Africa
African Sculpture
African wood carvings and sculpture provides a look into the diverse culture and tribal communities of the African continent. Traditionally, the sculpture may express the human body, an animal or both. When a sculpture reflects a person, bodily characteristics may not be proportional. This is done by the sculptor to communicate an ideal or to express a social or religious perspective.
Figure
Senufo culture situated in the regions of Burkina Faso, Ivory Coast, and Mali
Wood
The Senufo are a West African ethnolinguistic group consisting of regions from the northern Ivory Coast, southeastern Mali and western Burkina Faso. This sculpture was collected by American sculptor Chaim Gross in the 1930s. The carved woman has her arms raised in order to support a U-shaped object. The figure's hair has a bird head on the front and tail in back. Scarification marks are situated on the figure's face and body. A child rests on the woman's back. For the Senufo, female figures are a tribute to importance of women as the founder of lineage and as guardians. The incised lines on the carved figure's face and body or scarification marks represent the Senufo's belief that these marks are a symbol of beauty and differentiate the cultured human body from that of animals.
Donation from Ulrich Museum
2008.02.385 Lowell D. Holmes Museum of Anthropology
Figure
Africa, unknown region
Wood
African Masks
Masks are utilized throughout the continent of Africa, primarily with persons between the Sahara and Kalahari Desert. The purposes of masks are varied; spiritual and religious ceremonies, honor the spirits of the deceased, an animal important to a family or group, or to represent specific figures in a tribal mythology. The individual wearing the mask during the ceremonial dance is believed to be able to embody and communicate with the spirit being represented. A mask can be made from a variety of materials such as wood, bone, textiles, horn or feathers. Animal themed masks, such as the one shown, represent the spirit of the animal and the mask-wearer is the conduit for communication. The animal mask may also symbolize a specific virtue such as strength or a protective bush spirit.
85.12 Lowell D. Holmes Museum of Anthropology
Bush Buffalo Mask
Yoruba culture, Bwe village, Nigeria
Wood
Wood mask in the form of a bush buffalo; colors consist of brown, black, white and red. Donated by Haley Echols in memory of her father David Echols.
Donation from Tracy Meddellin
2009.04.005 Lowell D. Holmes Museum of Anthropology
Ndebele Initiation Doll
Ndebele culture, South African
Wolverine, rabbit fur and seal skin
Handmade by one of the smallest tribes of the region, the Ndebele. The dolls wears the traditional dress of a married woman. The apron signifies that she has borne a child within wedlock and symbolizes her status as a parent.
2021.04.021 Lowell D. Holmes Museum of Anthropology
Dagger
Democratic Republic of the Congo
Steel, wood
Donation from the Wichita-Sedgwick County Historical Museum
1967.04.007a Lowell D. Holmes Museum of Anthropology
Dagger Sheath
Democratic Republic of Congo
Wood/leather
Sheath made of two wooden slats held together in center by a rawhide band and copper wire woven in a diagonal design. The sheath resembles a crocodile.
Donation from the Wichita- Sedgwick County Historical Museum
1967.04.007b Lowell D. Holmes Museum of Anthropology
Chechia
Tunisia
Felt
This chechia is a red felt, cylindrical, close fitting, brimless cap with a tassel on the crown. Attributed to the Maghreb or the coastal plains of Morocco, Algeria, Tunisia and Libya. The chechia is considered the national hat of Tunisia. The process of creating the hat consists of six stages: knitting, treading, carding, dying the material, then molding and brushing out the finished product. Until the 19th century the chechia was used as the base of a turban, eventually it developed into a hat.
Donation from Marian D. Cook
1994.05.030 Lowell D. Holmes Museum of Anthropology
Dance Wand (Oshe Shango)
Yoruba culture, Nigeria Wood, pigment
A Janus-headed (two-faced) dance wand, oshe shango in local vernacular, was carried in ceremonies and dances to honor Shango, the Yoruba orisha (god) of thunder and a deified legendary king of Oyo-Ile (Old Oyo).
Collected by American sculptor Chaim Gross beginning in the 1930s for Harris Klein's father.
Donation from Harris Klein/Ulrich Museum
2008.02.040 Lowell D. Holmes Museum of Anthropology
Water Jar
Egypt
Ceramic jar with pointed bottom and inscription. This jar was used to hold liquids such as water or wine.
Donation from Wichita Center for the Arts
1996.09.014 Lowell D. Holmes Museum of Anthropology
Fertility Figure (Akuaba)
Ashanti culture, Ghana
Wood
The Akuaba figure is carried by women wanting to conceive a child(ren). Women wrap the Akuaba in cloth and carry it on their back. Once pregnant the woman may continue to carry the Akuaba in hopes the child will be born with the ideal portrayed. The three rings around the neck depict rolls of fat, a sign of beauty, health and prosperity. The disc-shaped head is an exaggerated way to express the beauty ideal of the Ashanti culture. In practice, an infant's cranial bones would be gently shaped to reflect the ideal of a higher forehead.
Museum purchase
1994.02.002 Lowell D. Holmes Museum of Anthropology
Necklaces
Maasai culture, Kenya
Metal, glass, leather, plastic
Beaded, handmade necklaces are a long tradition in the Maasai culture and are worn by both men and women. Women, however, have the primary role of creating the necklaces. The color and structure of the necklace may indicate age, social status, marital status and possibly a child's gender. The color of the beading is significant: red symbolizes bravery, strength and unity; blue symbolizes energy and the sky; green represents health; orange and yellow symbolize hospitality; white symbolizes purity and black symbolizes the struggles of the people.
Donation from Mary Lynn Oliver
2009.01.035 and 2009.01.037 Lowell D. Holmes Museum of Anthropology