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West African / African American ART CONNECTIONS

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West African / African American ART CONNECTIONS West African / African American ART CONNECTIONS The Mint Museum of Art Education Department developed this teaching guide to complement the exhibition Loïs Mailou Jones: A Life in Vibrant Color (on view through February 27, 2010) and as an ongoing curriculum resource. Mint Museum of Art | 2730 Randolph Road | 704.337.2000 | mintmuseum.org 1 CURRICULUM CONNECTIONS North Carolina Standard Course of Study (NCSCOS) 7th grade Social Studies COMPETENCY GOAL 1: The learner will use the five themes of geography and geographic tools to answer geographic questions and analyze geographic concepts. OBJECTIVES 1.01 Create maps to illustrate information about different people, places and regions in Africa. 1.02 Generate, interpret, and manipulate information from maps to pose and answer questions about environment and society. 1.03 Use tools such as maps and artifacts to compare data on different countries of Africa and to identify patterns as well as similarities and differences. COMPETENCY GOAL 12: The learner will assess the influence of major religions, ethical beliefs, and values on cultures in Africa, Asia, and Australia. OBJECTIVES 12.01 Examine the major belief systems in selected regions of Africa and analyze their impact on cultural values, practices, and institutions. 12.02 Describe the relationship between and cultural values of selected societies of Africa and their art and assess their significance in contemporary culture. 12.03 Identify examples of cultural borrowing, such as language, traditions, and technology, and evaluate their importance in the development of selected societies in Africa. COMPETENCY GOAL 13: The learner will describe the historic, economic, and cultural connections among North Carolina, the United States, Africa, Asia, and Australia. OBJECTIVES 13.02 Describe the diverse cultural connections that have influenced the development of language, art, music, and belief systems in North Carolina and the United States and analyze their role in creating a changing cultural mosaic. 6th-12th grade Visual Arts COMPETENCY GOAL 5: The learner will understand the visual arts in relation to history and cultures. (National Standard 4) OBJECTIVES 5.01 Demonstrate an understanding that the visual arts have a history, purpose and function in all cultures. 5.02 Identify specific works of art as belonging to a particular culture, time and place. 5.03 Discover relationships of works of art to one another in terms of history, aesthetics, and cultural/ethnic groups. 5.06 Recognize and discuss the aesthetic diversity of various cultures. 2 INTRODUCTION Loïs Mailou Jones (1905-1998) was an African-American artist who produced a West African / African American diverse body of artwork over her 70-year career. From textile design and Impres- ART CONNECTIONS sionist-style paintings, to Haitian- and African-inspired watercolors and paintings, Jones’s work embodied various styles of art prevalent during the 20th century. Ubi Girl from Tai Region is an example of her African-inspired works. Here, Jones combines abstraction with realism and painting with design, creating a representation of the new cultural and visual climates of post-World War II African and African-American communities. Ubi Girl from Tai Region combines motifs (objects forming a distinct design element) from different regions of Africa, in particular West Africa Tai( region refers to a region within Cote d’ Ivoire). Jones’s African-inspired contemporary style offers a “visual map” to explore the diversity and vastness of African culture: “By combining the motifs from various regions of Africa, I try to explore on canvas a sense of the underlying unity of all Africa.”1 Things to look for in Ubi Girl from Tai Region: • Painted face: Many West African cultures welcome young men and women into adulthood following elaborate initiation ceremonies. This image was LOÏS MAILOU JONES. American, 1905-1998 inspired by a young Cote D’ Ivoirian initiate. Colors signify various cultural Ubi Girl from Tai Region 1972 values in West Africa. White, for instance, often signifies purity. acrylic on canvas, 43 ¾ x 60 inches • Geometric shape motif: Elaborate design motifs adorn a variety of West Museum of Fine Arts, Boston. The Hayden African textiles. Collection–Charles Henry Hayden Fund. 1974.410 • Mask profile: Masks are one of the most prominent art forms in Africa. Masks are created for functional purposes such as religious ceremonies or ritual performances. GUIDE OVERVIEW This guide offers a “visual map” to explore Loïs Mailou Jones’s contemporary artwork and West African contemporary art within the context of African and African-American culture. GUIDE OBJECTIVES Students will examine Africa, the West African region, and selected artworks through a cultural lens. Students will explore the relationship between African and African-American culture through a comparison and contrast of Loïs Mailou Jones’s West African-inspired work and West African art works. As a result, students will be able to: • Describe the relationship between West African culture and contemporary American visual arts. • Describe some of the diverse cultural connections that have influenced art in the United States. 3 LOÏS MAILOU JONES. American, 1905-1998 Ubi Girl from Tai Region 1972 acrylic on canvas, 43 ¾ x 60 inches Museum of Fine Arts, Boston. The Hayden Collection–Charles Henry Hayden Fund. 1974.410 4 I. AFRICAN ART A. CULTUR AL GEOGR APHY Vegetation of Africa Africa is… FRANCE PORTUGAL SPAIN ITALY TURKEY • A continent three times the size of the United States of America GREECE SYRIA TUNISIA LEBANON IRAQ IRAN ISRAEL MOROCCO • Comprised of 53 political countries JORDAN ALGERIA WESTERN LIBYA EGYPT SAHARA SAUDI ARABIA • Comprised of over 1,000,000,000 people MAURITANIA MALI NIGER SENEGAL ERITREA CHAD GAMBIA SUDAN BURKINA DJIBOUTI • Comprised of thousands of diverse ethnic groups (people who share certain GUINEA GUINEA FASO BISSAU ETHIOPIA SOMALIA COTE NIGERIA SIERRA D’IVOIRE LEONE CENTRAL AFRICAN REPUBLIC LIBERIA BENIN distinctive cultural characteristics, such as language, religion and art) GHANA CAMEROON TOGO EQUATORIAL KENYA GUINEA UGANDA GABON DEMOCRATIC REPUBLIC CONGO RWANDA OF CONGO BURUNDI Tropical rain forest TANZANIA VEGETATION OF AFRICA map: Tropical grassland ANGOLA MOZAMBIQUE ZAMBIA Desert and dry shrub • What can you infer from this map about Africa’s diverse regions? ZIMBABWE MALAWI NAMIBIA Temperate grassland BOTSWANA • What is Africa’s relative location? How have its Northern neighbors affected Mediterranean shrub SWAZILAND SOUTH LESOTHO Africa’s history? AFRICA • Why would you think the majority of Africa’s population lives in the tropical or grassland regions? Regions of Africa TUNISIA REGIONS OF AFRICA map: MOROCCO WESTERN • What can you infer from this map about Africa’s diverse regions? ALGERIA SAHARA LIBYA EGYPT • Compare and contrast the green color coded areas on this map with the green MAURITANIA MALI SENEGAL NIGER ERITREA CHAD GAMBIA SUDAN BURKINA DJIBOUTI GUINEA FASO color coded areas on the VEGETATION OF AFRICA map: how are they similar BISSAU GUINEA SOMALIA COTE SIERRA NIGERIA ETHIOPIA LEONE D’IVOIRE CENTRAL AFRICAN REPUBLIC LIBERIA BENIN GHANA CAMEROON and different? TOGO KENYA EQUATORIAL UGANDA GUINEA GABON DEMOCRATIC CONGO REPUBLIC RWANDA OF CONGO BURUNDI TANZANIA Northern Africa ANGOLA Thematic maps of Africa illustrate its diversity and the difficulty in characterizing MOZAMBIQUE Western Africa ZAMBIA ZIMBABWE MALAWI the continent as a whole. Political boundaries and vegetation regions, for Central Africa NAMIBIA BOTSWANA Eastern Africa SWAZILAND example, do not overlap. Similarly, the continent’s diverse ethnic groups and SOUTH Southern Africa AFRICA LESOTHO their art cannot be characterized as a single culture. Despite this diversity, African art can be said to share certain traits. Some basic definitions about what is historically considered “traditional African art” are listed below; these characteristics can be compared and contrasted with the characteristics of “contemporary African art.” B. CHARACTERISTICS OF “TRADITIONAL” AFRICAN ART: • Made from natural materials such as wood, clay and metal. Why? • Abstract forms and figures, often with distorted bodies and facial features. Why? • Employs animals from the region or ancestral animals as subject matter, often distorting the animal’s appearance through form and color. Why? • Functional to the particular culture; used in ceremonies, initiation rites and spiritual rituals, or serves a utilitarian purpose. Why? • Communal or used for a common good in the society; made for a public interest such as communicating with ancestors of a particular ethnic group. Why? C. CHARACTERISTICS OF “CONTEMPORARY” AFRICAN ART: • Made from synthetic materials such as enamel based paints or man-made dyes, factory-printed textiles, and plastic. Sometimes incorporates foreign, mass-produced objects (i.e. mirrors, buttons, tin cans, etc.). Why? • Often includes bright colors and shiny, reflective qualities. • Work features areas of geometric patterning and/or flat planes of solid color. • Employs a wide-range of subject matter. Often references themes from modern life or contemporary events. Why? • Functional to the particular culture; used in ceremonies, initiation rites and spiritual rituals, or serves a utilitarian purpose. Why? • Communal or used for a common good in the society; made for a public interest such as communicating with ancestors of a particular ethnic group. Why? 5 Vegetation of Africa FRANCE PORTUGAL SPAIN ITALY TURKEY
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