks among the prized regalia of the Oba of Benin taken by the British during the Benin Expedition of 1897

text: Igbo[edit]

text: The Igbo produce a wide variety of art including traditional figures, masks, artifacts and textiles, plus works in metals such as bronze. Artworks form the Igbo have been found from as early as 9th century with the bronze artifacts found at Igbo Ukwu.  Their masks are similar with the Fang ones, being white and black in about same parts.

text:
Maiden spirit mask; early 20th century; wood & pigment; Brooklyn Museum (New York City, USA)

A mask known as the Queen of Women (Eze Nwanyi); late 19th-early 20th century; wood & pigment; Birmingham Museum of Art (Alabama, USA)

Bronze ceremonial vessel in form of a snail shell; 9th century; Igbo-Ukwu; Nigerian National Museum (Lagos, Nigeria)

Bronze ornamental staff head; 9th century; Igbo-Ukwu; Nigerian National Museum

Helmet-mask; 20th centry; Indianapolis Museum of Art (USA)

Female figure for a small temple; 20th century; Indianapolis Museum of Art

Igbo wooden complex, currently in the Britfllunish Museum

Grament; 1950-1975; cotton; Indianapolis Museum of Art

text: Yoruba[edit]

text: Yoruba art is best known for the heads from Ife, made of ceramic, brass and other materials. Much of their art is associated with the royal courts. They also produced elaborate masks and doors, full of details and painted in bright colors, such as blue, yellow, red and white.

text:
Bust of a king or dignitary; 12th-15th century AD; terracotta; Ethnological Museum of Berlin (Germany); discovered at Ife (Nigeria)

Yoruba copper mask for King Obalufon; circa 1300 CE; discovered at Ife; Nigerian National Museum (Lagos)

Bronze head from Ife; 12th - 15th century; brass; British Museum (London)

Mask with 7 birds; 19th-20th century; Detroit Institute of Arts (USA)

Mask with superstructure and two birds; 19th-20th century; Detroit Institute of Arts

Headgear; circa 1900-1915; Detroit Institute of Arts

Pair of door panels and a lintel; circa 1910–1914; by Olowe of Ise; (British Museum, London)

Carnival mask; circa 1950; Indianapolis Museum of Art (USA)

text: Other ethnic groups of Nigeria[edit]

text:
Carved door; circa 1920-1940; wood with iron staples; Hood Museum of Art (Hanover, New Hampshire, USA)

Headdress; early 1900s; wood, antelope skin, basketry, cane, metal; by Ejagham people; Cleveland Museum of Art (USA)

Headdress; early 1900s; wood, hair; Idoma people; Cleveland Museum of Art

text: Mali[edit]

text: The primary ethnic groups in Mali are the Bambara (also known as Bamana) and the Dogon. Smaller ethnic groups consist of the Marka, and the Bozo fisherman of the Niger River. Ancient civilizations flourished in areas like Djene and Timbuktu, where a great variety of ancient bronze and terra-cotta figures have been unearthed.

text: Djenné-Djenno[edit]

text: Djenné-Djenno is famous for its figurines which depict humans and animals including snakes and horses. They are made of terracotta, a material that has been used in West Africa for some ten thousand years.

text:
Terracotta seated figure; 13th century; earthenware; 29.9 cm (113⁄4 in.) high; Metropolitan Museum of Art (New York City, USA) The raised marks and indentations on the back of this hunched Djenné figure may represent disease or, more likely, sacrification patterns. The facial expression and pose could depict an individual in mouring or in pain

Female figure; 13th-15th century; terracotta covered with red ochre; height: 37.5 cm (14.7 in.), width: 31 cm (12.2 in.), depth: 24 cm (9.4 in.); Musée du quai Branly (Paris)

Equestrian figure; 13th-15th century; height: 70.5 cm; National Museum of African Art (Washington D.C., USA)

Male figure; 14th-17th century; Cleveland Museum of Art (Ohio, USA)

text: Bambara[edit]

text: The Bambara people (Bambara: Bamanankaw) adapted many artistic traditions and began to create display pieces. Before money was the main drive of creation of their artworks they used their abilities solely as a sacred craft for display of spiritual pride, religious beliefs and display of customs. Example artworks include the Bamana n'tomo mask. Other statues were created for people such as hunters and farmers so others could leave offerings after long farming seasons or group hunts. The stylistic variations in Bambara art are extreme sculptures, masks and headdresses display either stylized or realistic features, and either weathered or encrusted patinas. Until quite recently, the function of Bambara pieces was shrouded in mystery, but in the last twenty years field studies have revealed that certain types of figures and headdresses were associated with a number of the societies that structure Bambara life. During the 1970s a group of approximately twenty figures, masks and TjiWara headdresses belonging to the so-called 'Segou style' were identified. The style is distinct and recognizable by its typical flat faces, arrow-shaped noses, all-over body triangular scarifications and, on the figures, splayed hands.

text: There are three major and one minor type of Bambara mask. The first type, used by the N'tomo society, has a typical comb-like structure above the face, is worn during dances and may be covered with cowrie shells. The second type of mask, associated with the Komo society, has a spherical head with two antelope horns on the top and an enlarged, flattened mouth. They are used during dances, but some have a thick encrusted patina acquired during other ceremonies in which libations are poured over them.

text: The third type has connections with the Nama society and is carved in the form of an articulated bird's head, while the fourth, minor type, represents a stylized animal head and is used by the Kore society. Other Bambara masks are known to exist, but unlike those described above, they cannot be linked to specific societies or ceremonies. Bambara carvers have established a reputation for the zoomorphic headdresses worn by Tji-Wara society members. Although they are all different, they all display a highly abstract body, often incorporating a zig-zag motif, which represents the sun's course from east to west, and a head with two large horns. Bambara members of the Tji-Wara society wear the headdress while dancing in their fields at sowing time, hoping to increase the crop yield.

text: Bambara statuettes are primarily used during the annual ceremonies of the Guan society. During these ceremonies, a group of up to seven figures, measuring from 80 to 130 cm in height, are removed from their sanctuaries by the elder members of the society. The sculptures are washed, re-oiled and sacrifices are offered to them at their shrines. These figures – some of which date from between the 14th and 16th centuries – usually display a typical crested coiffure, often adorned with a talisman.

text: Two of these figures were ascribed great significance: a seated or standing maternity figure called Guandousou – known in the West as 'Bambara Queen' – and a male figure called Guantigui, who usually appears holding a knife. The two figures were surrounded by Guannyeni attendant figures standing or seated in various positions, holding a vessel, or a musical instrument, or their breasts. During the 1970s, numerous fakes from Bamako which were based on these sculptures entered the market. They were produced in Bamako.

text: Other Bambara figures, called Dyonyeni, are thought to be associated with either the southern Dyo society or the Kwore society. These female or hermaphrodite figures usually appear with geometric features such as large conical breasts and measure between 40 and 85 cm in height. The blacksmith members of the Dyo society used them during dances to celebrate the end of their initiation ceremonies. They were handled, held by dancers and placed in the middle of the ceremonial circle.

text: Among the corpus of Bambara figures, Boh sculptures are perhaps the best known. These statues represent a highly stylized animal or human figure, and are made of wood which is repeatedly covered in thick layers of earth impregnated with sacrificial materials such as millet, chicken or goat blood, kola nuts and alcoholic drinks. They were employed by the Kono and the Komo societies and served as receptacles for spiritual forces, and could in turn be used for apotropaic purposes.

text: Each special creative trait a person obtained was seen as a different way to please higher spirits.

text: Dogon[edit]

text: Dogon art is primarily sculpture. Dogon art revolves around religious values, ideals, and freedoms (Laude, 19). Dogon sculptures are not made to be seen publicly, and are commonly hidden from the public eye within the houses of families, sanctuaries, or kept with the Hogon (Laude, 20). The importance of secrecy is due to the symbolic meaning behind the pieces and the process by which they are made.

text: Themes found throughout Dogon sculpture consist of figures with raised arms, superimposed bearded figures, horsemen, stools with caryatids, women with children, figures covering their faces, women grinding pearl millet, women bearing vessels on their heads, donkeys bearing cups, musicians, dogs, quadruped-shaped troughs or benches, figures bending from the waist, mirror-images, aproned figures, and standing figures (Laude, 46–52). Signs of other contacts and origins are evident in Dogon art. The Dogon people were not the first inhabitants of the cliffs of Bandiagara. Influence from Tellem art is evident in Dogon art because of its rectilinear designs (Laude, 24).

text: Dogon art is extremely versatile, although common stylistic characteristics – such as a tendency towards stylization – are apparent on the statues. Their art deals with the myths whose complex ensemble regulates the life of the individual. The sculptures are preserved in innumerable sites of worship, personal or family altars, altars for rain, altars to protect hunters, in market. As a general characterization of Dogon statues, one could say that they render the human body in a simplified way, reducing it to its essentials. Some are extremely elongated with emphasis on geometric forms. The subjective impression is one of immobility with a mysterious sense of a solemn gravity and serene majesty, although conveying at the same time a latent movement. Dogon sculpture recreates the hermaphroditic silhouettes of the Tellem, featuring raised arms and a thick patina made of blood and millet beer. The four Nommo couples, the mythical ancestors born of the god Amma, ornament stools, pillars or men's meeting houses, door locks, and granary doors. The primordial couple is represented sitting on a stool, the base of which depicts the earth while the upper surface represents the sky; the two are interconnected by the Nommo. The seated female figures, their hands on their abdomen, are linked to the fertility cult, incarnating the first ancestor who died in childbirth, and are the object of offerings of food and sacrifices by women who are expecting a child.

text: Kneeling statues of protective spirits are placed at the head of the dead to absorb their spiritual strength and to be their intermediaries with the world of the dead, into which they accompany the deceased before once again being placed on the shrines of the ancestors. Horsemen are remainders of the fact that, according to myth, the horse was the first animal present on earth. The Dogon style has evolved into a kind of cubism: ovoid head, squared shoulders, tapered extremities, pointed breasts, forearms, and thighs on a parallel plane, hairdos stylized by three or four incised lines. Dogon sculptures serve as a physical medium in initiations and as an explanation of the world. They serve to transmit an understanding to the initiated, who will decipher the statue according to the level of their knowledge. Carved animal figures, such as dogs and ostriches, are placed on village foundation altars to commemorate sacrificed animals, while granary doors, stools and house posts are also adorned with figures and symbols.

text: There are nearly eighty styles of masks, but their basic characteristic is great boldness in the use of geometric shapes, independent of the various animals they are supposed to represent. The structure of a large number of masks is based on the interplay of vertical and horizontal lines and shapes. Another large group has triangular, conic shapes. All masks have large geometric eyes and stylized features. The masks are often polychrome, but on many the color is lost; after the ceremonies they were left on the ground and quickly deteriorated because of termites and other conditions. The Dogon continue an ancient masquerading tradition, which commemorates the origin of death. According to their myths, death came into the world as a result of primeval man's transgressions against the divine order. Dama memorial ceremonies are held to accompany the dead into the ancestral realm and restore order to the universe. The performance of masqueraders – sometimes as many as 400 – at these ceremonies is considered absolutely necessary. In the case of the dama, the timing, types of masks involved, and other ritual elements are often specific to one or two villages and may not resemble those seen in locations only several kilometres distant. The masks also appear during baga-bundo rites performed by small numbers of masqueraders before the burial of a male Dogon. Dogon masks evoke the form of animals associated with their mythology, yet their significance is only understood by the highest ranking cult members whose role is to explain the meaning of each mask to a captivated audience.

text:
Person who wears a Satimbe mask

Person who wears a Walu mask, based on an antilope

Mask based on a hyena; 20th century; Indianapolis Museum of Art (USA)

Decorated door in the Hogon village

Figure of a seated musician (koro player); late 18th century; 55.8 x 17.7 x 10.8 cm (22 x 7 x 41⁄4 in.); Brooklyn Museum (New York City)

Antropomorphic figure; 17th-18th century; wood; height: 59 cm (23 in.);

Stool; possibly late 19th to early 20th century; wood & pigment; National Museum of African Art (Washington D.C., USA)

Female figure; late 19th to early 20th century; National Museum of African Art. One of a distinctive stylistic group of about a dozen sculptures, this figure gives an impression of size and presence

text: Burkina Faso[edit]

text: Burkina Faso is a small, landlocked country north of Ghana and south of Mali and Niger. Economically, it is one of the four or five poorest countries in the world. Culturally, it is extremely rich. In part this is because so few people from Burkina have become Muslim or Christian.[30] Many of the ancient artistic traditions for which Africa is so well known have been preserved in Burkina Faso because so many people continue to honor the ancestral spirits, and the spirits of nature. In great part they honor the spirits through the use of masks and carved figures. Many of the countries to the north of Burkina Faso had become predominantly Muslim, while many of the countries to the south of Burkina Faso are heavily Christian. In contrast many of the people of Burkina Faso continue to offer prayers and sacrifices to the spirits of nature and to the spirits of their ancestors. The result is that they continue to use the sorts of art that we see in museums in Europe and America.[31]

text: One of the principal obstacles to understanding the art of Burkina Faso, including that of the Bwa,  has been a confusion between the styles of the Bwa, "gurunsi", and Mossi,  and a confusion of the Bwa people  with their neighbors to the west the Bobo people.  This confusion was the result of the use by French colonial officers of Jula  interpreters at the turn of the century.  these interpreters considered the two peoples to be the same and so referred to the Bobo as "Bobo-Fing" and to the Bwa as "Bobo-Oule."   In fact these two peoples are not related at all. Their languages are quite different, their social systems are quite different,  and certainly their art is quite different. In terms of artistic styles the confusion stems from the fact that the Bwa, "gurunsi'" and Mossi  make masks that are covered with red white and black geometric graphic patterns.  This is simply the style of the Voltaic or Gur peoples,  and also includes the Dogon and other peoples who speak Voltaic languages.[32]

text: Gabon[edit]

text: The Fang people make masks and basketry, carvings, and sculptures. Fang art is characterized by organized clarity and distinct lines and shapes. Bieri, boxes to hold the remains of ancestors, are carved with protective figures. Masks are worn in ceremonies and for hunting. The faces are painted white with black features. Myene art centers around Myene rituals for death. Female ancestors are represented by white painted masks worn by the male relatives. The Bekota use brass and copper to cover their carvings. They use baskets to hold ancestral remains. Tourism is rare in Gabon, and unlike in other African countries, art is not spurred on by commerce.

text: Ivory Coast[edit]

text: The Baoulé, the Senoufo and the Dan peoples are skilled at carving wood and each culture produces wooden masks in wide variety. The Ivorian people use masks to represent animals in caricature to depict deities, or to represent the souls of the departed.

text: As the masks are held to be of great spiritual power, it is considered a taboo for anyone other than specially trained persons or chosen ones to wear or possess certain masks. These ceremonial masks are each thought to have a soul, or life force, and wearing these masks is thought to transform the wearer into the entity the mask represents.

text: Ivory Coast also has modern painters and illustrators. Gilbert G. Groud criticizes the ancient beliefs in black magic, as held with the spiritual masks mentioned above, in his illustrated book Magie Noire.

text: East Africa[edit]

text: Kenya[edit]

text:
Kenyan art has changed much in the post colonial years. Painters emerged in the 1950s after training in Makerere University College; they include such artists as Elimo Njau Elizabeth Karuga and Asaph Ngethe Macua. The 1970s saw the self-taught African painters mostly inspired by the demand for original African paintings. These include the Ancient Soi, and Moses Gichuiri. Kenyatta University also produced artists but more so taught in western art styles of painting. Among these include John Dianga and Moses Gichuiri. Others include the late Dr. Sylvester Maina, Stephen Mayienga and others.
The 1980s produced many contemporary artists. From Teachers Training colleges came Stephen Mbatia, Rix Butama, Shake Makelele, and Meube to name but a few. From the University of Nairobi School of Fine Art and Design came the following artists: Bulinya Martins and Sarah Shiundu. The two by virtue of having learned many basic techniques in design are highly innovative both in style, use of color and execution. Unlike most contemporary Kenyan artist they paint using oils, acrylics and watercolors and/or combination.
Pure abstract art is rare in Kenya. Most artists paint semi-abstract with distorted human figures. The initial paintings by Bulinya Martins were a combination of cubism and original African abstractions. The late Mainga's abstractions were 2D and highly embellished on leather. As for material, the use of Acrylics and oil is more frequent than watercolors. Oil paint is by far the preferred medium today and it lasts much longer.
The art items in Kenya include sisal baskets, elephant hair bracelets, Maasai bead jewelry, musical instruments, silver and gold jewelry, soapstone sculptures, wooden carvings, tribal masks, Maasai figurines, paintings, prints and sculptures. These art items are available in the arts and craft markets and shops throughout the main tourist centers of Kenya.

text: Cloth in Kenya also represents interesting art, with batik cloth, kangas (women's wraparound skirts) with patterns and even Kenyan proverbs printed on them and kikois (type of sarong for men) that come in many different colors and textiles. Kenya offers African jewelry containing cowry shells, and soapstone carvings from Western Kenya, carved by the Gusii and Abagusii ethnic groups in Kisii stone.

text: The Eskenazi Museum of Art at Indiana University has a large collection of traditional art objects from Kenya including jewelry, containers, weapons, walking sticks, headrests, stools, utensils, and other objects available online.[33]

text: Ethiopia[edit]

text: Ethiopian art from the 4th century until the 20th can be divided into two broad groupings. First comes a distinctive tradition of Christian art, mostly for churches, in forms including painting, crosses, icons, illuminated manuscripts, and other metalwork such as crowns.  Secondly there are popular arts and crafts such as textiles, basketry and jewellery, in which Ethiopian traditions are closer to those of other peoples in the region. Its history goes back almost three thousand years to the kingdom of D'mt. The Ethiopian Orthodox Tewahedo Church has been the predominant religion in Ethiopia for over 1500 years, for most of this period in a very close relation, or union, with the Coptic Christianity of Egypt, so that Coptic art has been the main formative influence on Ethiopian church art.

text: Prehistoric rock art comparable to that of other African sites survives in a number of places, and until the arrival of Christianity stone stelae, often carved with simple reliefs, were erected as grave-markers and for other purposes in many regions; Tiya is one important site. The "pre-Axumite" Iron Age culture of about the 5th century BCE to the 1st century CE was influenced by the Kingdom of Kush to the north, and settlers from Arabia, and produced cities with simple temples in stone, such as the ruined one at Yeha, which is impressive for its date in the 4th or 5th century BCE.

text: The powerful Kingdom of Aksum emerged in the 1st century BCE and dominated Ethiopia until the 10th century, having become very largely Christian from the 4th century.[34] Although some buildings and large, pre-Christian stelae exist, there appears to be no surviving Ethiopian Christian art from the Axumite period. However the earliest works remaining show a clear continuity with Coptic art of earlier periods. There was considerable destruction of churches and their contents in the 16th century when the country was invaded by Muslim neighbours. The revival of art after this was influenced by Catholic European art in both iconography and elements of style, but retained its Ethiopian character. In the 20th century, Western artists and architects began to be commissioned by the government, and to train local students, and more fully Westernized art was produced alongside continuations of traditional church art.[34]

text: Church paintings in Ethiopia were likely produced as far back as the introduction of Christianity in the 4th century AD,[35] although the earliest surviving examples come from the church of Debre Selam Mikael in the Tigray Region, dated to the 11th century AD.[36] However, the 7th-century AD followers of the Islamic prophet Muhammad who fled to Axum in temporary exile mentioned that the original Church of Our Lady Mary of Zion was decorated with paintings.[36] Other early paintings include those from the rock-hewn churches of Lalibela, dated to the 12th century AD, and in nearby Geneta Maryam, dated to the 13th century AD.[36] However, paintings in illuminated manuscripts predate the earliest surviving church paintings; for instance, the Ethiopian Garima Gospels of the 4th–6th centuries AD contain illuminated scenes imitating the contemporary Byzantine style.[37]

text: Ethiopian painting, on walls, in books, and in icons,[38] is highly distinctive, though the style and iconography are closely related to the simplified Coptic version of Late Antique and Byzantine Christian art. From the 16th century, Roman Catholic church art and European art in general began to exert some influence. However, Ethiopian art is highly conservative and retained much of its distinct character until modern times. The production of illuminated manuscripts for use continued up to the present day.[39]

text: Another important form of Ethiopian art, also related to Coptic styles, are crosses made from wood and metal.[40] [41] They are usually copper alloy or brass, plated (at least originally) with gold or silver. The heads are typically flat cast plates with elaborate and complex openwork decoration. The cross motif emerges from the decoration, with the whole design often forming a rotated square or circular shape, though the designs are highly varied and inventive. Many incorporate curved motifs rising from the base, which are called the "arms of Adam". Except in recent Western-influenced examples, they usually have no corpus, or figure of Christ, and the design often incorporates numerous smaller crosses.  Engraved figurative imagery has sometimes been added.  Crosses are mostly either processional crosses, with the metal head mounted on a long wooden staff, carried in religious processions and during the liturgy, or hand crosses, with a shorter metal handle in the same casting as the head. Smaller crosses worn as jewellery are also common.

text: Ethiopia has great ethnic and linguistic diversity, and styles in secular traditional crafts vary greatly in different parts of the country. There are a range of traditions in textiles, many with woven geometric decoration, although many types are also usually plain. Ethiopian church practices make a great deal of use of colourful textiles, and the more elaborate types are widely used as church vestments and as hangings, curtains and wrappings in churches, although they have now largely been supplanted by Western fabrics. Examples of both types can be seen in the picture at the top of the article.  Icons may normally be veiled with a semi-transparent or opaque cloth; very thin chiffon-type cotton cloth is a speciality of Ethiopia, though usually with no pattern.

text: Colourful basketry with a coiled construction is common in rural Ethiopia. The products have many uses, such as storing grains, seeds and food and being used as tables and bowls. The Muslim city of Harar is well known for its high quality basketry,[42] and many craft products of the Muslim minority relate to wider Islamic decorative traditions.

text: Tanzania[edit]

text: Tinga Tinga art has roots in decorating hut walls in central and south Tanzania. It was first in 1968 when Edward Said Tingatinga started to paint on wooden sheets with enamel colours when Tinga Tinga art became known. The art of the Makonde must be subdivided into different areas. The Makonde are known as master carvers throughout East Africa, and their statuary that can be found being sold in tourist markets and in museums alike. They traditionally carve household objects, figures and masks. Since the 1950s years the socalled Modern Makonde Art has been developed. An essential step was the turning to abstract figures, mostly spirits (Shetani) that play a special role. Makonde are also part of the important contemporary artists of Africa today. An outstanding position is taken by George Lilanga.

text: Central Africa[edit]

text: Democratic Republic of Congo[edit]

text: Kuba Kingdom[edit]

text: The Kuba Kingdom (also rendered as the Kingdom of the Bakuba, Songora or Bushongo) was a pre-colonial kingdom in Central Africa. The Kuba Kingdom flourished between the 17th and 19th centuries in the region bordered by the Sankuru, Lulua, and Kasai rivers in the south-east of the modern-day Democratic Republic of the Congo. A great deal of the art was created for the courts of chiefs and kings and was profusely decorated, incorporating cowrie shells and animal skins (especially leopard) as symbols of wealth, prestige and power. Masks are also important to the Kuba. They are used both in the rituals of the court and in the initiation of boys into adulthood, as well as at funerals.

text:
Ngady-Mwash mask; 19th century; Ethnological Museum of Berlin (Germany). The colors, red, brown & beige create a warm atmosphera of a savannah, being in contrast with the rows of blue beads. Like many other Kuba masks, this one is decorated with cowrie shells. Like many Kuba types of masks, ngady-mwash mask is extensively polychromed, or multicolored

Mulwalwa mask; 19th or early 20th century; painted wood and raffia; Ethnological Museum of Berlin. This mask embodies a powerful nature spirit. As there are no holes throug which a performer could see, it was probably mounted on a wall at an initiation camp, signaling that the iniation was almost complete

Pwoom Itok mask; late 19th century; 39.1 x 28.6 x 29.8 cm (153⁄8 x 111⁄4 x 113⁄4 in.); Brooklyn Museum. This mask may have represented a wise older man at boys' initiations. One of the principal Kuba dance masks is called pwoom itok. The chief identifying characteristic is the shape of the eyes, whose centers are cones surrounded by holes through which the wearer sees

Belt (Yet); possibly early 1900s; cord, leather, glass beads, shells; Cleveland Museum of Art (USA). Like some of the masks, this belt is decorated with  colorful beads

Ndop of king Mishe miShyaang maMbul; 1760-1780; wood; 49.5 x 19.4 x 21.9 cm (191⁄2 x 75⁄8 x 85⁄8 in.); Brooklyn Museum (New York City). Ndops are royal memorial portraits caverd by the Kuba people of Central Africa. They are not naturalistic portrayals but are intended as representations of the king's spirit and as an encapsulation of the principal of kingship

Head goblet (Mbwoongntey); 19th century; wood; Brooklyn Museum. It has one inch cylindrical lip with linear decoration. The hair is made up of crosshatched lines with a raised diamond-shaped segment on the back of the head. It's cheeks have curved multilinear scarification

Itoon (diviner's instrument, in form of a hippopotamus); 19th century; wood; 7.5 x 26.6 x 6.4 cm (215⁄16 x 101⁄2 x 21⁄2 in.); Brooklyn Museum

Cloth; raffia; 20.3 x 85.7 cm (8 x 333⁄4 in.); Brooklyn Museum. In Kuba culture, men are responsible for raffia palm cultivation and the weaving of raffia cloth.[43] Several types of raffia cloth are produced for different purposes, the most common form of which is a plain woven cloth that is used as the foundation for decorated textile production

text: Luba Kingdom[edit]

text: The Kingdom of Luba or Luba Empire (1585–1889) was a pre-colonial Central African state that arose in the marshy grasslands of the Upemba Depression in what is now southern Democratic Republic of Congo. Today, the Luba people or baLuba are an ethno-linguistic group indigenous to the south-central region of the Democratic Republic of the Congo.[44] Majority of them live in this country, residing mainly in its Katanga, Kasai, and Maniema provinces.

text: As in the Kuba Kingdom, the Luba Kingdom held the arts in high esteem. A carver held relatively high status, which was displayed by an adze (axe) that he carried over his shoulder. Luba art was not very uniform because of the vast territory which the kingdom controlled.  However, some characteristics are common.  The important role of woman in the creation myths and political society resulted in many objects of prestige being decorated with female figures.

text:
Headrest; 19th century; wood; height: 18.5 cm (7.2 in), width: 19 cm (7.4 in), thickness: 8 cm (3.1 in); Musée du quai Branly (Paris). This headrest presents 19th century Luba hairstyles, as well as the long limbs, bent-back legs, cylindrical torso and dynamic pose typical of the artist who made it

Figurine of a standing woman; late 19th or early 20th century; wood; 27.9 x 8.3 x 10.2 cm (11 x 31⁄4 x 4 in.); Brooklyn Museum (New York City)

Heddle pulley with female head; late 19th or early 20th century; wood; 20.6 x 5.4 x 4.8 cm (81⁄8 x 21⁄8 x 17⁄8 in); Brooklyn Museum

Kifwebe mask; wood; Royal Museum for Central Africa (Tervuren, Belgium)

text: Other ethnic groups of Democratic Republic of Congo[edit]

text:
Anthropomorphic pot; early 20th century; pottery; 40.0 x 24.0 cm (153⁄4 x 91⁄2 in.); by Mangbetu people; Brooklyn Museum (New York City)

Plank mask (emangungu); possibly early 1900s; wood; by Bembe people; Cleveland Museum of Art (USA)

Head of a scepter; 19th century; by Yombe people

Female figure; 20th century; wood; by Lumbo people; Indianapolis Museum of Art (USA)

Mask; early 20th century; wood, raffia & color pigments; by Yaka people; Rietberg Museum (Zürich, Switzerland)

Chair (throne) of a chief; 19th or early 20th century; wood; by Hemba people; Rietberg Museum

Funerary figure (tumba); 19th century; wood; by Sundi people; Rietberg Museum

Mask (kifwebe); wood; by Songye people;  Royal Museum for Central Africa (Tervuren, Belgium)

Mbangu mask; wood, pigment & fibres; height: 27 cm; by Pende people; Royal Museum for Central Africa. Representing a disturbed man, the hooded V-looking eyes and the mask's artistic elements – facd surfaces , distored features, and divided colour – evoke the experience of personal inner conflict

Tomb figure; soapstone; by Boma people; Royal Museum for Central Africa. Stone sculptures are extremly rare in African art

Warrior ancestor figure; 19th century; wood; 84.1 × 26 × 23.2 cm (33.1 × 10.2 × 9.1 in.); by Hemba people; Kimbell Art Museum (Fort Worth, Texas, USA)

Statuette of a woman; 19th century or early 20th century; by Holoholo people; Ethnological Museum of Berlin (Germany)

text: Southern Africa[edit]

text: Botswana[edit]

text: In the northern part of Botswana, women in the villages of Etsha and Gumare are noted for their skill at crafting baskets from Mokola Palm and local dyes. The baskets are generally woven into three types: large, lidded baskets used for storage large, open baskets for carrying objects on the head or for winnowing threshed grain, and smaller plates for winnowing pounded grain. The artistry of these baskets is being steadily enhanced through color use and improved designs as they are increasingly produced for commercial use.

text: The oldest evidence ancient paintings from both Botswana and South Africa. Depictions of hunting, both animal and human figures were made by the San people dating before civilization over 20,000 years old within the Kalahari desert.

text: South Africa[edit]

text: Mapungubwe[edit]

text: Kingdom of Mapungubwe (1075–1220) was a pre-colonial state in Southern Africa located at the confluence of the Shashe and Limpopo rivers, south of Great Zimbabwe. The most famous Mapungubwe artwork is a tiny golden rhino, known as the golden rhinoceros of Mapungubwe. In other graves from Mapengubwe were found objects made of iron, gold, copper, ceramic and glass beads.

text: North Africa[edit]

text: Egypt[edit]

text: Persisting for 3,000 years and thirty dynasties, the "official" art of Ancient Egypt was centred on the state religion of the time. The art ranged from stone carvings of both massive statues and small statuettes, to wall art that depicted both history and mythology. In 2600 BC the maturity of Egyptian carving reached a peak it did not reach again for another 1,500 years during the reign of Rameses II.

text: A lot of the art possesses a certain stiffness, with figures poised upright and rigid in a regal fashion. Bodily proportions also appear to be mathematically derived, giving rise to a sense of fantastic perfection in the figures depicted. This most likely was used to reinforce the godliness of the ruling caste.

text:
Both sides of the Narmer Palette; circa 3100 BC; greywacke; height: 63 cm (243⁄4 in.); from Hierakonpolis (Egypt); Egyptian Museum (Cairo). The Narmer palette is the quintessential statement of the Egyptians' mythology of kingship. A clear manifesto of royal power, it is also one with multiple layers of symbolism

Stele of Princess Nefertiabet eating; 2589-2566 BC; limestone & paint; height: 37.7 cm (147⁄8 in.), length: 52.5 cm (205⁄8 in.), depth: 8.3 cm (31⁄4 in.); from Giza; Louvre (Paris). This finely executed relief represents the most succinct assurance of perpetual offering for the deceased

Bust of Nefertiti; 1352-1336 BC; limestone, plaster & paint; height: 48 cm (197⁄8 in.); from Amarna (Egypt); Egyptian Museum of Berlin (Germany). Perhaps the most iconic image of a woman from the ancient world, the bust of Nefertiti is difficult to contextualize because it seems so exceptional

Mask of Tutankhamun; circa 1327 BC; gold, glass and semi-precious stones; height: 54 cm (211⁄4 in.), width: 39.3 cm (151⁄2 in.), depth: 49 cm (191⁄4 in.); from the Valley of the Kings (Thebes, Egypt); Egyptian Museum. The mummy mask of Tutankhamun is perhaps the most iconic object to suvive from ancient Egypt

text: Chad[edit]

text: Sao[edit]

text: The Sao civilisation flourished in Middle Africa from circa the sixth century BC to as late as the sixteenth century AD, and lived by the Chari River around Lake Chad in territory that later became part of Cameroon and Chad. Their most important artworks are the terraotta figurines. These figurines represent humans and animals. Other kinds of artifacts show that the Saos were skilled workers in bronze, copper, and iron.[45]

text:
Antropomorphic figurine; terracotta; 9th-16th century; Musée du quai Branly (Paris)

Antropomorphic figurine; 9th-16th century; terracotta; Musée du quai Branly

Antropomorphic figurine; 9th-16th century; terracotta; Musée du quai Branly

Antropomorphic figurine; 9th-16th century; terracotta; Musée du quai Branly

Head; terracotta

Zoomorphic figure; 9th-16th century; terracotta; Musée du quai Branly

Fragment of a pectoral; 9th-16th century; cuprous alloy; Musée du quai Branly


document_title: List of Hannah Montana episodes

question_text: what is the first episode of hannah montana called

root

text: List of Hannah Montana episodes

text: Series overview[edit]

tag: table

text: Jump up ^ A 30th episode, titled "No Sugar, Sugar", was produced, but never aired in the United States.

tag: ol

text: Episodes[edit]

text: Season 1 (2006–07)[edit]

text:
Hannah Montana Season 1 episodes

No. inseries

No. inseason

Title

Directed by

Written by

Original air date

Prod.code

Viewers(millions)
11"Lilly, Do You Want to Know a Secret?"Lee Shallat-ChemelTeleplay by: Michael Poryes,Gary Dontzig & Steven PetermanStory by: Michael Poryes,Rich Correll & Barry O'BrienMarch 24, 2006 (2006-03-24)1015.4[3]
22"Miley Get Your Gum"David KendallMichael PoryesMarch 31, 2006 (2006-03-31)1034.0[4]
33"She's a Supersneak"David KendallKim FrieseApril 7, 2006 (2006-04-07)1054.4[3]
44"I Can't Make You Love Hannah if You Don't"Roger S. ChristansenKim FrieseApril 14, 2006 (2006-04-14)1083.9[5]
55"It's My Party and I'll Lie if I Want To"Roger S. ChristiansenDouglas LiebleinApril 21, 2006 (2006-04-21)1023.6[3]
66"Grandmas Don't Let Your Babies Grow Up to Play Favorites"Roger S. ChristansenDouglas LiebleinApril 28, 2006 (2006-04-28)1093.2[3]
77"It's a Mannequin's World"Roger S. ChristansenHoward MeyersMay 12, 2006 (2006-05-12)1104.6[3]
88"Mascot Love"Roger S. ChristansenSally LapidussMay 26, 2006 (2006-05-26)1114.2[3]
99"Ooo, Ooo, Itchy Woman"David KendallGary Dontzig & Steven PetermanJune 10, 2006 (2006-06-10)1043.7[6]
1010"O Say, Can You Remember the Words?"Lee Shallat-ChemelSally LapidussJune 30, 2006 (2006-06-30)1134.1[3]
1111"Oops! I Meddled Again!"Chip HurdLisa AlbertJuly 15, 2006 (2006-07-15)1073.4[3]
1212"On the Road Again?"(Part three of "That's So Suite Life of Hannah Montana")Roger S. ChristiansenSteven James MeyerJuly 28, 2006 (2006-07-28)1127.1[7]
1313"You're So Vain, You Probably Think This Zit is About You"Chip HurdTodd J. GreenwaldAugust 12, 2006 (2006-08-12)1063.5[3]
1414"New Kid in School"Kenneth ShapiroTodd J. GreenwaldAugust 18, 2006 (2006-08-18)1143.4[3]
1515"More Than a Zombie to Me"Roger S. ChristiansenSteven PetermanSeptember 8, 2006 (2006-09-08)1163.7[3]
1616"Good Golly, Miss Dolly"Roger S. ChristiansenSally LapidussSeptember 29, 2006 (2006-09-29)1183.7[3]
1717"Torn Between Two Hannahs"Roger S. ChristiansenTeleplay by: Todd J. GreenwaldStory by: Valerie Ahern &Christian McLaughlinOctober 14, 2006 (2006-10-14)1263.5[3]
1818"People Who Use People"Shannon FlynnMichael PoryesNovember 3, 2006 (2006-11-03)1194.1[3]
1919"Money for Nothing, Guilt for Free"Roger S. ChristiansenHeather WordhamNovember 26, 2006 (2006-11-26)1153.6[3]
2020"Debt It Be"Roger S. ChristiansenHeather Wordham & Sally LapidussDecember 1, 2006 (2006-12-01)1204.3[3]
2121"My Boyfriend's Jackson and There's Gonna Be Trouble"Roger S. ChristiansenAndrew Green & Sally LapidussJanuary 1, 2007 (2007-01-01)1243.5[3]
2222"We Are Family, Now Get Me Some Water!"Roger S. ChristiansenJay J. Demopoulos &Andrew GreenJanuary 7, 2007 (2007-01-07)1224.1[3]
2323"Schooly Bully"Roger S. ChristiansenDouglas Lieblein & Heather WordhamJanuary 19, 2007 (2007-01-19)1253.2[3]
2424"The Idol Side of Me"Fred SavageDouglas LiebleinFebruary 9, 2007 (2007-02-09)1173.7[8]
2525"Smells Like Teen Sellout"Sheldon EppsHeather WordhamMarch 2, 2007 (2007-03-02)1234.4[9]
2626"Bad Moose Rising"Roger S. ChristiansenDouglas Lieblein &Steven James MeyerMarch 30, 2007 (2007-03-30)1214.8[3]

tag: p

text: Season 2 (2007–08)[edit]

text:
Hannah Montana Season 2 episodes

No. inseries

No. inseason

Title

Directed by

Written by

Original air date

Prod.code

Viewers(millions)
271"Me and Rico Down by the Schoolyard"Roger S. ChristiansenHeather WordhamApril 23, 2007 (2007-04-23)2033.5[10]
282"Cuffs Will Keep Us Together"Roger S. ChristiansenSteven PetermanApril 24, 2007 (2007-04-24)2013.5[10]
293"You Are So Sue-able to Me"Roger S. ChristiansenSally LapidussApril 25, 2007 (2007-04-25)2023.9[10]
304"Get Down, Study-udy-udy"Roger S. ChristiansenAndrew GreenApril 26, 2007 (2007-04-26)2043.7[10]
315"I Am Hannah, Hear Me Croak"Roger S. ChristiansenMichael PoryesApril 27, 2007 (2007-04-27)2063.5[10]
326"You Gotta Not Fight for Your Right to Party"Jody Margolin HahnSteven James MeyerMay 4, 2007 (2007-05-04)2073.5[11]
337"My Best Friend's Boyfriend"Roger S. ChristiansenJay J. DemopoulosMay 18, 2007 (2007-05-18)2093.8[12]
348"Take This Job and Love It"Roger S. ChristiansenSally LapidussJune 16, 2007 (2007-06-16)2104.5[3]
359"Achy Jakey Heart" (Part 1)Rich CorrellDouglas LiebleinJune 24, 2007 (2007-06-24)2117.4[13]
3610"Achy Jakey Heart" (Part 2)Roger S. ChristiansenAndrew GreenJune 24, 2007 (2007-06-24)2127.4[13]
3711"Sleepwalk This Way"Roger S. ChristansenHeather WordhamJuly 7, 2007 (2007-07-07)2135.3[3]
3812"When You Wish You Were the Star"Roger S. ChristansenDouglas LiebleinJuly 14, 2007 (2007-07-14)2055.1[14]
3913"I Want You to Want Me... to Go to Florida"Roger S. ChristansenMichael PoryesJuly 21, 2007 (2007-07-21)2084.5[15]
4014"Everybody Was Best-Friend Fighting"Jody Margolin HahnSally LapidussJuly 29, 2007 (2007-07-29)2154.8[16]
4115"Song Sung Bad"Roger S. ChristiansenIngrid EscajedaAugust 4, 2007 (2007-08-04)2144.7[17]
4216"Me and Mr. Jonas and Mr. Jonas and Mr. Jonas"Mark CendrowskiDouglas LiebleinAugust 17, 2007 (2007-08-17)21710.7[18]
4317"Don't Stop 'Til You Get the Phone"Rich CorrellMichael PoryesSeptember 21, 2007 (2007-09-21)2225.1[19]
4418"That's What Friends Are For?"Mark CendrowskiDouglas LiebleinOctober 19, 2007 (2007-10-19)2245.4[20]
4519"Lilly's Mom Has Got It Goin' On"Jody Margolin HahnNorm GunzenhauserNovember 10, 2007 (2007-11-10)2165.5[21]
4620"I Will Always Loathe You"Roger S. ChristiansenMichael PoryesDecember 7, 2007 (2007-12-07)2184.4[22]
4721"Bye Bye Ball"Sean LambertHeather WordhamJanuary 13, 2008 (2008-01-13)2204.2[23]
4822"(We're So Sorry) Uncle Earl"Rich CorrellRobin J. SteinMarch 21, 2008 (2008-03-21)2263.6[24]
4923"The Way We Almost Weren't"Rich CorrellAndrew GreenMay 4, 2008 (2008-05-04)2193.1[25]
5024"You Didn't Say It Was Your Birthday"Rich CorrellHeather WordhamJuly 6, 2008 (2008-07-06)2255.1[25]
5125"Hannah in the Streets with Diamonds"Roger S. ChristiansenJay J. Demopoulos &Steven James MeyerJuly 20, 2008 (2008-07-20)2283.8[25]
5226"Yet Another Side of Me"Shannon FlynnTeleplay by: Andrew Green &Sally LapidussStory by: Heather WordhamAugust 3, 2008 (2008-08-03)2294.6[25]
5327"The Test of My Love"Rich CorrellJay J. DemopoulosAugust 31, 2008 (2008-08-31)2213.9[26]
5428"Joannie B. Goode"Rondell SheridanAndrew GreenSeptember 14, 2008 (2008-09-14)2274.6[27]
5529"We're All on This Date Together"Roger S. ChristiansenSteven PetermanOctober 12, 2008 (2008-10-12)2304.4[28]
-30"No Sugar, Sugar"Art MankeSally LapidussNovember 2, 2008 (2008-11-02)(outside the U.S.)[29]223N/A

text: Season 3 (2008–10)[edit]

text:
Hannah Montana Season 3 episodes

No. inseries

No. inseason

Title

Directed by

Written by

Original air date

Prod.code

Viewers(millions)
561"He Ain't a Hottie, He's My Brother"Rich CorrellSteven James MeyerNovember 2, 2008 (2008-11-02)3025.5[30]
572"Ready, Set, Don't Drive"Rich CorrellJay J. DemopoulosNovember 9, 2008 (2008-11-09)3014.9[31]
583"Don't Go Breaking My Tooth"Rich CorrellMichael PoryesNovember 16, 2008 (2008-11-16)3034.6[32]
594"You Never Give Me My Money"Roger S. ChristansenAndrew GreenNovember 23, 2008 (2008-11-23)3054.6[33]
605"Killing Me Softly with His Height"Rich CorrellSteven PetermanDecember 14, 2008 (2008-12-14)3063.8[33]
616"Would I Lie to You, Lilly?"Shelley JensenMichael PoryesJanuary 11, 2009 (2009-01-11)3083.7[34]
627"You Gotta Lose That Job"Steve ZuckermanHeather WordhamFebruary 16, 2009 (2009-02-16)3074.4[34]
638"Welcome to the Bungle"Shelley JensenSteven PetermanMarch 1, 2009 (2009-03-01)3094.1[35]
649"Papa's Got a Brand New Friend"Shelley JensenMaria Brown-GallenbergMarch 8, 2009 (2009-03-08)3104.2[36]
6510"Cheat It"Shannon FlynnJay J. Demopoulos &Steven James MeyerMarch 15, 2009 (2009-03-15)3114.4[37]
6611"Knock Knock Knockin' on Jackson's Head"Rich CorrellAndrew GreenMarch 22, 2009 (2009-03-22)3124.5[38]
6712"You Give Lunch a Bad Name"Rich CorrellHeather WordhamMarch 29, 2009 (2009-03-29)3143.4[39]
6813"What I Don't Like About You"Rich CorrellDouglas LiebleinApril 19, 2009 (2009-04-19)3154.8[40]
6914"Promma Mia"Rich CorrellHeather WordhamMay 3, 2009 (2009-05-03)3204.5[41]
7015"Once, Twice, Three Times Afraidy"Shannon FlynnJay J. Demopoulos &Steven James MeyerMay 17, 2009 (2009-05-17)3173.4[42]
7116"Jake... Another Little Piece of My Heart"Roger S. ChristiansenDouglas LiebleinJune 7, 2009 (2009-06-07)3044.1[43]
7217"Miley Hurt the Feelings of the Radio Star"Rich CorrellMaria Brown-GallenbergJune 14, 2009 (2009-06-14)3133.5[44]
7318"He Could Be the One"[45]Rich CorrellMaria Brown-Gallenberg &Heather WordhamJuly 5, 2009 (2009-07-05)326-3277.9[46]
7419"Super(stitious) Girl"(Part three of "Wizards on Deck with Hannah Montana")Rich CorrellMichael Poryes & Steven PetermanJuly 17, 2009 (2009-07-17)3169.3[47]
7520"I Honestly Love You (No, Not You)"Shannon FlynnAndrew GreenJuly 26, 2009 (2009-07-26)3183.9[48]
7621"For (Give) a Little Bit"Rich CorrellMaria Brown-GallenbergAugust 9, 2009 (2009-08-09)3193.3[3]
7722"B-B-B-Bad to the Chrome"Shannon FlynnJay J. Demopoulos &Steven James MeyerAugust 23, 2009 (2009-08-23)3224.0[49]
7823"Uptight (Oliver's Alright)"Art MankeSally LapidussSeptember 20, 2009 (2009-09-20)2235.0[50]
7924"Judge Me Tender"Bob KoherrAndrew GreenOctober 18, 2009 (2009-10-18)3235.7[51]
8025"Can't Get Home to You Girl"Bob KoherrTom SeeleyNovember 8, 2009 (2009-11-08)3244.2[3]
8126"Come Fail Away"Rich CorrellDouglas LiebleinDecember 6, 2009 (2009-12-06)3253.9[3]
8227"Got to Get Her Out of My House"Rich CorrellDouglas LiebleinJanuary 10, 2010 (2010-01-10)321[52]3.9[53]
8328"The Wheel Near My Bed (Keeps on Turnin')"Bob KoherrJay J. Demopoulos & Steven James MeyerFebruary 21, 2010 (2010-02-21)328[52]4.5[54]
8429"Miley Says Goodbye?" (Part 1)Rich CorrellMichael Poryes & Steven PetermanMarch 7, 2010 (2010-03-07)329[52]7.0[55]
8530"Miley Says Goodbye?" (Part 2)Rich CorrellMichael Poryes & Steven PetermanMarch 14, 2010 (2010-03-14)330[52]7.6[55]

text: Season 4 (2010–11)[edit]

text:
Hannah Montana Season 4 episodes

No. inseries

No. inseason

Title

Directed by

Written by

Original air date

Prod.code[56]

Viewers(millions)
861"Sweet Home Hannah Montana"Bob KoherrMichael Poryes & Steven PetermanJuly 11, 2010 (2010-07-11)4025.7[57]
872"Hannah Montana to the Principal's Office"Bob KoherrSteven James MeyerJuly 18, 2010 (2010-07-18)4015.4[58]
883"California Screamin'"Bob KoherrJay J. DemopoulosJuly 25, 2010 (2010-07-25)4034.2[59]
894"De-Do-Do-Do, Da-Don't-Don't, Don't, Tell My Secret"Adam WeissmanAndrew GreenAugust 1, 2010 (2010-08-01)4045.7[60]
905"It's the End of the Jake as We Know It"Shannon FlynnMaria Brown-GallenbergAugust 8, 2010 (2010-08-08)4054.7[61]
916"Been Here All Along"Adam WeissmanDouglas LiebleinAugust 22, 2010 (2010-08-22)4074.6[62]
927"Love That Let's [sic] Go"[63][64]"Love That Lets Go"[65][66]Adam WeissmanHeather WordhamSeptember 12, 2010 (2010-09-12)4064.5[67]
938"Hannah's Gonna Get This"Bob KoherrTeleplay by: Steven James MeyerStory by: Donna JathoOctober 3, 2010 (2010-10-03)4084.1[68]
949"I'll Always Remember You"[69]Bob Koherr (Part 1)Shannon Flynn (Part 2)Andrew Green &Maria Brown-GallenbergNovember 7, 2010 (2010-11-07)409–4107.1[70][71]
9510"Can You See the Real Me?"John D'InceccoDouglas LiebleinDecember 5, 2010 (2010-12-05)4114.9[72][73]
9611"Kiss It All Goodbye""Kiss It Goodbye"[65][74]Shannon FlynnTeleplay by: Jay J. DemopoulosStory by: Edward C. EvansDecember 19, 2010 (2010-12-19)4124.2[75]
9712"I Am Mamaw, Hear Me Roar!"Bob KoherrHeather WordhamJanuary 9, 2011 (2011-01-09)4134.3[75]
9813"Wherever I Go"Bob KoherrMichael Poryes & Steven PetermanJanuary 16, 2011 (2011-01-16)414–4156.2[76]

text: Films[edit]

text:
Title

Directed by

Written by

Release date

U.S. TV viewers(in millions)
Hannah Montana & Miley Cyrus: Best of Both Worlds ConcertBruce HendricksN/AFebruary 1, 2008 (2008-02-01) (cinemas)July 26, 2008 (TV)5.9[77]
Concert film with songs from the first two seasons of the series.
Hannah Montana: The MoviePeter ChelsomDan BerendsenApril 10, 2009 (2009-04-10) (cinemas)November 19, 2010 (TV)4.6[78]
The events of the film take place somewhere during the third season.


document_title: My Babysitter's a Vampire

question_text: who played jesse in my babysitter's a vampire

question_tokens: who played jesse in my babysitter 's a vampire

text: My Babysitter's a Vampire

text: Plot[edit]

text: Ethan Morgan is a geeky freshman, not trusted by his parents to stay home alone with his little sister Jane. They hire Erica, a girl from Ethan's high school who is a huge fan of "Dusk" a parody of Twilight, as a babysitter. However, Erica comes across her best friend Sarah and Jesse, Sarah's vampire ex-boyfriend, on the night she is to babysit, and decides to attend a party that Jesse is throwing instead. During a fight between Sarah and Jesse, Sarah ends up at Ethan's house and tells Ethan's parents that she was asked to babysit instead. Ethan suddenly has a vision when touching Sarah, and notices she has no reflection in the mirror, leaving him suspicious of her. He confides this in his dorky best friend, Benny (Atticus Mitchell).

text: Sarah leaves to get Erica back from the party, knowing the party is full of bloodthirsty vampires. Curious, the boys have Benny's grandmother watch over Jane while they follow Sarah. They see her feed on a rat and realize she is a vampire. Sarah quickly explains that she is only a fledgling, a vampire who has not drunk human blood. The three of them return home, where they are attacked by a vampire sent by Jesse. The vampire is subdued by Sarah and they head to the vampire party to save Erica and their dimwitted friend, Rory. However, Erica has been bitten by Gord and later bites Rory. Ethan, Benny, and Sarah then battle the vampires and escape.

text: The next day, Rory, now a full vampire after drinking human blood, informs Ethan and Benny that Jesse's gang are going to church so Ethan, Benny, and Sarah follow them. Ethan has a vision in which he sees a gravestone, whose dates unscramble to the number 219, and a mysterious box, which is then uncovered by the vampires. The box is called the Cubile Animus or "Nest of Souls." Ethan and Sarah figure out Jesse's full plan from an old book, learning that in the original settlement of the town, there was a person who went by the name and title of Reverend Horace Black, who led an evil cabal of vampires. During a lunar eclipse, the townspeople burned all the members, leading to all '219' of their deaths. In another vision, Ethan sees that Jesse is, in fact, Horace Black, and plans to use the box to trap the souls of teens going to see the premiere of the new Dusk movie so he can resurrect the souls of his ancient group during the lunar eclipse occurring on the same night.

text: Benny's grandmother, who reveals that she is an Earth Priestess, gives Ethan, Benny and Sarah enchanted daggers and a spellbook to defeat the vampires. She explains that Ethan sees visions because he is a Seer, which enables him to see visions through touch, and that Benny is a spellmaster, allowing him to cast spells. At the theater, the vampires begin to steal the souls of the teens, but are thwarted by Ethan, Benny and Sarah. Jesse escapes and Ethan and Benny follow in pursuit. In another vision, Ethan sees the tree he saw inside the old book, realizing it's the tree in his backyard, where they find Jesse. As the eclipse begins, Jesse attempts to hold Ethan and Benny down and resurrect the souls he already obtained from the Cubile Animus, but Sarah intervenes. When the box lands in Ethan's hands, he releases the vengeful souls that were captured, which destroy Jesse and return to their bodies.

text: The next day, Ethan, Benny and Sarah head to school, meeting Erica and Rory, who have decided to live peacefully as vampires.

text: Cast[edit]

text:
Matthew Knight – Ethan
Vanessa Morgan – Sarah
Atticus Mitchell – Benny
Cameron Kennedy – Rory
Kate Todd – Erica
Joe Dinicol – Jesse
Ella Jonas Farlinger – Jane
Ari Cohen – Ethan's Dad
Laura DeCarteret – Ethan's Mom
Hrant Alianak – Principal Hicks
Joan Gregson – Grandma
Cassie Steele – Rochelle
Jamie Johnston – James

tag: ul

text: Television series[edit]

text: A television series based on the film has been produced. It was created by Fresh TV, creators of 6teen and Total Drama. As a special sneak peek, the first four episodes of the series aired on Teletoon (English) from March 14, 2011 to March 17, 2011. Also as a special sneak peek the four episodes aired on Télétoon (French) from February 28, 2011 to March 3, 2011. The series premiered in Canada on January 5, 2011 on both channels. The series premiered on Disney Channel on June 27, 2011,[2] in the United States, and the channel aired all the episodes of the first season in the US before they premiered in Canada. The first season officially premiered in Canada on January 5, 2012.[1] It was produced by Fresh TV.

text: Season 2 of the show has been greenlit by Fresh TV, and was originally revealed by Vanessa Morgan on her official, personal Twitter.[3] Filming began on September 21, 2011 to November 17, 2011. The same day filming ended, Disney Channel announced they would pick it up for a second season. The second season first premiered on Disney Channel in the US on June 29, 2012. It made its premiere on Teletoon in Canada on September 6, 2012. The series is currently on hiatus as of April 2013,[4] but a second movie is being planned.[citation needed]

text: Reception[edit]

text: It holds a 74 percent audience approval in Rotten Tomatoes.[5] The Movie has a 6.4 rating on IMDB.[6] Pretty Famous gave it a smart rating of 82.[7]

text: On its original airing on June 10, 2011 on Disney Channel in the United States; the TV film pulled approximately 4.18 million total viewers and 0.6 rating in the age 18-49 demographic; ranking in seventh place in that age demographic — though leading that night in top total viewers.[8]

text: Awards and honors[edit]

text:
Year
Group
Award
Result
Recipient(s)

2011
Gemini Award[9][10]
Best Dramatic Mini-Series or TV Movie
Nominated
N/A

Best Performance by an Actor in a Featured Supporting Role in a Dramatic Program or Mini-Series
Nominated
Atticus Mitchell

Directors Guild of Canada Award[11]
Best Direction in a Television Movie or Mini-Series
Nominated
Bruce McDonald

Best Production Design in a Television Movie or Mini-Series
Nominated
Ingrid Jurek

Best Sound Editing in a Television Movie or Mini-Series
Nominated
Robert Hegedus, Marvyn Dennis, Kevin Howard, Mark Beck, Gren-Erich Zwicker, and Richard Calistan

text: International release[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2013) (Learn how and when to remove this template message)

text: The movie originally premiered on Teletoon on October 9, 2010 and on Télétoon on October 16, 2010. In the United States it premiered on June 10, 2011 and in the UK and Ireland on October 3, 2011.