Dear Members of African_Arts,

I bought a spoon some years ago, but have never figured out its
origin. It was sold as Fang by a dealer who sells nothing but African
art. However, he told me that he acquired it as part of a trade, so
it may not even be African. I have seen a number of spoons with bird
finials in Native American art, but none that resemble this one.

If anyone knows the ethnic group that this spoon comes from or has
any guesses based on the spoon's specific features, I would love to
hear your ideas. I follow all postings in this group and have found
that there are some very knowledgeable members, so I hope I can
finally solve this personal mystery. Thanks in advance.

George

The photos are placed under AfriqueEtc:

http://groups.yahoo.com/group/African_Arts/photos/album/1149994923/pic/list

We are having trouble identifying this mask - it seems too thick to be a gourd
but too thin to
be wood? See Photos 'Petra and James African Art':

http://groups.yahoo.com/group/African_Arts/photos/album/1681444734/pic/list

Thanks for your help, Jim and Petra

I am no expert but from the representation of mouth, eyes, shape and incised
lines I
would hazard a guess that this is a stylised version of a round Kifwebe from the
BaLuba in
the DRC (without the whitened parallel grooves)

"Examples of round kifwebe masks with broad noses, rectangular mouths, and
flattened
crests, entered European collections by the second half of the nineteenth
century. During
the first two decades of the twentieth century, the kifwebe masking tradition
spread
throughout the Luba and Songye regions of southwest DRC"






--- In African_Arts@yahoogroups.com, Lee Rubinstein <LeeRubinstein@...> wrote:
>
> Jim and Petra:
>
> It looks to me as if the object you have presented is likely well-
> hollowed wood, as is often seen in Tuareg wooden bowls which are
> generally quite thin.  To my eye and mind, though, the object seems to
> be a strangely hybridized combination of influences:  While the
> geometric incising seen toward outer the rim of the object resemble
> similar decoration which can be seen on Tuareg bowls, the facial
> features of the "mask" resemble a Baule kple kple mask!
>
> Anyone?
>
> Lee
>
>
> On Feb 4, 2009, at 3:42 PM, wojtkowskijames wrote:
>
> > We are having trouble identifying this mask - it seems too thick to
> > be a gourd but too thin to
> > be wood? See Photos 'Petra and James African Art':
> >
> > http://groups.yahoo.com/group/African_Arts/photos/album/1681444734/pic/list
> >
> > Thanks for your help, Jim and Petra
> >
> >
> >
>

Thanks to all of you who have offered some possible pieces to the puzzle of the
"bowl/mask" (obviously not a bowl due to the eye-slits), but Jim and I, who are
quite new to this fascinating field, are quite amazed with the complexities,
even surrounding what seems to be such a simple object! Any other ideas are
welcomed, and we are sure to have many more questions (and photos) in the near
future! Thanks again.... Jim &Petra

Hello Jim and Petra:
Lee is right with the bowl
It is the failed attempt to transform an old wooden Berber Cous-Cous
bowl into an old Luba Kifwebe mask. It is recently made in Morocco.
Last year I have seen some of these "masks" on the tourist markets of
Agadir, Essaouira and Marrakesh. It makes fun to ask the dealers,
which kind of mask it is and where it comes from. One gets funny
stories to hear.
It is amazing that in morocan villages you still can find beautiful
carved old bowls for some Euros and on the tourist markets you can see
tourists pay several hundred Euros for these allegedly "antique
masks". It`s a pity about the bowls...

But it is nevertheless a very interesting work for learning.
Normally the mouth and nose on the round Kifwebe masks is more
protuberant. But in the absence of thicker wood they have made a flat
relief. There is no point where mouth, nose or eyes are higher then
the radius of the bowl.
Compared with the work of the original bowl which is accurately carved
with fine cuted decoration the later carved face is awkwardly worked.
It is well to recognize that this work is made by two different hands.
Concerning the patina the inside of the bowl shows the original patina
of often washed wood and no wear or use patterns (from nose, cheek or
forehead) like normally the inside of used masks. The patina of the
inside is too remarkable different from the outside. After carving the
face the entire outside of the bowl is covered with a chemical glaze
or lacquer so that you cannot see "naked" wood.

I hope, this bad buy do not spoil your joy in African art. You are not
the first and not last who bought the wrong.

Sincerely
	 Armin

Gambia Performing Arts Summer Intensive is a one-month professional
development program offering performance training, cultural exchange
and regional exploration in the tiny coastal nation of The Gambia.
Focusing in West African dance, rhythm, and masquerade, GPASI is a mix
of daily workshops & training, informative discussions with local
experts, as well as a handful of excursions.

This amazing program takes place 12th July-12th August, 2009.

For more information, email gambiaperformingarts@...

Gambia Performing Arts Summer Intensive is a project of Eating Artists
Services (USA).

I have posted 3 pictures
http://groups.yahoo.com/group/African_Arts/photos/album/490621025/pic/468591792/\
view

http://groups.yahoo.com/group/African_Arts/photos/album/490621025/pic/1458811688\
/view

http://groups.yahoo.com/group/African_Arts/photos/album/490621025/pic/1791440089\
/view

of what suggests a type of Yoruba helmet-mask which I purchased about
a year ago. The seller thought it was an unusual Egungun helmet,
although the carved head sits on a bluish mud-daubed wicker basket
rather than coils of cloth. It is decorated with West African, North
American and Dutch coins, held in a muddy matrix. The rendering of
the mouth and the shape of the carved head/neck/mouth suggested to me
some affinity with Cross-River culture, but I would like to hear what
others may think.

I have also posted a picture of a Salampasu mask from the DRC
http://groups.yahoo.com/group/African_Arts/photos/album/490621025/pic/474153652/\
view

which arrived today as a gift from an unbelievably kind online
auction seller who took some sort of hard-to-explain shine to me on
Inauguration Day last month. After I bought it, the seller waived the
charges and asked me just to enjoy it. It's posted for you enjoyment,
too. I have never been so struck dumb. I've taken the experience as
an inspiration to practice more random acts of kindness and senseless
acts of beauty, myself.


Odabo
Beth

Hello, all. Thanks, Lee, Armin and others for your input!... and, no, our
experience with the "mystery mask" has done nothing to lessen our love for
African art. In fact, we are excited to learn all that we can (by the way, we
did not specifically buy that bowl/mask, rather it was included in a collection,
with some of which we will again ask kind assistance from members).
    Attached* are photos of a door which we figure is Punu (?) However, we have
not been able to learn what type of door this is. We are aware that the faces
are said to represent the spirits of deceased persons. Hence, could this be a
funerary door? It seems that it may be authentic, judging from the significant
wear around the edges of the door (?)
   Some other interesting aspects include the repair-work (cracks in the wood
have been mended with a rattan-type material, perhaps by the people who used it?
as glue was not used in its stead). Also, perhaps someone could shed some light
on the three holes in the door, which are also well-worn to the point of being
shiny in some areas.
    We are looking forward to another interesting discussion!

Thanks!  Petra and Jim
  wojtkowskijames@...

*Image links:
http://groups.yahoo.com/group/African_Arts/photos/album/1681444734/pic/656497648\
/view
http://groups.yahoo.com/group/African_Arts/photos/album/1681444734/pic/482531439\
/view
http://groups.yahoo.com/group/African_Arts/photos/album/1681444734/pic/112999832\
1/view

Greetings Group,

For those disinterested in Eastern Congo minutiae ,please change channels.

I have  a Lega  light wood Bwami figure which begs certain questions:
http://groups.yahoo.com/group/African_Arts/photos/album/55030353/pic/list

Standing some 14 in /36 cms tall it depicts an armless character who might be
the one Biebuyck describes as Ngeze, an aspirational  lazy – bones but without
the aptitude to make things happen.
Not a particularly rare style of figure and I suspect the face once  scrubbed of
its kaolin by an overly zealous collector.
However there are a few unusual features. For a start,there is a hollow core
running through the body of the figure.
The core is quite irregular and the opening on the top of the head would , if it
was ,say, Songye   suggest an aperture for a horn or similar magical
substance.(To avoid Group blushes,a photograph of the underside will not be
posted in the photos Lega Conundrum) But to the best of my knowledge the Lega do
not do this.  It has  obviously been the guest of wood boring insects.Many of
these holes have been 'enhanced'  by indentations made with presumably a square
nail/punch . And many added with no reference to insect activity .This might
suggests  allusions to Katana  (adulterous wife/sleeping mat/army of red ants,
other metaphors for potential danger)
But even stranger are the systematic stab holes presumably made with the point
of a ( back ridged ?) knife formed in a circle around the top of the head - and
similarly  the upper thigh/ groin area.

Any ideas , anyone?

Best wishes from France; John HF

We have a lot of information on Puno masks, but have yet to find any info about
the same images appearing on a door.    We have included photos in our last
message, and hoped maybe someone could direct us to any references/books or
websites where we could further our research ... And, of course, we would love
to read of any ones experience with this type of object.
We are really excited to become part of this Group and look forward to
discussing and learning about the art.

Petra and Jim,

It is difficult to discuss the authenticity of the specific door, or shutter, which you present -- or of the Punu door form generally,  because it is difficult to identify a representative body of comparative examples or related reportage regarding the occurrence of such objects in indigenous contexts.  The only example of a "Punu door" of significant and seemingly verifiable age to which I can refer you is not accompanied with any illuminating details other than its turn-of-the-20th-century introduction into the Musée de l'Homme collection which has recently been absorbed into the holdings of the Musée du quai Branly [QB] in Paris:  

http://www.quaibranly.fr/cc/pod/pleinecran.aspx?p=MQB+OBJETS&i=\199\199552.jpg&n=Porte

N° inventaire : 71.1901.35.27

Ethnonyme(s) : Punu

Toponyme(s) : Gabon / Afrique centrale / Afrique

Personne(s) / Institution(s) :

Donateur : Henri Lousteau
Précédente collection : Musée de l'Homme (Afrique)

Description : Figure féminine sculptée en bas-relief, représentée de face, bras et jambes écartés. Coiffure à trois coques, collier au niveau du cou, scarification abdominales et au-dessus des seins.

Date(s) : 19e siècle

I do not know whether there is additional supporting information to verify the original location and verification of usage within collection data associated with the door nor have I been able to identify sources (which may be available?) which document the presence and prevalence of the use of these architectural elements in Punu communities.  I mention this uncertainty simply as a reminder that early collection history can provide verification of age but does not necessarily prove indigenous use or authenticity of an object (while the corollary truth remains that recent production and collection does not inherently denote the inverse...)  Beyond notable observable details of the QB example such as the wood base material, the relief carving technique and the traces of kaolin present on the door's surfaces, we don't have a broad selection of criteria to consider and compare to determine the authenticity and the geographical or contextual origins of this and other similar works that bear a strong resemblance to this particular door.  For instance, it is not clear (if we presume the authenticity of the example cited for the purposes of comparison) whether there is any documentation of the imagery that appears on such doors as a factor in determining authenticity or function;   for example, do such doors traditionally bear a full human figure, or do they also display series of masks as exhibited in your example?)  I am not certain regarding the significance of the isolated masks, or facial representations -- as opposed to the fully rendered figure, because I can't locate any examples or explication of this particular aspect.  

The fact is that there is a preponderance of such doors (or shutters) available on the market which display a variety of characteristics resembling both those observable in the QB example and your own -- Punu-styled relief carvings on the exterior surface, for instance.  Most related door examples which display this relief-carved and kaolin-covered mask/facial element as an aspect describe the function of the okuyi, or mukudj mask, generally -- but they don't provide accompanying information regarding the image's use as a decorative or functional, perhaps magical, architectural element.  Additionally, a broader search yields many examples of windows, shutters or doors, bearing the influences of other regional artistic traditions such as those of the Fang, Namji, Kota, etc., many of which are clearly more contemporary, commercial productions.  In the absence of criteria for assessment, one must consider the possibility that many such doors -- in Punu and other styles -- are more recent productions possibly produced not for indigenous usage but for commercial sale.  Although many such doors of various styles appear to be functional or to bear suggestions of age, these impressions are possibly the result of skillful craftsmanship rather than of actual function or age.  Once can see in the images from Foumban workshops provided in this link works which include both more local forms as well as examples of "Pounou windows"  produced in the region of Foumban, Cameroon.  (In this additional link from the same site you can also view glimpses of production, including the sanding of a "Punu mask" which illustrates the reproduction of the image as mask in this commercial production setting.)  

If I may, I'd like to go on a short tangent regarding the use of borrowed, or overly general, terminology to connote authenticity:  Frequently, doors of various styles and origins are presented as "granary doors" which suggests the possible transposition of terminology which is applicable to doors from, for instance, the Dogon context in Mali where such door panels (exhibiting Dogon imagery and quite different surface finishes) have been authentically produced as well as copiously reproduced but which may or may not be an appropriately applicable description of formally similar architectural elements which appear from other contexts.  Although we do not observe in the instance of "Punu doors" a movement or borrowing of traditional styles across so vast a geographical expanses as in the case of your bowl-become-mask which seemingly integrated stylistic elements and re-incarnated pre-existing forms from and in disparate locales, we do see in the use of such descriptions as "granary door" the migratory practice of applying terminology from other contexts to suggest the plausibility of authenticity and usage for analogous examples arising in other cultural and geographical contexts.  

This practice of applying knowledge and terminology in an overly broad manner omits vital steps of verification which are necessary to understanding, when possible, the specific regional and cultural authenticity and significance of analogous forms.  Perhaps the simplest example of such unproductive generalizations is the overly simple assumption that most African figures are, for example, "ancestor figures."  As a general rule, such an assumption is a plausible hypothesis;  but, in order to regard and understand whether such a classification is true and appropriate in specific instances, it is necessary to explore the perception and function of objects within the more localized cultural milieus in which such identities and significances are suggested to exist.  It is also advisable to keep in mind that such identities and meanings of forms/objects are also malleable and changing as reflections of the on-going transformations of the contexts from which they arise.  Given the transit of objects and their re-appearance in new contexts, the attachment of new appreciations and associations allows for objects to be recast in new roles;  even commercially produced works as well as works absorbed from other cultures may resonate with -- and can be integrated into -- other contexts both African and non-African.  To update an adage (comprehensibly, I hope): "One person's tourist art is another person's shrine object."  It is important, though, to seek to define not only meanings or functions but also the variable contexts in which these  meanings and functions are applicable.

As the various observations pertaining to the previous mask of which you posted images reminds us, it is a wholly subjective assessment as to whether the whole which is composed of diverse influences does indeed yield a product which is greater, lesser or equal to the sum of its parts.  Armin's contribution was particularly satisfying through its providing empirical evidence to identify a specific context in which such a work drawing from varied origins and influences came to be.  I agree with Andrew that the possible inspiration of the Luba kifwebe is indeed apparent in the final "mask" which was produced from the original bowl.  I, too, had considered the kifwebe influence on the style of the mask face but was inclined toward the likelihood of a more West African source of imagery (the kple kple) based on the mistaken hypothesis (not articulated) that the bowl from which it was carved had traveled southward and that the subsequent mask carving took place in a carving workshop in Abidjan or thereabouts.  That Armin was able to indicate more northerly locations -- in Morocco -- where such masks are being produced illuminates not only the broad distribution of ideas and images which are accessible to contemporary carvers and influential upon commercial carving activities but also widens the geographical range of contexts in which the recurrence and recycling of this imagery occurs.

In addition to encouraging exploration of traditional forms and meanings, I have long advocated the equal prioritization of one's own appreciation for the objects to which one has been drawn.  A traditionally inspired object moving through the world is like an echo which amplifies the forms which preceded it and propels new interest to understand both the origins of the object's form and the resonances which engage the attention and interest of persons in other contexts.  In the same manner that the many standardized tools of divination can produce a finite number of configurations, the interpretations and applications of those configurations generates an infinite range of outcomes in which we play an active role...

Keep scratching.

Lee

On Feb 13, 2009, at 7:29 AM, wojtkowskijames wrote:

We have a lot of information on Puno masks, but have yet to find any info about the same images appearing on a door. We have included photos in our last message, and hoped maybe someone could direct us to any references/books or websites where we could further our research ... And, of course, we would love to read of any ones experience with this type of object. 
We are really excited to become part of this Group and look forward to discussing and learning about the art. 

Hi!  My mom was in Kenya last summer and bought a beaded wall hanging
at a Maasai village as a gift for me.  The beading is all white and
there are people and lizards worked in relief on the hanging.  Can
anyone point me to some resources for learning more about the
style/value of something like this?

Thanks.

Shawn

Beth,

Thanks for your suggestion.  I posted some photos in a folder called
"Shawn's Wall Hanging":   
http://groups.yahoo.com/group/African_Arts/photos/album/543250804/pic/list

I don't think that this item could be a belt.
It's very large (about 6 feet long and 1 foot wide) and appears to
have been created specifically as a wall hanging since there are
beaded tabs at the top.  It is also quite stiff and wouldn't drape
very well across or around the body.

Shawn


> Shawn: Can you provide a picture? I am thinking perhaps you have an imported
(from W Africa) diviner's belt. There are both ex-pat artists and  West-inspired
art fold in E Africa. Please post/send a picture.
  Odabo
  Beth

Paul,

Thank you for some extraordinary information.
I concur with what you say but am particularly fascinated by the
explanation of the 'knife stab holes' . If it was not for your  field
work on the subject I too would find it hard to believe  they develop
naturally.
I  too, am perplexed by the eyes but when I began convincing myself
there was a Metoko influence (that far North?!) thought it wise to say
nothing lest someone think I was indulging in Class A substances.

Paul and Lee's hypotheses on interethnic relationships might suggest
my musing were not so far fetched.

An Anglo-Irishman living in France,asking questions about something
emanating from Eastern Zaire,is responded to by an American, possibly
of Italian descent, based in Uganda.
I wonder what the traditional Lega would have made of that.

Best wishes,John HF

Hi Lee and all--

I've been meaning to follow up on some posts a while back discussing
the Cornet article on the DRC "art factories" under Mubutu and the
problem of pastiches that plague the DRC art market.  As Lee pointed
out, the market has been flooded with fakes (most very poor but some
outstanding), which should make any collector understandably cautious
and hesitent before purchasing any pieces purporting to be from the
Congo and authentic.  That being said, there is no doubt in my mind
that some authentic pieces do, in fact, exist and occasionally make
their way out of central Africa--of course, there is the obvious
problem of authentication of pieces that do not come with documented
provenence from an old collection, but I don't think that the problem
of certainty alone should cause anyone to discount that these pieces
occasionally come to the market.

As a prime example, I've posted new photos of the Hemba singiti that
recently arrived from my friend (the earlier photos did it no
justice), which are now in the folder "Hemba singiti and Nyamwezi
figure":
http://groups.yahoo.com/group/African_Arts/photos/album/868085518/pic/list
    After very careful examiniation by my self, my friend, and
several of his knowlegeable congolese friends, we are all convinced
that it is, indeed authentic and old.  This conclusion is based on
the patina, age cracks, and the style of the piece.  This piece
really has the transcendent and detached expression with the
balanced, organic rendering that I've only seen on authentic pieces,
which--coupled with the nature of the patina and the multiple
age "fissures" (cracks arent really the right word)--makes me believe
it's authentic.  Of course, there is no way anyone can be certain--if
anyone knows any reliable testing methods for patinated wood, please
let me know--but I trust my eyes and instincts on this piece as much
as I would trust any documented provenence (which in todays market
are often misleading or fakes themselves in many respects).

That being said, rather than likening authentic DRC art to the dodo,
I would compare it more to the coelacanth, one of which occasionally
makes its way to the surface to remind us that it still exists.

Best Regards,

Chris