Let's Talk Makonde

THE MYSTERY OF NAFASI MPAGUA
IS IT HIM?

  Trivial Art Tribal Art = TA-TA

   Let's Talk Makonde

Above, look at the scarification tattoos and the teeth chiseling!

Sometimes in the beginning of this year – 2008 – I got a visit. The sculptor Mathias Nampoka was
my guest. He is the son of the sculptor Everist Nampoka. While he was looking in the book
Makonde written by Jesper Kirknaes, I asked him if some of the sculptors described in the book are
still living. (the book was written in sixties or seventies). See the filed teeth and scarification
tattoos.
Nafasi Mpagua at his metal hut in Kibaha
“Yes”, answered Mathias. “I know Nafasi Mpagua”. He is not living far from me in Kibaha. He is
alone, his family left him. He might be 80 years old. He used to come to me to ask for some money.
I give him sometimes 1000 or 2000 Tsh (ca $1)”.
Some hours after our meeting Mathias Nampoka called me: “Daniel, come!. Nafasi has fever and I
don´t know how long he will live”.
Nafasi Mpagua talking to Tanzanian Minister of the Culture in May 2007

I came next day. I took photos. I made short interview. Though his health was not well he carved a
sculpture for me. He doesn´t see well. He was living in a metal hut. And rightly – he was alone.
Many people doubt that he is still living. I can only say that the tattoos on his face correspond to
those in the book of Jesper Kirknaes. Jesper Kirknaes agreed that it was Nafasi Magua when I
showed him ca 20 photos. Also Nafasi Mpagua was at the exhibition in Tanzania last year 2007 in
May. He was captured by one photographer while talking to Minister of Culture.
Peter Kalulu
Champion Peter Kalulu is born in Mosambique, the exact year is not known. In 1959 he moved to
Tanga in Northern Tanzania. He says that he studied the primary school in Dar es Salaam.
There he started to carve also. But he didn´t join Nyumba ya Sanaa (House of Culture), on the other
hand he relied on himself and is quite unknown for public. Maybe because his main business
partner comes from China (Professor Lee) and much of his work is exported to China. In the
beginning of his carrier he joined different art groups in Mbagala, part of Dar es Salaam. Some of
these groups were “Banda la tatu”,  “Twende pammoja”  or “Ngapa”.
He carves very big sculptures,4-5 meters long which is maybe the highest in East Africa

photo below

Nafasi Mpagua asks me to find Mr. Kingdon while looking at the book "Makonde"

    below

Jesper Kirknaes is author of many books on Makonde art and has extensively documented history
of Tingatinga painters. He is said to provide his photo of  ujamaa carving for the 2000 Tsh
tanzanian banknote. He has together with her wife Birthe Kirknaes  met with Edward Saidi
Tingatinga when it (Tingatinga) all started. I was happy to receive them personally at the gallery

                                     Kirknaes Bookcover on Modern Makonde Art
 

Q:Coote, Jeremy. "Modern Makonde carving: the origins and development of a new African art
tradition," pp. 13-22. In: Wooden sculpture from East Africa from the Malde collection; [exhibition,
Museum of Modern Art, Oxford, April 2-May 21, 1989]. Oxford: Mu

Modern Makonde art derives from the Makonde people living on the plateau south of the Ruvuma
river in Mozambique (rather than from the Tanzanian Makonde). They migrated north into Tanzania
and entered into the curio trade that began to emerge in the 1950s and 1960s in Dar es Salaam and
Mtwara. Their new sculptural forms grew naturally out of older traditions of woodcarving (again,
unlike the Tanzanian Makonde, who had no real carving tradition). Modern Makonde sculptures
range from curios of the airport variety to truly fine sculptures of imagination and artistry, but the
reality of their production for commerical purposes is one that cannot be ignored.

Coote discusses the materials, techniques, styles and genres. In addition to traditional carving
(especially masks with typical Makonde scarification), there are three identifiable modern styles --
binadamu, ujamaa, and shetani -- which correspond perfectly with the characteristics sought by
Western art consumers of "erotic" art: a move to naturalism, giganticism and grotesqueness. Shetani
sculptures were once thought to be the invention of one man, but Coote clarifies the story and adds
refuting evidence from the Malde collection that this is not so.

Q:Art Makonde: tradition et modernité. [Paris]: Ministère des affaires etrangères, Secretariat
d'état aux relations culturelles internationales, Association française d'action artistique; Ministère
de la coopération et du développement, [1989]. 209pp. illus. (pt. color), bibliog. Text in French and
Portuguese. NB1097.6.M6A78 1989 AFA. OCLC 20964411.

Makonde sculpture, old and modern, represents an artistic tradition which evolved in response to
the historical and economic forces affecting the Makonde people throughout the twentieth century,
especially after the 1930s. It is a story which unfolds in reverse chronology from the contemporary
internationally known modern Makonde sculpture to its historical and cultural antecedents about
which less has been written or is known.
This exhibition in Paris embraces all aspects of the Makonde story. Of the six individual essays, one
deals specifically with modern Makonde sculpture: that by Elisabeth Grohs, "Art Makonde
contemporain = Arte Makonde contemporânea," (pp. 144-157). Grohs avers that the evolution of
what we recognize as modern Makonde sculpture dates to the 1930s when the first exhibition was
held at Centro Cultural dos Novos in Mozambique.
However, it was in Tanzania, where many Mozambique Makonde had emigrated in search for work,
that interest in their sculpture as a commodity arose. The Indian merchant Peera was instrumental in
encouraging this development. Using the hard wood mpingo (Dalbergia Melanoxylon), Manguli
Istiwawo, Pajume Allale, Roberto Jacobs, and others carved in what has become known as the

1"tree of life" or ujamaa(mother & child or family-story tree!M) style.
2 The "shetani"  (or Devil,
mocking and crazy figures M )style originated with Samaki,
3 (, I do believe there was a third style too! Style ? M)
but was quickly imitated and soon became a popular and successful commodity in
the markets of Dar es Salaam and Nairobi. Following independence in Mozambique in 1975,
official recognition on the part of the government has further encouraged this modern tradition of
sculpture.

In my collection i have an almost exact Lipiko (Lipoko) or Portray mask. These masks were worn at certain
ceremonials and seen as ancestors, children were initiated in the story behind the ancestor
portrayed. They were worn upon the head because the head doesn't fit in it. Also did I notice that
they sometimes were seen as an ancestor shrine, just as a portray not so much as a mask. I wonder if
these type of masks were like the bell masks -thus bigger than they are now- of the Sande society in
Sierra Leone.The exact meaning of the thunder striking tattoos -as I call them is- to me unknown!
(any suggestions?) The scarification tattoos were probably a signification of one's status and
background, locality, family.involved scratching-marks, M.
Q; Wiki:etching, burning / branding, or superficially cutting designs, pictures, or words into the skin
as a permanent body modification.[1] In the process of body scarification, scars are formed by
cutting or branding the skin by varying methods. Scarification is sometimes called cicatrization
(from the French equivalent)

Sepik river initiation , crocodile scarifications.

Click on the picture for the article.



With Ctrl+ you can read this fine article on Makonde art and it's beauty concept by A.M.Rohrer.
A Host of Devils: The History and Context of
the Making of Makonde Spirit ...Click Here!!
 By Zachary Kingdon

Lipoko Mask similar to the one in my collection M

Often human hair is applied to it.

In this book the meaning of words like Shetani and Ujamaa is being
approached. Also the myths and legends are being discussed as well some of the issues on
scarifications. You can ad the book to google mail docs and than read it online.
In my collection I have a hunter with a spear an oversized head with scarifications and
amuletpouches. Was it common in Tanzania and Mozambique too that these hunters were also
storytellers and whitch-hunters sec medicineman?

Photo of Makonde scarifications by S.McSwiggan pict5


Madrason at TaTa jan 2013                
Comment:

 no1 the Zimbabwan artist

no2 Dancing spirit

no3 Playing children

 

Greetings,

How are you?It is with great honor that i write to you this invitation
letter.We are a group of artists in Zimbabwe -Africa.

We recently made a short video of stone sculpture in Zimbabwe.The
project was entitled 'faces and places'.
We are inviting you to visit our sculpture park which is arguably the
largest in Zimbabwe if not southern africa.

We are currently developing a site for what transpired during the project.
You can check

http://www.palassart.com/?page_id=53

We have written a book called 'stone diary' volume 1 about the
artistic activities at the park.

Our sculpture park houses more than 200 artists.All of us are eager to
receive you at our center.We will take take you through the entire
gamut of value chain from the mines where we get the raw stones to the
national gallery where some master pieces reside.The types of stones
are ,inter alia ,

Opal stone/Lemon Opal stone
Serpentine
Fruit serpentine.
Green serpentine
Black Serpenitne
Springstone
Verdite / Golden Verdite

To this extent ,we are inviting you to our center so that you can be
acquainted first hand with our work.

Accommodation and food is free. is free.

Please accept our invitation.

Yours faithfully ,

Thanks for the Notification!  Madrason

From Phallic Poles to Totems

From Phallic Poles to Totems

As we find men living everywhere we find their insignia in nature.

We have our milestones alongside roads. Menhirs from ancient times.

Stonehenge and Obelisks what can I say, “Men was There!'

                                                       Penis hat-mask Benin; Dan Heller

To define our space we live in we do leave marks, we cut trees to feel safe in a fruitfull center.

We show possible intruders “Someone is Living here, right here where you now shall enter,

Be Aware!! Eibel Eiblsfeld noticed that some African tribes seem to copy the stiff penisses

of Baboonguards on rocks, As if to say “I am the guard of my area, my family”.

 

        Menhirs in Argentina.

At Tiwi in Australia, aboriginals create their totems in carved poles called Tiwi's!

 

Description

This is an image of nine wooden Pukumani poles (also called funerary poles, grave posts or 'tutini' in the local Torres Strait language) on display at the Australian Museum in Sydney. They are from the Tiwi Islands (Bathurst and Melville Islands) in northern Australia. They are sculpted and painted with a mixture of natural ochres and brightly coloured synthetic pigments. The poles range in height from 100 cm to 250 cm.

Educational value

Pukumani poles have great spiritual significance within Tiwi culture, ensuring that the spirit of the deceased, the 'mobiditi', is released from the body into the spirit world. The Pukumani ceremony performed at a person's burial site is carried out two to six months after the deceased is buried and is the most important ceremony in the lives of Tiwi Islanders. The word 'pukumani' means 'taboo' or 'dangerous' in the Tiwi language.

Instructions on how to make the Pukumani poles, use them in ceremonies to honour the dead and the dances to perform were passed down to the Tiwi Islanders by Purukaparli, the great ancestor of the Tiwi people. He instructed that a taboo must be placed on the use of the name of the deceased.

During the Pukumani ceremony, participants are painted in white ochre and wear 'pamajini' (armbands) made from pandanus and decorated with white feathers to express their grief through song and dance. Belongings of the deceased are placed on the mounded grave and the poles are placed around it. At the end of the ceremony 'tunga', painted bark baskets, are placed on top of the poles as gifts for the spirits of the dead and the poles are left to decay.

The designs of the Pukumani poles are representative of the deceased person's life, and the number and size of the poles signify their status. The family selects men not closely related to the deceased to carve the poles and provides food for the carvers during their period of work. Most men would at some time in their life be selected due to the small size of the Tiwi society. The mourners pay the men according to their satisfaction when the poles are complete.

The trunks and branches of ironwood, a hardwood tree, are carved into poles with windows and reduced or waisted sections and two-pronged terminals. These examples are painted in the Tiwi art style of geometric and abstract patterns using modern acrylic paint and traditional ochre mixed with fixatives such as wax, honey and egg yolks. Modern brushes have been used, but traditionally brushes were made from soft bark, sticks and human hair.

These Pukumani poles were purchased by the Australian Museum in 1985. They are carved and painted using modern tools and materials, but traditionally simple tree trunks were used.

Poles erected to honour great men and women, great spirits even. Isn't the house of God with it's piking belltowers a reach into the sky to be closer with the All father or Wakan Tanka.

At Madagascar we find the grave poles archaicly carved sticks which don't look as art objects.

                   


 

Quote:The town is also an excellent basecamp to explore the nearby Mahafaly tombs. The Mahafaly bury their dead inside square enclosures of wood or stone. Giant stone structures either sculpted or painted can reach the unbelievable height of 12 meters! The number of zébu horns deposited as offering on foot of the funerary steels is a sign of the prestige of the deceased. The tombs are decorated with sculptures (aloaly) featuring all kinds of objects, from houses, to airplanes and zebus. Originally available only to the nobility, aloalo could later be purchased by wealthy Mahafaly. Aloalo traditionally displayed a combination of nude human figures and birds or zebu, representing prosperity. The memorials now function more as commemorative sculptures, depicting scenes from the deceased's life, or desirable material possessions. The method and location of manufacture and the ritual slaughter of animals ensures the sculpture is imbued with the sacred spirit. The mpisoro (spiritual leader of a clan or dynasty) gathers the village men to select the wood for the sculpture and also acts as mediator between the carver and the person commissioning the piece. The workshop is located outside the village, maintaining separation between the worlds of the living and the dead.To honour the memory of the ancestor, the visitor has to spilt some drops of rum in front of the grave. It is advisable to be accompanied by a local guide from Toliara who will instruct you about the local fady. Some operators in Toliara offer a day excursion to visit three tombs. Due to the large distances, this daytrip is however a little hasty, so better take more time to enjoy the charms of the region. Mahafaly tomb with Alolay© Andre Magnin 

Isn't the Obelisk a signature of an attempt that men was at the Zenith of it's possibilities.

Totempoles pearce through dence woods and state “Here Live we” the tribe of the Orca

married within the Eagle den.

An obelisk (from Greek ὀβελίσκος - obeliskos,[1] diminutive of ὀβελός - obelos, "spit, nail, pointed pillar"[2]) is a tall, four-sided, narrow tapering monument which ends in a pyramid-like shape at the top. Like Egyptian pyramids, which shape is thought to be representative of the descending rays of the sun, an obelisk is said to resemble a petrified ray of the sun-disk. A pair of obelisks usually stood in front of a pylon.

Ancient obelisks were often monolithic, whereas most modern obelisks are made of several stones and can have interior spaces.The term stele (plural: stelae) is generally used for other monumental standing inscribed sculpted stones.Wikipedia

 

                        Pukamani Poles as quoted above by Helen Wheeler at the australianmuseum.com

Totem poles are monumental sculptures carved from large trees, mostly Western Red Cedar, by cultures of the indigenous peoples of the Pacific Northwest Coast of North America. The word totem is derived from the Ojibwe word odoodem, "his kinship group". I have a small Kwaikiutl totempole in argilite, a hard sort of soapstone.

Picture below Wikipedia:

             Totem poles in front of houses in Alert Bay, British Columbia in the 1900s

Ruth Bennedict wrote on the Potlatches, blanket give-away parties, the boasting of Wellfare

and the biting in human flesh by bearmasked Tribesfolk. Revitalisation of the new year, the winter was nearing it's end and tribes were proud to live and build forth their nations.

The Maritime Fur Trade gave rise to a tremendous accumulation of wealth among the coastal peoples, and much of this wealth was spent and distributed in lavish potlatches frequently associated with the construction and erection of totem poles. Poles were commissioned by many wealthy leaders to represent their social status and the importance of their families and clans. A revitalisation of the totem art and the Potlatches culture was tried in the fifties, owing to the documentation we have a little idea of what's been gone since it died away by lack of notion from governments and by Christianisation and Westernisation.

 

Franz Boas was a great initiator of revival and education on tribal culural heritage and not only for the North_West-Coast tribes. (reading tip: Primitive Art by Dover Press)

The meanings of the designs on totem poles are as varied as the cultures that make them. Totem poles may recount familiar legends, clan lineages, or notable events. Some poles celebrate cultural beliefs, but others are mostly artistic presentations. Certain types of totem poles are part of mortuary structures, and incorporate grave boxes with carved supporting poles, or recessed backs for grave boxes. Poles illustrate stories that commemorate historic persons, represent shamanic powers, or provide objects of public ridicule.

 

"Some of the figures on the poles constitute symbolic reminders of quarrels, murders, debts, and other unpleasant occurrences about which the Native Americans prefer to remain silent... The most widely known tales, like those of the exploits of Raven and of Kats who married the bear woman, are familiar to almost every native of the area. Carvings which symbolize these tales are sufficiently conventionalized to be readily recognizable even by persons whose lineage did not recount them as their own legendary history." (Reed 2003).

All those legends carved in it's essence, tribal history, pictoral writings.

Omphalos are a mixture of Phallus and Totempole. Like the Yoni oillamps for Shiva temples, are A whomb and a Penis.

The navel of the earth popping out to connect. An omphalos (ὀμφαλός) is an religious stone artifact, or baetylus. In Greek, the word omphalos means "navel" (compare the name of Queen Omphale). According to the ancient Greeks, Zeus sent out two eagles to fly across the world to meet at its center, the "navel" of the world. Omphalos stones used to denote this point were erected in several areas surrounding the Mediterranean Sea; the most famous of those was at the oracle at Delphi. It is also the name of the stone given to Cronus in Zeus' place in Greek mythology.

Ubangi a book on Congobasin Ubangi speaking tribes, shows us some phallic cut poles

and statuettes looking like sticks or penisses. In my collection I have a statuette from the Lobi of Burkina Faso. It,s head is a gland from the penis. The form is a thick stick with triangulated breasts and vagina. A rare form which one doesn't easily encounter.

Ngbaka or Zande figure, Ubangi region (Democratic Republic of the Congo/Central African Republic)wood, pigment 11 3/4" tall x 2.5" wide mid 20th century, signs of age and use

Gallery Ezekwantu Q:

I particularly love the cubist form of this figure. Objects from this area are comparatively rare in Western collections as Ubangi sculpture is the last significant regional art style in sub-Saharan Africa to be identified and studied. Attribution of objects to a specific culture from this region can be complicated due to the fact that figures produced by various groups in this region share a complicated network of similarities.

Sculpture from the area classified as the Ubangi region was the subject of an exhibition "Ubangi: Art and Cultures from the African Heartland" held at the Africa Museum Berg-en-Dal in 2007. Ubangi is a term used to describe the array of cultures from central Africa that were dispersed on both sides of the Ubangi river which separated the Central African Republic, Democratic Republic of the Congo and the Republic of Congo.

This original use of this particular figure is unknown. Generally, sculpture from this region had a wide range of uses; they were used by cults and sects that settled disputes within the village community, oversaw the moral development of youngsters, played a role in the healing of psychosomatic disorders, and offered their members protection and well-being. Q

Stricktly speaking the Zande or Azande are not Ubangi, but through intermarriage and boarderfusion in certain cases it is hard to say they are not , This book on Ubangi art shows some pictures of sticks which i referred to above.

                               UBANGI: Art and cultures from the African Heartland                        

                                                      Ubangi Phallic statuette no2

See Plate one after page 186 from the Ubangi book.From the perpetuation of the dead to the invocation of the ancestors, Sticks and Poles depicted!!

Has it been all a creation of an urge of women to press down aggression of men by ritualizing,

from Penis-envy containing familiy rules, clan beliefs 'an invention of women' to escape

from thier aggressors and to tame them to bring protein of life by hunting and building for them, families? Did culture thus start. The Porowoods for boys to become men and the Sande initianion societies -with Mende society initiations and their masks- for girls, to become a woman and thus learning the rules and laws or restraints of life within their ecosystem! 

Bruno Bettelheim tries to conclude some of these assumptions in his book

Die Rituelle Wunde ueber Beschneidungs Ursachen und die Entwcklung der Initiationsrituelle. In PaupuaNG men eject their semen on boys -who want to become men-

in their initiationrituals. As if to say an I condone you in becoming a man and don't regard you as competition but as an addition of the tribes pro-creative possbilities.

 

                                       Sande Society helmet mask (1940-1965) in

                         the collection of The Children's Museum of Indianapolis

Sande, also known as zadεgi, bundu, bundo and bondo, is a women's association found in Liberia, Sierra Leone and Guinea that initiates girls into adulthood, confers fertility, instills notions of morality and proper sexual comportment, and maintains an interest in the well-being of its members throughout their lives.

In addition, Sande champions women's social and political interests and promotes their solidarity vis-a-vis the Poro, a complementary institution for men. The Sande society masquerade is a rare and perhaps unique African example of a wooden face mask controlled exclusively by women – a feature that highlights the extraordinary social position of women in this geographical region.

 

                                                       Bisj Pole; the tsjémen

The erection of Bisjpoles with the Tsemen – a kind op penis extension pointining on top outwards- with the figuration of clan ancestors. Worshipping the cut down tree for the gift of it's wood, the growth strength High erect up into the sky, Fumeritpits the cultural hero from Asmat created the songs for them by talking to them from the sound of hollowed wood.

Wikiquote:A Bisj or Bis pole is a ritual artifact created and used by the Asmat people of south-western New Guinea up to the present day[when?]. Bisj poles can be erected as an act of revenge, to pay homage to the ancestors, to calm the spirits of the deceased and to bring harmony and spiritual strength to the community.

Objects similar to Bisj poles are found among many peoples of the South Pacific islands, such as peoples from New Zealand and Vanuatu.

Carved out of a single piece of a wild nutmeg tree, Bisj poles can reach heights of up to 25 feet (7.62 m). Their carvings depict human figures standing on top of each other, as well as animal figures, phallic symbols, and carvings in the shape of a canoe prow.

Bisj poles were[when?] carved by Asmat religious carvers (wow-ipits) after a member of their tribe or community had been killed and headhunted by an enemy tribe. The Asmat participated in headhunting raids and cannibalism as rituals. The Asmat believed that if a member of the community had been headhunted, his spirit would linger in the village and cause disharmony. Bisj poles were erected in order to satisfy these spirits and send them to the afterlife (Safan) across the sea.

Click here for more on Bisjpoles !!

Many rituals involved the Bisj poles, including dancing, masquerading, singing and headhunting--all performed by men. Bisj poles often had a receptacle at the base that was meant to hold the heads of enemies taken on headhunting missions. The phallic symbols represented the strength and virility of the community's ancestors as well as of the warriors going on the headhunting mission. Canoe prow symbols represented a metaphorical boat that would take the deceased spirits away to the afterlife. The human figures would represent deceased ancestors.Q

Here I conclude my issue From Phallic Poles to Totems!

I leave it up to you to prolong it with your contents, Thanks!!                      Madrason

 

 

For study docs on this issue "From Phallic Poles to Totems" Click Here!!!

•                  Feel free to leave your remarks, objects of art, discuss them with us.
•                  Anything to Add “Say it!” at Ta-Ta.
•                  In the contentbox below or at etnoconverse@gmail.com
•  

Het Verhaal van de Totempaal
6 oktober 2012 t/m 1 april 2013
De grote interactieve familietentoonstelling Het Verhaal van de
http://totempaal.volkenkunde.nl/verhaal-van-de-totempaalTotempaal zoomt in op de Indianen van de Noordwestkust van de Verenigde Staten en Canada. Aan de hand van internationale topstukken en het mooiste uit de eigen collectie, aangevuld met moderne kunst, actuele interviews en reportages, ontstaat een indrukwekkend beeld van de boeiende culturen van de Noordwestkust Indianen.

 
 

Skulls and Ancestors at Ta-Ta

          

a prolongation on ancestors and skulls by Madrason Click Ici!!
a prolongation extra issue on skulls and ancestors. By Madrason.

Golgotha a book on skull worship and culture by M.Douar;

http://www.martindoustar.com/wp-content/uploads/2014/09/GOLGOTHA%20limited%20version.pdf


Edited by Martin Doustar With contributions byChristian Coiffier
Thomas Schultze-Westrum
The human cranium has been the subject of various exhibitions and
publications in the last few decades. As an allegory of death, an
evocation of the macabre, or an exotic artefact, it continues to
arouse the curiosity and interest of a broad audience.
In the fields of anthropology and ethnology, the skull is a
perennial topic and a study material. It is the memory of
evolution, a remembrance of the past. In ancient cultures and
tribal societies, it was a bridge between the living and the dead,
a sign of social prestige and an object of religious veneration.
These different aspects have been discussed before, often
confining to the purely scholar perspective of a scientific or
historical context, neglecting the artistic dimension of the
objects.
My aim with this book was to gather a comprehensive collection of
these ritual skulls and heads, representative of the most
authentic styles encountered in different civilizations around the
world, and selected both for their cultural significance and
aesthetic qualities. As human remains these objects were sacred
for the people who kept them, and they deserve all our respect ;
as works of art they earn our admiration because they are
extraordinary creations, an homage to the ancestors, and a
celebration of life. Isn’t this the real purpose of art ?

With regards for the last 4 entries.to Zemanek Click here fore the sites Link

I hope the text is readable. Please do leave your  notes and remarks, knowledge in the contentbox below or mail us at etnoconverse@gmail.com
Might the picturerusult not improve enough with Ctrl + you may download it's file
at TaTa docs

Let's Talk Tribal Art

Welcome to this Blog-Forum on Tribal Art Trivial Art! 
Here you can discuss ethnographica or art-related objects to gain a deeper insight in it's meanings.
 Connoisseurs and Amateurs are welcome to share their opininions or insights.

                                       A similar example like my one , found it at Le Chatteau Musee Louvre.
                                Below a map of Fang art from Gabon eg Byeri Reliquairies.

For more broader research do visit my etnoconverse site on http://etnoconverse.punt.nl/