College of Architecture and Engineering School of the Arts and Design

BDS 413: PROJECT PAPER SELECTED AFRICAN MOTIFS AND THEIR APPLICATION ON CONTEMPORARY ART PRODUCTION IN NAIROBI

A CASE STUDY OF THE MAASAI MARKET AND AFRICAN HERITAGE

B.A. DESIGN (Illustration Specialization)

SUPERVISOR: MRS. FRANSISCA ODUNDO BY: MWANGI JAMES KAMAU B05/36973/2015

Project paper submitted in partial fulfillment of the requirement for the Bachelor of Arts in Design degree submitted to the school of the Arts and Design, University of Nairobi.

17th May 2019

Declaration

I declare that this project entitled “SELECTED AFRICAN MOTIFS AND THEIR APPLICATION ON CONTEMPORARY ART PRODUCTION IN NAIROBI” is my own work and to the best of my knowledge has not been presented to any other university for a degree or any other certificate.

STUDENT Mwangi James Kamau

Signature ………………………………. Date ……………………..

SUPERVISOR MRS. FRANSISCA ODUNDO

Signature ……………………………….. Date………………………

DIRECTOR DR. LILAC OSANJO The director, School of the Arts and Design, University of Nairobi.

Signature …………………………………Date ………………………..

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Dedication

This project paper is dedicated to my dad Peter Mwangi Kamau and my mom Pamela Ayuma Mwangi for their unending love and care that they have shown me during my academics. They have been a blessing to me in ensuring that I got all the required materials for my four year course at the University of Nairobi.

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Acknowledgement

I would like to extend my heartfelt gratitude to everyone who took part in making the completion of this project possible. My greatest acknowledgement goes to my supervisor, Mrs. Fransisca Odundo and Dr. Lilac Osanjo for their great insights and knowledge as well as the entire teaching staff of the School of Arts and Design. Secondly, I would like to acknowledge my family for their unending support during my four years at the University. My brother, Samson Henry has been an inspiration to me and has supported me greatly in ensuring I have conducive environment to study. Finally, I would like to appreciate the financial support and motivation given to me by Joan Spaulding from the United States of America as well as motivation from my fellow students at the School of the Arts and Design at the University of Nairobi.

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Abstract

Art is the product of creative human activity in which materials are shaped or selected to convey an idea, emotion, or visually interesting form .This research seeks to analyze the contributions that motifs and art from traditional Africa have made to contemporary art. This study therefore finds out how and why African art was produced and used and how contemporary artists are using this knowledge to improve their artworks. Various Traditional artworks like the Nkisi Nkondi, the Akua Ba dolls and the Chiwara masks in their traditional form are widely reviewed using available secondary data and primary data that will be collected from African Heritage.

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Table of Contents

Contents CHAPTER ONE ...... 7 1.0 INTRODUCTION ...... 7 1.1 Background of the problem ...... 7 1.2 Problem statement ...... 8 1.3 Objectives ...... 9 1.4 Research questions ...... 9 1.5 Significance of the study ...... 9 1.6 Limitations of the Study ...... 10 1.7 Assumptions of the Study ...... 10 1.8 Definition of terms ...... 10 CHAPTER TWO ...... 12 2.0 LITERATURE REVIEW ...... 12 2.1 Introduction ...... 12 2.2 Selected Traditional African Art ...... 12 2.2.1 African sculptures...... 12 2.2.2 FERTILITY SCULPTURES ...... 13 2.2.3 AKUABA DOLL ...... 13 2.2.4 FETISH SCULPTURES ...... 14 2.3 FERTILITY MASKS ...... 15 2.3.1 Nimba mask ...... 15 2.3.2 Chiwara mask ...... 16 2.4 AFRICAN JEWELRY ...... 16 CHAPTER THREE ...... 18 3.0 RESEARCH DESIGN AND METHODOLOGY...... 18 3.1 Introduction ...... 18 3.2 Research Design ...... 18 3.3 The Location of the Study ...... 18 3.4 The target artworks...... 19 3.5 Sample artifacts ...... 19

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3.6 Sampling Techniques ...... 19 3.7 Data Collection Method...... 19 3.8 Data Collection Tools ...... 20 3.9 Data Collection Procedure ...... 20 3.10 Data analysis and presentation...... 20 CHAPTER FOUR...... 21 FINDINGS ...... 21 4.0 Introduction ...... 21 4.1 Questionnaire Findings ...... 22 4.2 Analysis of findings...... 23 4.2.1 Knowledge of artists and artisans about traditional African art ...... 23 4.2.2 Characteristics of the artworks produced at Maasai market ...... 23 4.2.3 Akuaba doll ...... 24 4.3 FETISH SCULPTURES ...... 24 4.3.1 Nkisi Nkondi ...... 24 4.4 AFRICAN MASKS ...... 24 4.4.1 Nimba mask ...... 25 4.4.2 Chiwara mask ...... 25 4.5 Reasons for production ...... 25 CHAPTER FIVE ...... 27 5.0 CONCLUSION AND RECOMMENDATIONS ...... 27 5.1 Conclusion ...... 27 5.2 Recommendations ...... 28 REFERENCES ...... 29 APPENDICES ...... 30 APPENDIX A: INTERVIEW GUIDE ...... 30 APPENDIX B: TIME PLAN ...... 31 APPENDIX C: BUDGET ...... 32 APPENDIX D: FIGURES ...... 33 APPENDIX E: CONTEMPORARY ART ...... 35

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CHAPTER ONE

1.0 INTRODUCTION Africa is diverse both in race and language, and these differences are spread across its millions of inhabitants. Artists existed in all traditional African tribes. The history of African art spans a vast period of time, beginning as early as 25,500 BC to present. Art is the product of creative human activity in which materials are shaped or selected to convey an idea, emotion, or visually interesting form. Art can refer to visual arts like painting, sculpture, architecture, photography, and other visual works that combine materials or form. The skill and creativity in doing any activity can also be described as art.

1.1 Background of the problem Traditional African art does not simply beautify the environment, but rather transmits laws, moral codes, and history; communicates between people and the spirit world; and also signifies wealth and status. It includes all of life- birth, initiation, work, marriage, childbirth, death and afterlife. As such, there are many art forms produced by Africans which are still being produced now. Though they may not be performing the same original function as they were intended, they are still relevant to the contemporary art producers.

This research seeks to analyze the contributions that motifs and art from traditional Africa have made to contemporary art. By doing so, people will get to know the originality of art, that is, which community produced it, why they produced it in a certain way and what its functions were. When people are enlightened about traditional African art, they are able to appreciate it and stop having the mentality about African art being primitive.

Often, people tend to generalize traditional African art but the continent is full of people, societies and civilizations. Each culture produced their unique art work that they used within the community. Despite the fact that Africans produced various art forms, their art

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was classified as sculptures and masks. Art deals with form and expresses images or metaphors (Layton, 1981). There exists everywhere a need for the expression of values.

Africans mostly did paintings and engravings on smooth exposed rocks and in caves. Very little earlier African art has lasted over the years, primarily because it was made largely by perishable materials like wood, cloth and plant fibre which due to effects of environmental conditions, some of this art was lost either by water, wind or even the sun. Another reason is because traditional African art typically met with intensive use in ceremonies and every life. Therefore very little remained of this type of art. Most of the African art known today is relatively recent, from the 19th century.

Sculptures and masks were produced by Africans of the Savannah woodlands who surround forests. Artists of the Niger and Congo River basins produced these sculptures which have become the famous ‘African Art’. This area, tropical Africa, is where the numerous, primary wooden sculptures were created. Africans who occupied the wetlands also produced pottery from the clay and basketry from bamboo and reeds that grow in the marshy areas. During the Bantu migration, skills were passed and shared within communities that interacted. The other forms of art that were produced include tattoos, body painting, pigmentation, scarification, beadwork, body distortion and weaving.

1.2 Problem statement African art is not appreciated worldwide. People think it is a primitive type of art. But this is because they try to understand the art outside its original context. A piece that was intended to be used in the shrine for example is taken from Nigeria to Europe for study. When it is not understood how it functions, then the art form becomes undeveloped, simple, crude and unsophisticated.

The fact that African art has influenced cultural heritage of mankind with its richly varied art remains uncompromised. This issue has to be looked into with some urgency because African artists should be recognized and appreciated. Art should be approached on their own terms but not by prejudging them.

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1.3 Objectives 1. To investigate the extent of knowledge of the traditional African art from artists and artisans concerning fertility sculptures, fetish sculptures, masks and jewelry. 2. To find out the meaning of traditional sculptures, masks and jewelry. 3. To find out whether contemporary artists and artisans prescribe any meaning, signs and symbols in their current artwork. 4. To investigate how traditional African motifs have influenced contemporary art production.

1.4 Research questions 1. What knowledge do the artists and artisans from Maasai market have concerning traditional African sculptures, masks and jewelry? 2. What is the original meaning of traditional African sculptures, masks and jewelry? 3. Are there any meanings, signs and symbols that artists and artisans from Maasai market prescribe in their current artwork? 4. How have traditional African motifs influenced contemporary art production?

1.5 Significance of the study The findings of this research will be helpful to Contemporary Artists as African Art will be studied in depth offering them with more information that they might not be knowing concerning Traditional African Art. This information will broaden their perspective about African art and even enable them produce more of the artworks that are related to Traditional African Art.

This study is also very significant to students of African History and Art. Many of the artifacts produced by Africans were lost and the few remaining ones have been kept in Museums as Primitive Art. This makes it hard for them to access information about

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Traditional African Art. This study will therefore provide them with information that might be very helpful to them.

1.6 Limitations of the Study Inaccurate and Unreliable Information: Traditional African Art was practiced more than 100 years ago. Unfortunately, there is no record of how art was done, the materials used to produce art and why different art was produced. This information is passed by word of mouth and someone might choose to give false information or exaggerate the information. The materials that were used by Traditional Africans for Art production might not be easily available for example, gold and brass or it could be banned in the country for example ivory tusks and horns. This means that Contemporary Artisans are limited to produce art forms that resemble a traditional art form and perform the same original intended function.

1.7 Assumptions of the Study It is assumed that the respondents at Maasai market are the ones who produce the artworks and have the information on the production process.

1.8 Definition of terms Traditional art- aimed to represent reality or realism through narrative.

Contemporary art- this refers to art that has been and continues to be created during our lifetimes.

Modern art- artworks created in the time between 1970’s to 1980’s. It aimed to throw aside the tradition of the past and experiment with new ways of seeing and with fresh ideas about the nature of materials and functions of art .It experimented with more bold and abstract ideas.

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Avant Garde-is a French word which means advance guard, vanguard or fore-guard are people or works that are experimental, radical, or unorthodox, with respect to art, culture and society.

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CHAPTER TWO

2.0 LITERATURE REVIEW

2.1 Introduction This section presents a review of relevant literature. The chapter entails a study of selected traditional African art, the meanings of the African art forms in their original context and also how African art has influenced contemporary art production.

2.2 Selected Traditional African Art

2.2.1 African sculptures Many African schools of art study Western art and glorify the innovations of the cubists, Fauvists and Expressionists and forget that the origin of all this works of arts are rooted in the African aesthetics and stylistic renderings. Modernist artists such as Brancusi, Leger, Rodin, Braque and others were drawn to African sculpture because of its sophisticated approach to the abstraction of the human figure. The works of Picasso, Vlaminck and Matisse reflected the influence of African aesthetics Murell, (2013)

According to Breunig, (2014), most African sculpture was made of wood and natural materials like clay which unfortunately did not survive the adverse weather conditions. Africans produced sculptures, masks and human figures for religious and spiritual purposes. Traditional or tribal African sculpture can often be described as monumental in that the figure or form is not separated from the wood or stone from which it is carved giving it a feel of heavy permanence. In most cases, the human form is not proportional but often strives to emphasize specific bodily characteristics that the sculptor is interested in communicating. They are often used as a form of communication between people and supernatural forces and beings. They are crafted by the artists and then given their power by religious practitioners who make contact with the spirit worlds of their gods and ancestors Honour and Fleming, (1982)

The purposes of sculptures are varied: bringing fertility, rain, good harvests, warding off disease, natural calamities, evil spirits, helping with social decisions and judgements, commemorating important events, making political statements.

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2.2.2 FERTILITY SCULPTURES Among the fertility sculptures that Africans produced, the well-known ones include the Akuaba dolls and the Ibeji twin dolls of the Yoruba people. This research focuses on the Akuaba doll.

2.2.3 AKUABA DOLL This sculpture belongs to the Asante people of Ghana. It is used in a variety of contexts; primarily, however they are consecrated by priests and carried by women who hope to conceive a child. The name Akuaba comes from the Akan legend of a woman named Akua who was barren. She consulted a priest who advised her to commission the carving of the small wooden child and carry the surrogate child on her back as if it were real. Later on, the woman conceived a baby and gave birth to a baby girl after she was laughed at and teased by fellow villagers. Soon thereafter, even her detractors began adopting the same practice to overcome barrenness. After influencing pregnancy, Akuaba are often returned to the shrines as offerings to the spirits who responded to the appeals of the child. Collection of figures becomes an advertisement for the spirits ability to help women conceive. Families also keep Akuaba as memorials to a child or children. The figures become family heirlooms and are appreciated not for their spiritual associations, but rather because they are beautiful images that call to mind a loved one. The symbolism of this doll is specific, ‘the flat, disk like head is a strongly exaggerated conception of the Akan ideal of beauty. Round or oval shaped heads are considered ideal and this is accomplished in actual practice by the gently modelling of an infant’s soft cranial bones. The flat profile of these figures is also more practical when they are carried against the back wrapped in the woman’s skirt. Also standard is the ringed neck, a convention for rolls of fat and hence beauty and prosperity .The small scars seen on the faces of many Akuaba are those made for medicinal purposes (Rand Africa, 1992).

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2.2.4 FETISH SCULPTURES A fetish is a statue or object with magical power, usually to protect the users from evil spirits or to attempt to control one’s destiny. In traditional tribal Africa, especially in Zaire, these beliefs are manifested in expressive and magical power figures; these acquired power through ritualistic carving and consecration, the addition of special substances and the recurring activation of its spirit by offering sacrifices and magic words. Some fetishes have the heads or stomachs hallowed out to hold special substances while some contain magic substances around their body or in the arms. Some have mirrors to reflect back evil and see in the spirit world to spy out its prey or to blind hostile spirits; some are Janus-figures for better vigilance and protection. Among the materials added to the wood figures are horns, shells, nails, feathers, mirrors, metal, twine, cloth, raffia, fur, beads and herbs.

The Nkisi Nkondi is a fetish sculpture of the Bayaka people of Congo. These were a very artistic tribe: they gave an aesthetic touch to many everyday objects such as combs, pipes, musical instruments. The Nkisi sculpture was probably used to protect people against evils. All Nkisi figures are manipulated by a diviner to activate a force which can either inflict illness or protect one’s clan from illness or harm, depending upon the particular set of circumstances. The diviner had an important position in Bayaka society because he owned and activated powerful objects.

The Nkisi Nkondi had the primary function of being the home to the spirits which could travel out from its base, hunt down and harm other people. They were publicly held and were used to protect villages and other locations from witches or evildoers, destroy or weaken evil spirits, prevent or cure illnesses, repel bad deeds, solemnize contracts, or oath taking and deciding arguments.

A diviner or holy person would activate the statue using magical substances. Fetishes gained power because people believed in them. Bayaka fetishes called Biteki support sacred substance containing life force. These substances together with the figure assist the prayers and supplications of their owners for protection of harm, sickness or loss (Volavkova, 1972).

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The Nkisi Nkondi was carved with open cavities in its body and the eyes covered with reflective glass mirrors (MacGaffey, 2000).

2.3 FERTILITY MASKS The masks were basically used in rites marking transition, to celebrate gods and ancestors, to cause rain during a drought and also in masquerades and dance. Masks were used in such religious and social events to represent the spirits of the ancestors or to control the good and evil forces in the community. They come to life, possessed by their spirit in the performance of the dance, and are enhanced by both the music and atmosphere of the occasion. Some combine human and animal features to unite man with his natural environment. This bond with nature is of great importance to the African and through the ages masks have always been used to express this relationship.

There are many African masks but this report will only discus two African Fertility masks. Fertility masks were used during rituals to evoke motherhood and birth. They were also used for dances during planting and harvesting rituals.

2.3.1 Nimba mask This is a fertility mask of the Baga people. The mask is used to protect pregnant women and presides over all agricultural ceremonies. The dancer, wearing a full raffia costume, carries the mask on his shoulders, looking out through holes between the breasts Lamp, (1996).In use, such masks rise more than eight feet above the ground ,they often weigh more than eighty pounds .Most show a standardized pattern of facial scarification. The Baga Nimba or D’mba mask represents the abstraction of an ideal of the female role in society. The Nimba is essentially viewed as the vision of woman at her zenith power, beauty and effective presence, rather than a goddess or spirit. The typical Nimba form illustrates a woman that has been fertile, given birth to several children and nurtured them to adulthood. The hair of the Nimba mask is braided into parallel rows which are similar to the patterns of agriculture grown in West. The face and breasts of the Baga Nimba are decorated with scarification which embodies the ability of the Baga Nimba to alter its condition to the natural environment. The mask is used in weddings to emphasize on the importance of this new bond and give direction to the new couple. The Nimba was also

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used to celebrate the harvest, praising the productivity of the community and their proper communication with ancestors. The mask also appeared at funerals to initiate the deceased into the world of ancestors as ancestors play an important role in the living community.

2.3.2 Chiwara mask This was a ritual object of the Bambara people of Mali representing an antelope. The Chiwara initiation society uses Chiwara masks, as well as dances and rituals associated primarily with agriculture, to teach young Bamana men social values as well as agricultural technique. According to the Bamana people of Mali, the Chiwara is the one who taught farming skills to humanity (Wikipedia).

Chiwara are danced in pairs; male and female a marvelous statement of the complementary nature of life. The dances are performed by vigorous young men in the fields while the chorus is sung by women praising the ideal farmer. During the dance, each masked performer is accompanied by a woman who dances behind him. In this way the Chiwara dance alludes to the fruitful union of the sun (considered a male power) with the earth (considered a female), which leads to the fruitfulness of the fields. The headdress is worn with long owing raffia fringe which represents later, the third necessary element for growth of plants. Thus is the fertility of the land evoked by the contributing elements of earth, sun and water as fertility of humanity is saluted in the pairs of female and male dance head crests. Chiwara antelopes come in different forms based upon the regions where they were carved (Smafathers, 2013).

2.4 AFRICAN JEWELRY Africans produced different jewelry which was used for different purposes. Jewelry was produced for adornment, protection from evil, and cultural significance for example jewelry may indicate someone’s wealth, power and their standing in the society. It is in Africa where people first made and wore jewelry (Interesting Africa facts). Both women and men wore necklaces, bracelets, anklets, earrings, nose rings and other jewelry. Traditionally, this jewelry was made from seeds, horsehair, wood, metals, carved stone, bone, animal teeth, egg shells and amber but the most prized jewelry was made from rare items such as coral, glass and cowry shells. Jewelry served three major functions:

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• Ornamentation-Ndebele women of Zimbabwe beautify themselves by stretching their necks with tight rings of brass called Dzila. Along the Ivory Coast in West Africa, where gold is plentiful, people wear large gold jewelry that served both as decoration and currency. • Protection against evil spirits- The Berbers of Northern Africa wears silver ornaments to protect themselves from illness and evil spirits. • Tribal identification-Africans living in Kenya, Tanzania, Namibia and South Africa developed beadwork designs that distinguished their tribes from one another. Some tribes created certain beaded items to be worn at specific times of life. For example, the Ndebele women of South Africa wear beaded blankets draped over their shoulders but unmarried women wear beaded aprons. (African Crafts Market, 2017).

Beads- Beadwork is common across Africa. Famous for their beadwork, made into necklaces and bangles or arm bands, are the Maasai and Samburu of Kenya as well as Zulu of South African.

Bone- Bone was also used to make jewelry Animal bone is used to carve earrings, necklaces and even bangles.

Clay- Red and white clay was also used to make earrings, necklaces and arm bands.

Animal Teeth- Like bone, animal teeth is another excellent material that was used.

Metals- Some metals were also used in making jewelry. The Hima women of southern Africa, for example, wore heavy metal bands around the feet and arms. Metals used for jewelry in Africa include copper, iron. Bronze, gold, or silver. In West Africa, gold smithing is a well-developed art, with elaborate pieces of jewelry being fashioned out of gold.

Plant material-Seeds and woven straws from plants are used to make jewelry.

Stone- Sandstone, which is soft and easy to carve into figures and statures, but also into earrings and arm bands.

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Horn- It is one of the most common available materials in Africa because it produces jewelry with distinctive colors.

CHAPTER THREE

3.0 RESEARCH DESIGN AND METHODOLOGY

3.1 Introduction The purpose of this chapter is to introduce the research strategy and the empirical techniques applied in order to evaluate and reveal the influence of Traditional African art on contemporary art. Basic research approach will be applied because the researcher aims at improving or adding knowledge without particular applied purpose in mind at the onset. This research strategy will be executed through primary and secondary sources. The primary sources are case study observations and photographs. The secondary sources are related literature, internet sources, books, journals and magazines.

3.2 Research Design A research design is a systematic approach that a researcher uses to conduct a scientific study. The researcher conclusively comes up with authentic and accurate results. This study will use historical design to collect, verify and synthesize evidence from the past to establish facts that will defend my research. Historical information from secondary sources has been used to describe the Traditional African artworks and then a study on how the artworks have been used in the contemporary is done.

3.3 The Location of the Study The study will be conducted at Maasai market in Kenya. This is a market where crafts people produce crafts and artworks and sell to tourists and locals. Therefore primary information about how contemporary art has borrowed from Traditional African art will

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be collected here. At African Heritage in Kenya, primary data about Traditional African art will be collected.

3.4 The target artworks This study targets artworks that are produced and sold in Maasai market and those exhibited at African Heritage. The researcher will visit the various places where they carry out their research. For a wonderful selection of arts and crafts, wooden carvings and beadwork, Maasai market has it all. African heritage is a stunning exhibition house endowed with thousands of African artworks collected over the century across the Sub Saharan Africa.

3.5 Sample artifacts The sample artifacts include masks, sculptures and jewelry. The researcher will specifically research on the above mentioned items which are produced traditionally and how they have been applied in the contemporary art.

3.6 Sampling Techniques Maasai market has a lot of stalls but only those with required information will be researched on. The research adopts the non-probability sampling technique in which the judgment sampling will be used. In this technique, the researcher selects the stalls which they thought had the relevant information. As for the stalls that don’t seem to have a lot of information, the owners will not be interviewed.

3.7 Data Collection Method This study draws from both Primary and secondary sources of information. Primary data will be gathered directly in the field through observation of art found in the various stalls and through interviewing the artists who produce the artworks. Secondary data will be sourced from a collection and review of published and unpublished material, journals, academic papers and periodicals. This data will be taken through intensive and critical analysis.

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3.8 Data Collection Tools This study employs the use of observation and interviews for primary data collection. The interview questions will be based on the different traditional African art forms available in the stalls, their origin and original function in their original context. The information will afterwards be analyzed to make judgments and conclusions.

3.9 Data Collection Procedure This refers to the steps that will be followed when collecting data. The procedure is as follows:

1) The Researcher will prepare the data collection tool; that is the interview guide and tips to help in observation. 2) The researcher will visit Maasai market and African Heritage house 3) The researcher will interview the respondents and observe the crafts they have. 4) The researcher will take photographs of artworks available.

3.10 Data analysis and presentation. Data analysis involves examining data in ways that reveal the relationship, patterns and trends that can be found within it. The researcher will use a qualitative data analysis approach. Qualitative data analysis is generally accomplished people’s opinion, inferences and assumptions.

The researcher will carry out a basic research and collect qualitative data that will be analyzed using descriptions.

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CHAPTER FOUR

FINDINGS

4.0 Introduction Africans still produce art except that a few things have changed. Contemporary art is produced by anyone who has the skills. Unlike Traditional art where art had to be produced by an artist in the community, contemporary art is produced by an artist from any community provided they have the skill. Contemporary art is also produced using imported materials unlike Traditionally African art which was produced using materials that are locally available.

Museums and galleries all over the World regard Traditional African art of high aesthetic value. African art has had an overwhelming influence on Modern European artists at the beginning of the twentieth century. This impact and positive status of traditional African art has over decades resulted in laudable exhibitions, acquisition and documentation of such antiques. Nevertheless, not much favorable interest and documentation is offered most contemporary art of Africa. It is being criticized for being ‘universal’ and failing to meet the stereotypical African art tradition (Hughes, 2006).

The aesthetics of traditional African sculpture were a powerful influence to the European artists who formed an Avant Garde in the development of modern art. Artists from France blended the highly stylized figure in African sculptures with painting styles derived from the post-Impressionist works of Cezanne and Gauguin. The resulting pictorial flatness, vivid color palette and fragmented cubist shapes helped to define early modernism.

In the 1870’s thousands of African sculptures arrived in Europe and were placed on view in the museums. At this time, these objects were treated as artifacts rather than artworks and held so little economic value. Modernist artists were drawn to African sculptures because of its sophisticated approach to the abstraction of the human figure. In one of his interviews, Matisse says that African sculptures had helped him to understand his purpose as a painter, which was not to entertain with decorative images, but to mediate between perceived reality and the creativity of the human mind-to be freed or exorcised

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from fear of unknown by giving form to it. Matisse and Picasso were key figures in the spread of interest in African-influenced modernism among the avant-garde in the United States. Their work continued to reflect the influence of African aesthetics well into the mid-twentieth century, and important aspects of this later influence have been disclosed by recent scholarship (Murell, 2008). Therefore, the following findings were made in a bid to find out how traditional African art has been incorporated into contemporary art production in Nairobi.

4.1 Questionnaire Findings The research was conducted at the Maasai market in Nairobi and the African Heritage. At African Heritage house, firsthand information was about ancient traditional artwork was collected. These artworks were collected from shrines and from specific communities which produced and used them and stored in African Heritage for educational purposes.

At Maasai Market, artists who produce both contemporary and traditional artworks were interviewed. They gave primary knowledge about their artworks. 20 artists were randomly selected and interviewed.

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4.2 Analysis of findings

4.2.1 Knowledge of artists and artisans about traditional African art

Type of artwork produced

5%

25% contemporary traditional 50% both not sure

20%

During the data collection process, the researcher was able to interview 20 respondents about the type of artworks they produced/ sold at the Maasai market. Ten people stated that they produced contemporary artworks, 4 of them produced traditional artworks, and 5 of them produced both contemporary and traditional artworks while only one person was not sure whether to classify their artwork as contemporary or traditional.

4.2.2 Characteristics of the artworks produced at Maasai market A visit to Maasai market showed that Fertility Sculptures are still widely produced and used in Nairobi. Most of the locals who visit the market are those interested in learning about the sculptures and those who would love to know the skill. They have however been modified to suit the current market and uses. They are produced by artists who have the skill regardless of the community they come from. Wood and clay are still the raw materials largely used to carve sculptures. The sculptures that were found on the market include:

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4.2.3 Akuaba doll It was traditionally used by the Asante people of Ghana. It was made and consecrated by priests and used by a barren woman so she could conceive. In Maasai market, any skilled artist can make it. The traditional characteristics of the doll are mostly not considered by the artist and there was a slight difference between the original Akuaba doll found in African Heritage and the contemporary ones in Maasai market.(refer to appendices section).

4.3 FETISH SCULPTURES During the visit at the Maasai market, the researcher found out that fetish sculptures are still produced but with a contemporary look. It was however clear that even the contemporary artists didn’t know most of their uses because the sculptures are not from their communities. The common fetish sculpture found at the Maasai market is the Nkisi Nkondi of the Bayaka people of Congo.

4.3.1 Nkisi Nkondi This is a fetish sculpture made by the Bayaka people of Congo, which was a very artistic tribe. It was the role of skilled artists to make these sculptures which was then activated by diviners using magical substances. It served the sole purpose of protecting the people from evil spirits.

However, in African Heritage, the Nkisi Nkondi doesn’t perform the initial purpose. This is because it is produced by contemporary artists who are totally unfamiliar with the culture of the Bayaka people.

4.4 AFRICAN MASKS There are many masks sold at the Maasai market but the researcher was interested in two masks that is Nimba and Chiwara masks. The researcher found out that the masks produced and sold at Maasai market also don’t perform their original traditional purposes. Most of them are produced for their economical values as well as aesthetic value, overlooking the initial uses of the masks i.e. to be used in rites marking transitions, celebrating gods and ancestors etc. It is also worth knowing that the Traditional masks are the ones that have influenced production of contemporary masks that are used in parties and masquerades today.

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4.4.1 Nimba mask The Baga people used the Nimba mask as a fertility mask to protect pregnant women as well as preside over all agricultural ceremonies. It was mainly carried by a dancer on his shoulder while looking out through the holes between the breasts of the mask.

The Nimba masks produced at the Maasai market have a slight difference in their design compared to the original traditional Nimba masks. The traditional Nimba mask rose more than eight feet above the ground and often weight more than eighty pounds. In contrast, the ones produced at the Maasai market tend to be shorter and lighter. This is because they are mass produced and it would take a lot of time and energy as well as money to produce exact designs as the traditional Nimba masks. Tourists visiting the market buy the masks both for their aesthetic value and for research purposes.

4.4.2 Chiwara mask According to the Bamana people of Mali, the Chiwara referred to the person teaching farming skills, social values as well as agricultural techniques to humanity, mostly young Bamana men. The traditional design of the mask resembled the head of an antelope. Chiwara masks produced at the Maasai market have a similar design to the traditional ones, the only difference being that the ones at Maasai market are mass produced and don’t perform the traditional purposes anymore.

4.5 Reasons for production i) Economic purposes Most traders at Maasai Market confirmed to the fact that there they survive on their artwork. They sell their artworks to tourists especially foreigners as airport art and a few locals. This necessitates that they mass produce the artworks in order to meet market demand. Most locals however did not buy artworks due to their high prices and some did not even see the importance of such stylized artworks. For the tourists who bought them, they felt that Africa

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is diverse and had a rich culture which should not be eroded. They bought the artworks as souvenirs. ii) Aesthetic value The artworks are now mostly used for decorative purposes and their traditional functions have far been forgotten. It is common to see these sculptures and masks on the walls of houses, in offices on the desks and even in most embassies where they are purely used for decoration. Another aesthetic use of masks and sculptures is by printing them on various mediums like fabric. The images can also be drawn or painted on different mediums to make wall hanging. iii) Educational purposes African culture is indeed a rich culture that has to be passed on to new generations. A lot of information from traditional African culture is what has shaped a lot of new ideas that we see now. This is the reason why these artworks are placed in museums for people to view and learn about them. Maasai market is also a good place to get information on artifacts though one has to be cautious about the information they get as most of the artworks have been modified to suit the contemporary use. Better still information about these sculptures, dolls and masks can be printed in books and school literature for students to learn about them. More information can be found online and students can visit such places and cites to be enlightened about the background of the sculptures, jewelry and masks as well as the people’s culture. This will also stimulate their thinking and imagination regarding Traditional African motifs and their application in the contemporary.

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CHAPTER FIVE

5.0 CONCLUSION AND RECOMMENDATIONS

5.1 Conclusion This research has helped shed some light on traditional African art and also enlighten contemporary artists about traditional artworks. It also elaborates how the skills and knowledge used by traditional artists can be used in the creation of contemporary artworks. Contemporary artist have borrowed heavily from traditional artworks.

Most of the artworks that were displayed for sale in Maasai Market had a touch of traditional African artworks but the differences were notable. The designs were borrowed from traditional African motifs and applied on the contemporary art. The major differences that stood out were;

1) Contemporary artworks were made mainly of softwood which is light and soapstone while the traditional artworks were made of hardwood, clay and raffia. 2) Contemporary artists have taken an extra step to paint their artworks for aesthetic purposes contrary to the traditional artworks which were not painted.

Apart from the above visible differences, contemporary artworks differed from the traditional artworks in terms of production scale, use/purpose and production personnel. It was noted that any artist was legible to produce artworks as long as they had the knowledge. This is in contrary to the traditional African artists who had to be from a certain community and with specific obligations to produce artworks for that community. Contemporary artworks are mass produced for sale whereas traditional African artworks were singly produced when need arose. The artists also said that the purpose of art production has changed in that contemporary artworks are mainly produced for aesthetic

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purposes. This is in contrast to traditional artworks which were produced to perform a specific function.

5.2 Recommendation

The researcher recommended that artists who borrow from traditional African art should give credit to the original source of the artwork.

The researcher also recommended that more research to be done concerning this topic. This is because African art is rich in knowledge and one study cannot exhaust everything.

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REFERENCES African Crafts Market, (2017) African arts, Crafts game skins and horns. Retrieved from www.africancraftsmarket.com/african-tribes/ndembele-people.html.

African Jewelry. Africa facts.org

Breunig, P. (2014) Nok African Sculpture in Archaeological context. Africa Magna Verlag, Frankfurt.

Contemporary – rings. https://www.google.com/url?sa=t&source=web&rct=j&url

Encyclopaedia Britannica. African Architecture

Frederick Lamp (1996). Art of the Baga. ‘A drama of Cultural Reinvention’

Fertility figure:Female (Akua Ba)/Asante/The Met.Retrieved from https://www.metmuseum.org/art/collection/search

Honour, H and Fleming, J. (2009) ‘a world history of Art. Laurence King Publishing

Hughes, G. (2006) Contemporary visual art.

Interesting Africa Facts. Africa Jewelry. Retrieved from interesting-africa- facts.com/African-Jewelry/Africa-jewelry.shtml

MacGaffrey. W (2000) Kongo Political cultures: The Conceptual Challenge of the Particular Indiana University Press Harvard University

Murell, D. (2008) ‘African influences in modern art’, the metropolitan Museum of art, April 2008.Retrieved on 31 January 2013

Ndebele people, traditions culture. African Crafts Market.

SMA Fathers (2013) The Legend of the Chi wara. Retrieved from http://smafathers.orgmuseum/resources-ebooks/the legend -of-chi-wara/

Rand Africa www.Rand Africanart.com/asante-akuaba doll

Zddenka V. (1972) Nkisi figures of the lower Congo.

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APPENDICES

APPENDIX A: INTERVIEW GUIDE SECTION A: KNOWLEDE OF ARTISTS AND ARTISANS ABOUT TRADITIONAL AFRICAN ART a) What type of artwork do you produce? b) Are you able to differentiate traditional artwork from contemporary artwork? c) What are the features of traditional artworks?

SECTION B: ORIGINAL MEANING OF TRADITIONAL ART a) Who produced the artworks in the traditional African communities? b) How were the artworks used in the traditional communities? c) What materials were used to produce the traditional artworks? d) Why did they use the specified materials? SECTION C: MEANINGS BEHIND MOTIFS AND ARTWORKS a) Do you include any signs or symbols in your work? b) If yes, what signs and symbols have you used? c) What do they mean? SECTION D: INFLUENCE OF TRADITIONAL ART ON CONTEMPORARY ART a) Do you produce traditional artwork? b) What are some of the evident changes in contemporary artworks as compared to the traditional ones? c) How has traditional art inspired your artwork?

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APPENDIX B: TIME PLAN

ACTIVITY February March 2019 April 2019 May 2019 2019 1) Identifying the topic and writing title. 2) Background of the study. 3) Statement of the problem 4) Objectives and questions. 5) Literature review. 6) Research methodology 7) Data analysis, presentation and interpretation. 8) Summary

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APPENDIX C: BUDGET

No Expenses Amount 1. a) Wages i) Research assistant 1,000

2. a) Materials and supplies i) Interview guide forms (20) 100 ii) Report materials and 300 supplies 3. a) Services i) Computer usage 1,500 ii) Printing costs 500 iii) Binding 900 iv) Soft copy cost 150 Total 4,450

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APPENDIX D: FIGURES i) the Akuaba doll ii) the Nkisi Nkondi

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iii) The Nimba mask iv) Chiwara mask

v) ancient Maasai jewelry vi) the Ndembele dzila rings

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APPENDIX E: CONTEMPORARY ART An influence of the Ndebele dzila rings

The beadwork of the Contemporary Maasai people

Contemporary sculptures. Contemporary masks.

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