THE FACES OF WISDOM: THREE AFRICAN MASKS

THE FACES OF WISDOM: THREE AFRICAN MASKS U sing art, reading and writing students investigate the role masks play in African cultures, connecting them with traditional folklore. Students work with three different African masks, each a distinct example of design and symbolism. Using fables and folklore, the student creates a mask to illustrate a folklore character s wisdom and wit. Standards Ohio Learning Outcomes Fourth Grade Learning Outcomes Writing Given an assigned activity direction, the learner will use the writing process to make the intended message clear, as evidenced by: c. an organized and logical response that flows naturally and has a beginning, middle and an end; e. the use of a variety of sentence patterns; i. the correct use of capital letters (beginning of sentences and for proper nouns) and end punctuation. Reading Given fiction/poetry text to read silently, learners will demonstrate an understanding of language by responding to items in which they: 1. summarize the text; 6. infer from the text; 8. respond to the text. Sixth Grade Learning Outcomes Writing The student will use the writing process to make the writing activities clear for the intended audience, as evidenced by the capacity to: b. exhibit a logical organizational pattern that demonstrates a sense of flow and conveys a sense of completeness and wholeness; g. demonstrate correct usage, correct spelling of frequently used words, and correct punctuation and capitalization. Reading Given fiction/poetry text to read silently, learners will demonstrate an understanding of text and elements of fiction or poetry by responding to items in which they: 2. summarize the text; 3. infer from the text; 4. respond to the text. Ohio Model for the Arts Fourth Grade Goal IV Nature and Meaning of the Arts: Valuing the Arts a. Discover how a group s beliefs and values are reflected in its arts forms and stylistic choices. Sixth Grade Goal III Art Criticism: Responding to the Arts a. Use places where actual pieces of art are shared as resources and/or inspiration for individual and collaborative artistic expression. 211

LESSON 15 cameroon mask FACES OF SYMBOLS AND STATUS Group unidentified; Western Grasslands, Cameroon Title Mask Date late 19th century Medium wood Dimensions 28 1 2 x 17 1 4 x 13 1 2" Credit Museum Purchase: Gift of Al Vontz Accession No. 1991.133 T his large mask of the western grasslands of Cameroon is a very complex sculpture created from a single piece of wood. Some African societies used masks and other personal items as indications of social status, much as we do today. This large, heavy mask signifies privilege and plenty. The full cheeks and the open mouth with teeth suggest prosperity and wellbeing. These features, along with the rimmed eyes, are distinctive stylistic conventions found throughout the art of the grasslands. Especially noteworthy is the elaborate openwork headdress that is sculpted above the face. Unless the viewer understands the symbolism of the culture, one might see this form as a floral-like pattern. But this design is a depiction of spiders, which symbolically represent wisdom and privilege within this culture. The nocturnal earth spider lives in the ground and emerges after sunset. Since the people of Cameroon believed that the spider inhabited both the world of the dead and the world of the living, the spider became a powerful symbol in Cameroon folklore. The spiders are reduced to the basic elements of circles and lines, in typical grasslands style. The sculptor has chosen to depict the spider with six legs rather than eight for unknown reasons. This mask would have fit snugly over the face of the wearer, on top a translucent or netted cloth. 212

Kuba, Democratic Republic of the Congo Yaka, Democratic Republic of the Congo Title Mask Date 20th century Medium painted wood, raffia Dimensions 10 1 2" (with raffia 21") x 6 1 2 x 3 3 4" Credit Gift of the Edwards- Britt Collection Accession No. 1978.436 This mask from southernmost Yaka is helmet-shaped and made entirely of wood. The projections rising from the ears represent folded brass hair ornaments worn by women. The double-lidded eyes, exaggerated mouth, nose and ear forms are typical styles of this region. Title Mask Date 20th century Medium raffia, cloth, glass beads, cowries, shells, fur, wood Dimensions 17 x 14 x 19" Credit Gift of the Edwards- Britt Collection Accession No. 1979.412 The Kuba people of the Congo produced two distinct mask styles to be used in ceremonial dances. The first was a wooden helmet mask and the second, featured here, was made of skins, raffia cloth, beads, cowrie shells, feathers and seeds. Similar Kuba design patterns are found in baskets and fabrics. The top of the mask is decorated with the trunk and tusks of an elephant to represent power and authority. Young men made and wore the Yaka mask as they emerged from a long initiation ceremony to represent various stages in the hierarchy of the initiation. The mask is decorated with a bushy fringe made of raffia fibers. The mask was secured either by a tie at chin level or by straps at the shoulders. After the initiation festivities, the masks were kept as future dance accessories, discarded or burned. 213

LESSON 15 cameroon mask Inside the Culture: Behind the Masks The Life and Times of African MaskMakers Western Cameroon is a vast grassland area often called one of the great centers of art and culture in sub-saharan Africa. Its inhabitants can be divided into three groups: the Bamilike, Bamum and the Bamenda. These groups are loosely associated with one another and share many historical and political similarities while maintaining separate identities. All three originally came from the northern region of the continent and migrated south during the last several centuries. Today, many independent chiefdoms exist throughout the grasslands, varying in population from a few hundred to many thousands of people. Each chiefdom is a self-contained state governed by its own leader (fon). The fon is selected by his predecessor and is usually the head of the community s dominant family. He is the religious, political and social leader of his territory and is served by a council of elders, who advise him on all important decisions. These advisors also play an important role in the selection of the next fon. Most chiefs serve for a lifetime, giving up the throne only when nearing death. The oral traditions of the grasslands trace the founders of present-day chiefdoms to the fifteenth century. cameroon The Home of the MaskMakers The West African Republic of Cameroon has open grassy savannas, high plateaus and fertile valleys. The grasslands have been called the breadbasket of Cameroon because agriculture is the primary occupation. The farmers grow maize, yams and peanuts as staple crops. They also raise livestock, including chickens and goats, which play an important role in their daily diet. Women, who are believed to possess the power to make the soil more fruitful, are responsible for planting and harvesting the crops while men hunt and clear the fields for planting. 214

Behind The Art of the Masks: What they Meant to the Artists An elaborate system of symbols reflects and visually reinforces the social hierarchy of the grasslands culture. Prestige items signify the power and social position of their owner. Therefore, since the chief is the master of his territory, he must appear powerful, just and prosperous and possess valuable artifacts. Masks are prestigious possessions within the West African grasslands and are the property of men s societies. When these men s societies perform certain duties, such as monitoring communal work, pursuing criminals and delivering royal messages, the masks preserve their anonymity. Masks are owned primarily by large or important families. One family may own an entire mask group, consisting of eight to thirty different masks, accumulated through generations of participation in these men s secret societies. Grassland masks are generally large and heavy. The Western Cameroon mask is especially noteworthy because it is an elaborate openwork structure that depicts interlocking spiders. Typical of the grasslands, the spider is reduced to its structural elements in a stylized manner. A circle represents the spider s body, and in this case, six evenly spaced projections represent its legs. Spiders actually have eight legs, but the stylized pattern of six is meant to be purely symbolic, not scientifically accurate. It is crucial that the viewer understand the iconography, for there is no other way to discern that a spider, rather than a pleasing floral-like pattern, is being represented. Other animals are often stylized in grasslands art such as the frog, crocodile and lizard. The spider is a common prestige icon used in the grasslands that is derived from the behavior of the nocturnal earth spider that lives in the ground by day and emerges above only after sunset. Literally, the spider lives in two worlds. The daylight is the visible world of the living, and the night is the invisible world of the dead, of the ancestors. For the people of Western Cameroon, the survival of their world depends upon communication with their wise and powerful ancestors; therefore, the spider, which travels between both worlds, functions as a mediator. Its appearance on objects of status, such as masks, stools and pipes, which are owned by high-ranking men or the chief, signifies a prestigious connection with the world of the ancestors. 215

LESSON 15 cameroon mask DIGGING DEEPER: THE CROSS-CURRICULAR EXPERIENCE S tudents view the Cameroon mask and discuss the interpretive visual use of the spider icon. They read a selection of African fables that feature Anansi the spider as the main character. Students write their own fables featuring a main character or storyteller that possesses wisdom or wit and uses those qualities to trick or instruct others. Students create masks complementing their stories and incorporating a visual interpretation of their main character. In keeping with the oral tradition of the African people, the students celebrate their creations and present their stories to the class while wearing their masks. Materials paper bag balloon wire armature tempera paint yarn raffia buttons ribbons seeds plaster glitter other found items for decorating masks Vocabulary List fable a brief, didactic tale in which an animal or inanimate character speaks as a human schematization a stylistic drawing or a diagram of an object using simple lines and shapes icon a pictorial representation Estimated Time for Completion Ten to fifteen class periods Main Subject Areas Covered Visual Arts, Literature, Writing and Technology Activity 1. Students view the Cameroon mask. They describe the physical features and speculate as to the many, varied and unusual interpretations of the headdress. The teacher discusses the historical setting of the mask and the design element using multiple spiders created in a schematized style and its symbolism. 2. Students recall various fables they know, such as Aesop s Fables. Students then develop a working definition of a fable including the common characteristics found in the fables they recalled. For example, all fables have an animal or an inanimate object as its main character. 216

3. Students read a selection of African fables featuring Anansi the spider as the main character. Refer to the World Myths & Fables Internet site http://www.afroam.org/children/ myths/myths.html or your own textbooks and school library. While reading these stories the students note each of the characteristics listed as a result of the discussion held in step two or use the What is a Fable? worksheet to chart each element found within the fables. 4. Students compose their own fables based upon the knowledge gained from step three. Students develop their own charts to help organize their writing. The crucial element of the fable needs to be a main character that displays wit or wisdom in dealing with the events of the story. 5. Students design masks that incorporate schematized representations of their main characters. The basis for the mask can be as simple as a paper bag or as complex as a papier-mâché form. The mask itself can be human-like, as is the Cameroon mask; however, it must be adorned in some way with an interpretive reference to the main character of the story. 6. Students create their own masks using the designs developed in step five. 7. Students prepare presentations of their stories and their masks, using good speaking skills to bring their stories to life. 217

LESSON 15 cameroon mask What is a FABLE? NAME DATE Fable Characteristics Basic characters with simple personalities Usually only one or two characters in the story Animals are usually the main characters and can talk or act like humans Very short in length with one main event Setting is not important to the story, story could happen in another place The moral of the story is very clear Story is told using simple words Story is handed down through families or cultures Story is easy to tell and, many times, is told by a parent or other adult Meant to teach children a lesson Examples of Fables The Boy Who Cried Wolf The Tortoise and the Hare The Town Mouse and the Country Mouse The Crow and the Pitcher Once a Mouse Assignment Read a story from a book or website. Using the Fable Characteristics list as a guide, decide if the story is a fable. In the space below explain why the story is or is not a fable. 218

assessment AN EVALUATION OF S FABLE PROJECT TITLE DATE 1 = Needs Improvement 2 = Acceptable 3 = Satisfactory 4 = Good 5 = Excellent FABLE ASSESSMENT Quality of Ideas 1 2 3 4 5 Creativity and Alignment with Definition of Fable 1 2 3 4 5 Writing Mechanics 1 2 3 4 5 Oral Presentation 1 2 3 4 5 MASK ASSESSMENT Creativity and Quality of Ideas 1 2 3 4 5 Use of a Stylized Image 1 2 3 4 5 Use of Elements and Principles of Design 1 2 3 4 5 Craftsmanship 1 2 3 4 5 Teacher Comments: 219

LESSON 15 cameroon mask Curriculum Connections and Extensions Science Explore the world of arachnids. What characteristics might be discovered in the course of their study that might explain why the Cameroonians have chosen the arachnid to house such symbolic meaning? This lesson could be extended even further by the exploration of other invertebrates or insects as having the same potential for symbolic use in our own culture. For example, a roach, when viewed as a scavenger, may provide a symbolic representation of a group of people who want to make better use of their environment. Chart the materials and resources, both natural and man made, used in the construction of masks. Examine the influence of technology on materials and resources. Gather a collection of contemporary resources and construct a mask representing today s culture and technology. Math Schematization, or stylizing, is the reduction of an image to its basic geometric elements. Use visualization and rotation, translation, reflection or stretching on a variety of images. Social Studies Conduct a class discussion exploring the motivation for creating and using masks in today s society. In a small group setting, students will create scenarios in which one of their peers might employ a mask. Peer pressure, poor self-esteem or fear might be settings in which a student adopts the use of a mask. Dance and Physical Education Movement is a significant element when the mask is performed in ceremonial events. Students should examine and demonstrate how dance and movement are used to convey a story. Music Materials and resources influence the kinds and sounds of instruments that are made. Create a kinetic sound sculpture or composition from materials or objects readily found in the environment. The composition might reflect the influence of technology and electronic sound. 220

bibliography Print Resources Abrahams, Roger D., ed. Afro-American Folktales. New York: Pantheon Books, 1985. African Art: Working with Sculpture. Art & Man Nov. 1991. African Kingdoms. Kids Discover Jan. 1999. Chanda, Jacqueline. African Arts & Cultures. Worchester, Massachusetts: Davis Publications, Inc., 1993. Gonen, Amiram. Cameroonians. Peoples of the World. 2 vols. Danbury, Connecticut: Grolier Educational Publications, Inc., 1998. Gonen, Amiram. Kuba. Peoples of the World. 6 vols. Danbury, Connecticut: Grolier Educational Publications, Inc., 1998. Gonen, Amiram. Yaka. Peoples of the World. 10 vols. Danbury, Connecticut: Grolier Educational Publications, Inc., 1998. Goss, Linda and Marian E. Barnes, eds. Talk That Talk: An Anthology of African American Storytelling. New York: Simon & Schuster, 1989. Electronic Resources Discover Africa AFRO-Americ@ http://www.afroam.org/children/ discover/discover.html Myths and Fables AFRO-Americ@ http://www.afroam.org/children/myths/ myths.html Folk and Fairy Tales from Around the World Tales of Wonder http://members.xoom.com/_xmcm/ darsie/tales/index.html Aesop s Fables http://www.pacificnet.net/~johnr/aesop/ Cameroon Art and Life in Africa http://www.uiowa.edu/~africart/toc/ countries/cameroon.html Yaka Art and Life in Africa http://www.uiowa.edu/~africart/toc/ people/yaka.html Cameroon Grasslands Art and Life in Africa http://www.uiowa.edu/~africart/toc/ people/cameroon_grasslands.html Kimmel, Eric A. Anansi and the Talking Melon. New York: Holiday House, 1994. 221