Treasures marks the National Museum of African Art's 25th anniversary as a Smithsonian museum. The first in a new exhibition series, Treasuresis an old-fashioned show about African art, reminiscent of the
exhibitions that represented avant-garde opinions of the early 20th
century. In 1926, Paul Guillaume, Parisian connoisseur and collector,
cautioned readers to defer learning about the history and meaning of
African art until they had studied African art purely as an art form,
because to do otherwise "tends to obscure one's vision of the objects
I chose the familiar--traditional sculpture--to reveal aesthetic variances, to see African art as form, not function. Treasures,
therefore, is about visual exploration and aesthetic discovery. Our
understanding of African art is prescribed by what we see, and often,
what we see is based on works displayed in museums. So, "Treasures" is
just that--a sampling that gives us a peek into the realm of African
and Africans alike revere well-made form. Each admires skillful
technique and execution, exquisitely rendered forms, pattern, balance,
symmetry, surface treatments and a sense of completeness. African
artists, however, strive to portray more than that. As metaphor or
symbol, their artworks embody the world of ideas and
beliefs--confirming their notions about themselves, life and death, the
universe and the spiritual realm. Yet, despite our cultural
presumptions that separate art from life, often separating aesthetics
from meaning, and our ignorance of or indifference to what it means and
how it is used, African art astonishes.
An eclectic display of sculptures from East, West, Central, and southern Africa created between the 15th and 20th centuries, Treasures reflects individual choices and aesthetic preferences, mostly masks and statuary. Treasuresthe exhibition encompasses all the word denotes--rarity and value,
uniqueness and preciousness, and stylistically distinctive works.
Included are: works that have never or have seldom been exhibited in
the United States; works that have never been published; three renowned
Yoruba artists, Olowe (c. 1875‚1938), Areogun (c. 1880‚1954) and
Bamgboye (c. 1895‚1978); and works whose collection histories are
complete (e.g., the Bamum male figure and Olowe's bowl with figures) or
are historically significant.
Many of the works on exhibit in Treasureswere on view in several exhibitions that planted the seeds of abstract
modernism in the United States. Mexican artist Marius de Zayas,
Parisian Paul Guillaume and Parisian dealer Charles Ratton were not
only avid collectors of African art, but vigorous advocates for the
inclusion of African art as part of art appreciation. Their efforts
resulted in pivotal exhibitions in New York City in the early 20th
century. In 1914 Zayas convinced Alfred Steiglitz, pioneering
photographer and founder of the gallery "291," to exhibit 18 sculptures
from Guillaume's collection of African art. A year later, when Zayas
became part owner of the Modern Gallery, which was central to the
modernist movement, he organized the second, more important exhibition
of African art, African Negro Wood Sculptures. American painter
and photographer Charles Sheeler documented the works in a limited
edition folio of the same name in 1918. And, in 1935, Ratton supported
and lent 62 sculptures to the Museum of Modern Art's exhibition African Negro Art,
which with the above-mentioned exhibitions, validated African art's
position within the critical mainstream of American modernism.
Still other works on exhibit in Treasureswere owned by champions of modernism in the United States and Paris.
For instance, Ratton owned two Fang reliquary guardian figures and the
Hongwe reliquary guardian figure now in the collection of the National
Museum of African Art. Guillaume and later Ratton owned the Baule
female figure. Art patron Agnes E. Meyer purchased the Fang reliquary
guardian figure (and possibly the Kongo kneeling female figure and
child) from the Modern Gallery exhibit in 1915. Both these works were
given to the museum in 1972.
Treasures reflects the continuing tradition of exhibiting
African art as art and the important role private collectors have in
shaping our perceptions about African art. For the past 90 years,
Africa's rich repository of diverse and sophisticated forms, designs
and compositions has enhanced the art and museum worlds. By presenting
African art as an ensemble of visual delights, a trove of treasures, we
comprehend what Robert Farris Thompson terms "purity of presence." As
the Yoruba say, "Anyone who meets beauty and does not look at it will
soon be poor."
At once beautiful, protective, seductive, and dangerous, the water
spirit Mami Wata (Mother Water) is celebrated throughout much of Africa
and the African Atlantic. A rich array of arts surrounds her, as well
as a host of other aquatic spirits--all honoring the essential, sacred
nature of water. Mami Wata is often portrayed as a mermaid, a snake
charmer, or a combination of both. She is widely believed to have
"overseas" origins, and her depictions have been profoundly influenced
by representations of ancient, indigenous African water spirits,
European mermaids, Hindu gods and goddesses, and Christian and Muslim
saints. She is not only sexy, jealous, and beguiling but also exists in
the plural, as the mami watas and papi watas who comprise part of the vast and uncountable "school" of African water spirits.
Mami Wata's presence is pervasive partly because she can bring good
fortune in the form of money. As a "capitalist" deity par excellence,
her persona developed between the fifteenth and twentieth centuries,
the era of growing trade between Africa and the rest of the world. Her
very name, which may be translated as "Mother Water," is pidgin
English, a language developed to facilitate trade. Countless enslaved
Africans forcibly brought to the Americas as part of this "trade"
carried with them their beliefs, practices, and arts honoring water
spirits such as Mami Wata. Reestablished, revisualized, and revitalized
in the African Atlantic, Mami Wata emerged in new communities and under
different guises, among them Lasirèn, Yemanja, Santa Marta la
Dominadora, and Oxum. African--based faiths honoring these
manifestations of Mami Wata continue to flourish in communities
throughout the Americas, including Haiti, Brazil, and the Dominican
This exhibition explores the visual cultures and histories of Mami
Wata, examining the world of water deities and their seductive powers.
It demonstrates how art both reflects and actively contributes to
beliefs and religious practices, globalization, and capitalism. Most of
all, it reveals the potency of images and ideas to shape the lives of
people, communities, and societies.
Mami Wata is a complex symbol with so many resonances that she feeds
the imagination, generating, rather than limiting, meanings and
significances. She is at once a nurturing mother; sexy mama; provider
of riches; healer of physical and spiritual ills; and embodiment of
dangers and desires, risks and challenges, dreams and aspirations,
fears and forebodings. People are attracted to the seemingly endless
possibilities she represents and, at the same time, frightened by her
destructive potential. She inspires a vast array of emotions,
attitudes, and actions among those who worship her, fear her, study
her, and create works of art about her.
Mami Wata and the innumerable mami and papi wataspirits have many faces, and their identities rarely remain constant.
As conditions change, so do the attributes, personalities, and actions
of these fascinating and enigmatic water spirits. When taken together,
the case studies presented in this section reveal striking differences,
as well as remarkable similarities, in the beliefs and expressive arts
for Mami Wata and her cohorts in Africa.
As with the arts dedicated to her, the worship of Mami Wata as a
specific spiritual entity is not a unified, homogenous phenomenon.
Instead, it reveals an extremely diverse and fluid set of beliefs and
practices that both reflect and guide social and religious worlds.
There are many expressions of Christianity, Islam, Judaism, Hinduism,
Buddhism, and other faiths, and this is perhaps even more true of the
worship of Mami Wata and water spirits in Africa.
Sacred waters bathe the histories of African peoples--waters of life,
departure, and return. Sometimes they appear as tears of deep sorrow,
sometimes as soothing and cooling streams sustaining existence and
hope. Water connects world with otherworld, life with afterlife. Among
Africans dispersed across vast oceans, these waters are emblematic of
the ultimate journey back home to Africa and all those distant yet
living ancestors. In Haiti, it is the journey home to Guinee across the
rippling boundary of existence, imagined as a vast expanse of water
that exists between life and afterlife. This is the abode of Lasirèn,
La Baleine, Agwe, Simbi, Yemanja, Watra Mama, and all the water
divinities of Africa and the African Atlantic. Their names are
regularly invoked to strengthen the determination needed to endure the
hardships and challenges of lives scattered and torn asunder by the
avarice, arrogance, and brutality of those who would enslave others for
their own benefit. The arts for African Atlantic gods and goddesses
evoke complex emotions, hopes, and dreams as well as fears and
nightmares. They may recall a sorrowful, troubled past, yet they offer
hope and inspiration for a better future and the promise of an
In addition to their continually transforming histories of influence in
Africa and its diasporas, Mami Wata and other African and African
Atlantic water spirits have gained an even wider audience, as well as
new meanings and import, by capturing the imaginations of a number of
contemporary artists. This section of the exhibition features the work
of several artists--men and women from Africa, Europe, North America,
and the Caribbean--who have found in Mami Wata and her cohorts a highly
intriguing subject matter. Even though they may not worship her, Mami
Wata has entered the dreams and waking hours of these artists, seducing
them into creating extraordinary works that open our eyes, minds, and
imaginations to wonderful possibilities. The unique understandings and
involvements of contemporary artists with water spirits also allow them
to employ Mami Wata and other underwater denizens to address issues of
gender, race, morality, identity, economics, environment, and politics.
Often appearing with the head and torso of a woman and the tail of
a fish, Mami Wata straddles earth and water, culture and nature. She
may also take the form of a snake charmer, sometimes in combination
with her mermaid attributes and sometimes separate from them. She can
exist in the form of indigenous African water spirits known as mami watas and papi watas or assume aspects of a Hindu deity or a Christian saint without sacrificing her identity.
This section of the exhibition presents a broad overview of some of the
movements, images, and ideas that have played major roles in the arts
for Mami Wata. These include African images celebrating ancient and
indigenous water spirits, global examples that demonstrate the
transcultural nature of Mami Wata, and contemporary ideological and
theological controversies concerning good and evil.
Artful Animals, an exhibition dedicated to
young audiences, explores how African artists create striking works of
art using images from an array of domestic and untamed animals. From
rock art to contemporary painting, audiences will discover animals used
as symbols of royal arts, in masquerades for the ancestors and others
rarely seen. Many of the elements of design are derived through direct
observation of the animals in their natural habitat. It is the animal's
conduct and distinct behaviors that carry the messages in performances,
stories and proverbs. The approximately 125 works capture not only the
physical characteristics of animals but also the many ways that
animals, from spiders to leopards, act out our human shortcomings and
successes. Themes include notions of nurturing, power, wisdom,
transformation, beauty and aggression.
The National Museum of African Art is collaborating with Smithsonian
education units at the National Zoological Park, National Postal
Museum, National Museum of Natural History and Discovery Theater. Each
partner site will feature a host of multidisciplinary activities. The programming project has been supported by the Smithsonian School Programming Fund.
the centuries, African artists have created artworks in various media
that underscore the dynamic quality of Africa's visual traditions.
The categories presented here represent the breadth of the collection
and are intended as a guide.
NMAfA collection includes tradition-based and contemporary
works of art. Both address important issues of identity, history
and aesthetics, demonstrate dynamism and reflect change as African
artists respond to new ideas, materials and sources of inspiration.
help shape and reflect established formal, functional and aesthetic
canons. These artworks, which are used in everyday and ceremonial
settings, address individual and community needs and serve social,
religious and political ends. Humans and animals, the primary subjects
in African art, depict desirable and undesirable aspects of human
behavior. Deities, ancestors and other spiritual beings that are
portrayed embody the breadth of African religious beliefs and practices.
The creators of tradition-based
African art are known and respected members of their communities.
Unfortunately, those who created many of the exquisite works now
found in museum collections remain unknown because their names were
not recorded when the objects were collected many decades ago. In
seeking to identify the makers of unsigned works of art, art historians
have turned to historical records, oral histories and stylistic
analysis to attribute works to a particular artist or workshop.
Such research helps us better understand the relationships between
artists and patrons and the circulation of objects in both the local
and the global marketplace.
Works of contemporary African art stress individual
vision and innovation and often address local (usually urban) and
global audiences. They find their place within both African and
global networks of interpretation and exchange. Their subject matter
is broad yet frequently focuses upon visions of personal, national
or pan-Africanist post-colonial identity and addresses struggles
seen and heard within the larger contemporary art arena. Africa's
contemporary artists work in a wide range of media, selectively
filtering the global exchange through local channels and bringing
local aesthetics to bear upon broader artistic debates and practices.
The viewing of masks is often restricted to certain peoples or places,
even when used in performance, or masquerade. African masks manifest
spirits of ancestors or nature as well as characters that are spiritual
and social forces. During a masquerade, which is performed during
ceremonial occasions such as agricultural, initiation, leadership and
funerary rites, the mask becomes the otherworld being. When collected
by Western cultures, masks are often displayed without their costume
ensemble and lack the words, music and movement, or dance, that are
integral to the context of African masquerades.
Visually, masks are often a combination of human and animal traits.
They can be made of wood, natural or man-made fibers, cloth and animal
skin. Masks are usually worn with costumes and can, to some extent, be
categorized by form, which includes face masks, crest masks, cap masks,
helmet masks, shoulder masks, and fiber and body masks. Maskettes,
which are shaped like masks, are smaller and are not worn on or over
the face. They may be worn on an individual’s arm or hip or hung on a
fence or other structure near the performance area.
The cultures of Africa have created a world-renowned tradition of
three-dimensional and relief sculpture. Everyday and ceremonial works
of great delicacy and surface detail are fashioned by artists using
carving, modeling, smithing and casting techniques. Masks, figures,
musical instruments, containers, furniture, tools and equipment are all
part of the sculptor’s repertoire.
The human figure is perhaps the most prominent sculptural form in
Africa, as it has been for millennia. Male and female images in wood,
ivory, bone, stone, earth, fired clay, iron and copper alloy embody
cultural values, depict the ideal and represent spirits, ancestors and
deities. Used in a broad range of contexts--initiation, healing,
divination, leadership, prestige and religious worship, to name but a
few--African sculptures clearly demonstrate the central role of the
arts in the African experience.
Furniture and furnishing
in Africa ranges from everyday household objects, such as headrests
and stools, to objects of high social status, such as the elaborately
carved chair of an important village elder or the ornamental throne
of a king. In many cases, artists from particular areas produce furnishings
that have a uniformity of design suited to their function. While adhering
to formal and stylistic conventions, artistic creativity and personal
expression are highly prized. With a unique and inventive organic
style, African furniture demonstrates individual artistry and the
inventiveness of African cultures.
Tools and equipment
tools are often more than hand-held implements for toiling. Created
with an obvious attention to detail, their elaborate forms and decorations
add beauty and pleasure to daily tasks. Often fashioned in part as
figurative sculpture, the spoons, axes, adzes, pipes, combs and heddle
pulleys used in daily life are examples of the skill and creativity
of African artists. Lavishly decorated tools usually serve a ceremonial,
rather than functional, role.
Two-dimensional painting in traditional African art includes images of
animals and human figures found on the rock art of the Sahara and in
southern Africa. Geometric paintings on house exteriors can be found
from west to southern Africa. However, in a museum context, traditional
paintings tend to be limited to works on panels or other portable
surfaces from only a few places in of Africa.
Ethiopian Orthodox style icons are found in this category. These
distemper on wood panels are the work of artist priests and date from
the 15th century to the present day. Devotional gifts to a church, they
often show images of “Mary and her Beloved Son” flanked by saints. They
are remarkable emblems of faith that also document Ethiopia’s
interaction with Christian art in Europe and the Near East.
Toys and entertainment
and games teach valuable lessons and help serve the social functions
inherent in play. Gameboards hone manual dexterity and the skills
of quick perception and strategy. Puppets reinforce community values
while entertaining. Dolls, many made of ephemeral materials, let girls
act out the role and skills of motherhood.
Weapons and armament
weaponry, which comprises diverse materials, techniques and forms,
may be used for hunting, defense or as ceremonial objects that denote
high social status. Basketry and hide shields, metal-tipped spears,
decorative swords with leather sheaths and distinctively shaped throwing
knives attest to the artistry of the African basket makers and metalsmiths
who make weapons as well as other utilitarian objects to serve community
needs. Often, the hilt or handle of the weapon is particularly well
decorated and may be fashioned of carved wood, bone or ivory, covered
in gold leaf or wrapped in brass or copper sheeting to further enhance
its visual appeal and the status of the owner.
is an important part of African culture. Instruments accompany the
events of daily life and are prominent in public ceremonies and royal
courts. The museum's collection focuses on those special musical instruments
that, in attention to form and detail, are also works of art. The
silent visual appeal of a massive slit gong, a delicately carved bell
or whistle, or a beautifully crafted drum or harp augments the sound
it creates when it is played.
Africa's past, a wide variety of objects--salt, shells, beads, metal
ingots, local and European coins, jewelry, woven cloth, weapons and
tools--have served as money and measured wealth. Utilitarian objects
made of iron, copper and brass alloys, gold and silver had intrinsic
worth based on the durability and value of the metals, but such objects
could also be melted down and refashioned to serve other purposes.
Although some types of woven cloth, glass beads, cowrie shells and
jewelry were used as money, it was usually as a secondary function.
A necklace, for example, used for personal adornment may have been
considered a form of stored wealth, available for exchange if needed.
In many parts of Africa, even with the imposition of national coins
and paper money, traditional currencies continue to have a ceremonial
Costumes and textiles
Textiles are among Africa's most vibrant arts. Whether made locally
or imported, Africans use textiles of various colors, shapes and
designs for daily or ceremonial clothing, as shrouds for the dead or as
furnishing fabrics for the interior of their residences. Such garments
indicate a person's status and fashion flair, but may also be worn as
protection from negative forces.
Both men and women weave in Africa. Though there are exceptions to
the rule, narrow-strip textiles are traditionally woven by men.
Broadloom textiles, by contrast, are usually woven by women. Materials
include natural fibers such as raffia and bark, locally grown and spun
cotton thread, locally produced and imported silk or cotton thread and
a range of synthetic fibers. Dyes include natural vegetal pigments and
aniline or chemical dyes.
The appeal of African textiles has spread worldwide. Ghana's
strip-woven kente and stamped adinkra cloth, Mali's mud-dyed
bogolanfini, factory-printed textiles from West and East Africa and
other African fabrics are now popular fashion accessories both within
and outside Africa.
Africa, as throughout the world, what individuals wear may communicate
their age, the identities of the groups to which they belong and their
status within their communities. Costume accessories include jewelry,
hats, shoes, amulets and fans. The artistry of these objects is manifest
in the embellishments and materials used, such as raffia, cotton,
silk, glass beads, copper alloy, gold, silver and ivory.
men and women create beautiful containers, such as gourds, baskets,
pots, wooden cups and bowls, to store and transport food and water
and to hold their most valuable and useful items. Crafted in a variety
of materials, many of these objects display decorative flourishes
and attention to detail that mark them as prized personal possessions.
Containers, such as ceramic pots or gourd bowls, may also be used
in special ceremonies or become part of an assemblage of objects used
in a shrine.
Books and manuscripts
long history of written languages and literacy dates to medieval times
when great centers of learning were established. Beautifully illustrated,
hand-written books and manuscripts demonstrate the interplay between
the visual arts and language. Ethiopian Orthodox and Islamic religious
texts and Ethiopian healing scrolls attest to the power of the written
word to act as both narrative and design. The beauty and power of
these scripts are often augmented by decorative patterns or symbolic
designs created by talented illustrators and artists.
elements are removable components of buildings-i.e., doors, door locks,
windows and support posts--that are decorated. While serving obvious
practical and aesthetic functions, most of these objects also offer
spiritual protection to those who use the structure or testify to
the wealth and social status of the owner. The majority of the museum's
architectural objects are from West Africa. Woven elements of portable
architecture, such as tent walls and blankets, are under Costumes