Welcome to Unit 6: African Art (1100–1980 CE)
Hi there! Welcome to one of the most vibrant and exciting units in AP Art History. Don't let the wide range of cultures and dates intimidate you. While Africa is a massive continent with thousands of distinct cultures, the AP curriculum focuses on specific themes like royalty, spirituality, community, and performance.
In this unit, we aren't just looking at "objects" in a museum; we are looking at living pieces of history. Many of these works were meant to move, dance, or be touched. Think of them as tools for living rather than just "art" for decoration. Let’s dive in!
1. Architecture: Power and Community
African architecture often reflects the relationship between the people, their leaders, and the environment.
Conical Tower and Circular Wall of Great Zimbabwe
Context: Built by the Shona people in modern-day Zimbabwe. This was a royal center for kings and a hub for trade.
Form: Made of coursed sandstone masonry. This means the stones were cut so perfectly they didn't need mortar (glue/mud) to stay together!
Function: The Great Enclosure likely served as a royal residence. The Conical Tower is shaped like a grain silo, symbolizing the king’s power to provide for his people (wealth = food).
Analogy: Think of the stone walls like a massive, permanent version of a royal crown—it marks the space as powerful and untouchable.
Great Mosque of Djenné (Mali)
Context: Originally built in the 13th century; it is the largest mud-brick building in the world.
Form: Made of adobe (mud brick). It features torons—wooden beams sticking out of the walls.
Function: A center for prayer and community. The Crepissage de la Grand Mosquée is an annual festival where the whole city works together to replaster the walls with fresh mud.
Quick Review: Why the torons? They aren't just for decoration; they serve as permanent scaffolding for people to climb during the replastering festival!
Key Takeaway:
African architecture uses local materials (stone, mud) to create massive structures that reinforce the power of the state or the unity of the religion.
2. Royalty and Status: Art of the Leaders
In many African cultures, art was used to show who was in charge and to connect the king to the divine.
Wall Plaque, from Oba’s Palace (Benin)
Key Concept: Hierarchic Scale. This means the most important person is the biggest. In this plaque, the Oba (king) is in the center and is much larger than his attendants.
Context: The Edo people created these using lost-wax casting with brass. They decorated the pillars of the royal palace.
Sika dwa kofi (Golden Stool) (Asante Peoples)
Important Note: This stool is so sacred it has its own throne! It is never allowed to touch the ground, and no one is allowed to sit on it.
Meaning: It is believed to have fallen from the sky and contains the sunsum (soul) of the Asante nation. It represents the unity of the people.
Memory Aid: "The Stool is the Soul."
Ndop (Portrait Figure) (Kuba Peoples)
Concept: This isn't a literal portrait of what the king looked like. Instead, it is an idealized representation. It captures the king's spirit and his ibol (personal symbol).
Example: King Mishe miShyaang maMbul is identified by the drum at his feet.
Veranda Post of Enthroned King and Senior Wife
Artist: Olowe of Ise (one of the few named artists in this unit!).
Significance: Notice how the Senior Wife is taller than the King. In Yoruba culture, women are the "pillars" of society and possess spiritual power that protects the king.
Key Takeaway:
Royal art isn't just about showing off; it communicates the source of the king's power—whether that power comes from his ancestors, his people, or his wife.
3. Masks and Identity: Art in Motion
Don't forget: In African art, a mask is usually part of a full costume. It only "comes alive" when it is danced to music.
Pwo (Female) Mask (Chokwe Peoples)
Surprising Fact: Even though it represents a woman (the ideal mother), it is danced by men. They wear wooden breasts and move gracefully to honor the women who have given birth to the tribe.
Mblo (Portrait Mask) (Baule Peoples)
Function: Used in Gbagba dances to honor a specific person in the community. It represents the person's "inner beauty" and morality rather than just their physical face.
Bundu Mask (Sande Society, Mende Peoples)
Why it's unique: This is the only mask in the curriculum worn by women. It is used during initiation ceremonies to teach young girls how to be good wives and members of society.
Visual Details: The small mouth and eyes suggest a girl should be private and modest. The rolls of fat around the neck symbolize health and fertility.
Aka Elephant Mask (Bamileke Peoples)
Visuals: Covered in beads, which were a sign of great wealth. The elephant and the leopard are symbols of the king's strength and speed.
Key Takeaway:
Masks are tools for transformation. They allow the wearer to become a spirit, an ancestor, or an ideal version of a human being.
4. Spirituality, Memory, and the Individual
These objects helped people navigate daily life, solve problems, or remember their history.
Nkisi n’kondi (Power Figure) (Kongo Peoples)
How it works: Think of this like a physical "contract." If two people make a deal, they might drive a nail into the figure to "seal" the oath. If someone breaks the oath, the spirit inside the figure is "awakened" to hunt them down.
Common Mistake: Students often think these are "voodoo dolls." They aren't! They are used for law, healing, and community protection.
Lukasa (Memory Board) (Luba Peoples)
Context: Only high-ranking officials called the "Men of Memory" can read these.
Analogy: It's like a 3D map or a tactile book. By touching the beads and pegs, the reader recalls the history and genealogy of the Luba kingdom.
Ikenga (Shrine Figure) (Igbo Peoples)
Concept: This is a personal object. It represents the "strong right arm" of a man—his ability to work, fight, and succeed. The horns on top symbolize power and aggression (like a ram).
Quick Review: Does the Ikenga represent an ancestor? No! It represents the owner’s own achievements and soul.
Reliquary Figure (nsek-bieri) (Fang Peoples)
Function: These figures sat on top of boxes containing the bones of ancestors. They acted as guards to ward off evil.
Form: They look like a mix of a baby and an adult. This represents the cycle of life—the connection between the unborn, the living, and the dead.
Key Takeaway:
African spiritual art is functional. It is designed to solve problems, protect the vulnerable, or keep the memory of the past alive in the present.
Summary: Study Tips for Unit 6
1. Material Matters: Notice when something is made of brass/beads (high status) versus wood/mud (common/earth-connected).
2. Human Body: Figures are often 1/3 head and 2/3 body. This isn't because the artist "messed up"; it's because the head is the seat of wisdom and spirit.
3. The "D" Word: Always mention Divination or Duality if you're stuck. Many pieces deal with the balance between the physical world and the spirit world.
4. Don't Worry: If the names are hard to remember, focus on the Peoples (e.g., "The Mende people's mask") and the Function. The AP exam cares more about why it was made than if you can spell every name perfectly!