March 14 through August 14
Open Thursday and Saturday, 12:00pm - 4:00pm
Tribal Craft: A Collector’s Seduction
This exhibit at the Sam and Alfreda Maloof Foundation for Arts and Crafts brings together ethnic craft from three private collections and three tribal areas of the world — Africa, Oceania, and First Peoples of the Americas. Each collector has followed his own criteria or passion. In doing so their desire intensified the attraction and furthered the quest for a deeper understanding of the objects involved. While collecting may have myriad reasons for acquisition this exhibit dedicates its focus on craft — not as a mere effort for utility but as a singular expression of its creator. There is a global and age-old recognition among craft workers of the motivation that compels them to go beyond the functional and enter the aesthetic. In cultures distant from our own we can discern that commonality though we may not completely understand the object’s purpose. It is to this aspect of the craft workers’ universal language the gallery presentation speaks. That we of the present can be awed by the past bodes well for a creative and inspiring crafts movement of the future.
“The craft language is truly universal. No matter where we may travel Craftsmen can converse through their mutual interest and shared experiences in craft. This understanding transcends all barriers. We all recognize the value of each other’s work no matter what social or ethnic environment we may come from; the crafts make the world a universal family.” Sam Maloof
Three FERTILITY DOLLS, “Akua’ba”
Wood
Africa, Ghana, the Akan, Asante tribe
Mid-20th Century
Asante dolls are used by young women hoping for a child. Legend has it that a woman who has worn one of these dolls, will give birth to a beautiful child. Bodily aesthetic beauty to the Asante is a long neck, a high forehead and a small mouth.
Traditionally, the user of the Asante doll would have it prayed over, strap it to her back, carry it the way she would a real child and generally tend to the doll as if it had life. Scarifications will vary slightly from doll to doll. Today, these dolls are placed in the main area of intimacy.
HEADREST
Wood,
Africa, Democratic Republic of the Congo,
Luba tribe
19th - 20th Century
The Luba people have long been noted for their elaborate hairdos. It is not unusual that such coiffures would take over 50 hours to create. Therefore, it was imperative that these works of art be protected during sleep. It was also believed that these carefully carved items were considered the seat of dreams. Dreams are held in high regard by the Luba society.
CEREMONIAL CONTAINER,
“Ark of the World”
Wood, pigment
Africa, Mali, Dogon tribe
19th Century
Among the Dogon peoples, the “ceremonial container of the ancestors” also called “ark of the world”, is kept in the lineage’s family house. It represents the ark in which the first “Nomo”, the mythical progenitor of mankind, descended to earth, along with his “sons” — four pairs of male and female twins — and everything made in heaven by Amma, the creator. This sculpted wooden container was made to be offered to the wife of the “hogon”, the religious head of the region and high priest of the cult of the Lebe.
HEAD CREST MASK
Wood, pigment
Africa, S. E. Nigeria, Nigeria delta,
Ejagham (Ekoi) tribe
Early 20th Century
This elaborately carved piece is worn upon the head during important ceremonies, initiation rites and other events associated with this hunter/agricultural society. The iconography often stresses the duality of life with a strong emphasis on ancestors and natural forces. This piece exhibits a complex mix of symbolism
Left to right:
CERAMIC POT
Clay, pigment
USA, New Mexico,
Hopi tribe
Artist: Roberta Youyella
Early 20th Century
CERAMIC VASE
Clay, pigment
Mexico, Mata Ortiz
20th Century (modern)
CERAMIC POT
Clay, pigment
USA, New Mexico, Hopi tribe
Artist: Clinton Palacca Nampeyo
20th Century
HEAD MASK, antelope
Wood, cloth, fiber, pigment
Africa, Burkina Faso, Bobo tribe
19th Century
The antelope is often closely linked with agrarian cultures and venerated with harvest ceremonies and festivals. It has been suggested that the usual appearance of the animals rummaging in the newly harvested fields may have inspired a spiritual connection.
DOOR, heavily carved in bas-relief
Wood
Africa, Ivory Coast, Bagoe River Valley, Senufo tribe
Early 20th Century
The Senufo wood carvers (kulele) of the villages are highly respected. Their richly carved doors are used for houses, shrines and granaries of importance. Animals such as the crocodile (power), the snake (soil fertility), the hyena (guardian), as well as symbols of earth, air, fire and water all serve as protection for the contents within.
TWIN EFFIGIES
Wood, shells, pigment
Africa, Nigeria, Yoruba tribe
Age unknown
The Yoruba women produce above average twin births. It is believed that if one or both of the children dies at birth it becomes mandatory that an effigy be carved, dressed and taken care of as though it were living. This is done in order to avoid jealousy and malevolent spirit activity.
GRAVE MARKER
Wood
Africa, Madagascar, Mahafaly tribe
Early 20th Century
The figures and designs carved into these markers often tell a story about the deceased. It might be assumed the pregnant woman died in childbirth.
ROYAL BEADED CLOAK and STAFF
Cloth, fiber, glass beads
Africa, Nigeria, Yoruba tribe
Mid- 20th Century
Beads and royalty are closely linked in Africa. For centuries, African rulers accumulated valuable, locally made and imported beads. They also controlled their distribution and use. The ownership of large quantities of beads, the variety of exquisite beaded clothing and regalia, and the right to display colorful beaded designs distinguish rulers from the rest of the populace. During public ceremonies, kings wear spectacular arrays of beadwork. They dazzle their subjects with the splendid colors and the unique designs of their royal costumes and regalia.
detail below:
detail from ROYAL BEADED CLOAK and STAFF
BOWL, incised exterior designs
Clay, pigment
Papua New Guinea, Middle Sepik River, Kamanguam village
LIME CONTAINERS, “Lime pots”
Wood, bone, pigment, gourd, feathers
Papua New Guinea,
Sepik River and Trobriand Island
Mid 20th Century
The habit of betel nut chewing is widespread throughout Papua New Guinea, South East Asia, India and the South Pacific. In Papua New Guinea the practice involves the use of lime (ground bone and shell) as an accompaniment. Using bamboo segments and gourds along with Cassowary bone dipsticks served to keep their powder dry. Incising the outer surfaces with graceful patterns took it beyond the utilitarian. SPECIAL NOTE: The bamboo container with the fiber chain and colored feathers denotes the owner had the distinction of taking the head of an enemy in battle.
ANTELOPE SCULPTURE, Tyi Wara
Wood
Africa, Mali, Bamana (Bambara)
19th-20th Century
Closely linked to the Chi Wara, shown elsewhere in the exhibit, this sculpture is often carried or featured in the dances and ceremonies related to Ganay, god of agriculture. Today, the Bambara people have personified their reverence for the agricultural deity by referring to a good hardworking farmer as Tyi Wara.
HELMET DANCE MASK
Wood, metal, pigment
Africa, Burkina Faso, Bobo tribe
Age unknown
The Bobo people are noted for their elaborate attire and head gear during celebrations.
