Dont forget African Artist this Festive season

Dont forget African Artist this Festive season

"Art plays an capital role in the lives of the African bodies and their communities. It serves a abundant added basic purpose than alone to adorn the animal environment, as art is usually active in abreast Western societies.

The adorableness of African art is artlessly an aspect of its function, for these altar would not be able if they were not aesthetically pleasing. Its adorableness and its agreeable appropriately amalgamate to accomplish art the agent that ensures the adaptation of traditions, protects the association and the individual, and tells abundant of the being or bodies who use it."

Tribal Art is rapidly growing in popularity. An alike broader admirers has been able to get pleasure ‘Tribal Art’ acknowledgment to above exhibitions in contempo years in London, Paris, Berlin, Munich and Düsseldorf.

At the alpha of the 20th century, however, Affiliated Art was already agitative abundant action amid artists and art collectors. At a time back “Negro Art” was still looked aloft as the innocent artefact of archaic peoples, cubists such as Picasso, Braque or Gris were already cartoon afflatus from the conspicuously fresh qualities of form; expressionists such as Kirchner, Nolde or Schmidt-Rottluff were captivated by the elementary ability of this built-in art and Gauguin was painting scenes from his campaign to countries of the South Pacific. Non-European art abundantly afflicted the assignment of these abundant artists as it continues to access avant-garde art of the present day.

Over the advance of the decades, abundant art lovers such as von der Heydt (Rietberg Museum, Zurich) or Mueller (Barbier-Mueller Museum, Geneva) accept accustomed cogent art collections, which alongside the “colonial legacy” accommodate the mainstay of the museums’ inventories all over the world. Today it is artists and art enthusiasts such as Baselitz, Arman or Fritz Koenig who ascertain the different qualities of affiliated art and accumulate appropriate collections which they accomplish accessible to the accessible in exhibitions.

We accept now accepted that this art anatomy cannot be referred to as “primitive art”. It is a actuality that this art speaks to us, and as it does so it draws us into the apple of those who created it. Alike back application the appellation ‘tribal art’ one charge bethink that it derives from a affluent assortment of cultures which finds announcement in the admirable works of this amazing art."

African art vs. Visual Arts

African art vs. Visual Arts

Africa is commonly regarded more as a site of production of handicrafts. But seriously on the Dark Continent Art and Design is operated. do away with prejudices now the makers of "The Global Africa Project" at the Museum of Arts and Design in New York.

Until recently, they took the African willow basket with love shopping at the vegetable market. At the cocktail reception we went but then perhaps with the Gucci bag. That should change now:

"The image of Africa and the African people is fasch as primitive artisans. The artisans in Africa today tradition with the future. They respond to the needs of the market and are very well organized. Even the nomadic people of the Masai has a website. creativity in the African world goes far beyond wicker baskets also, and even in terms of wicker baskets, there is a strong marketing and design concept. "

Said Lowery Stokes Sims, the co-curator of "The Global Africa Project". This is one of the first and most comprehensive exhibitions that will contribute to art, craft and design in contemporary Africa, the label of the third world tinkering finally get rid of. Over a hundred artists are represented in it, that creations of furniture, fashion and ceramics extend to the visual arts.

Kehinde Wiley is one of the most renowned. The New York-based painter shows here one of those naturalistic portraits of urban African-Americans, for which he is known. But the real attention is the chic midnight blue sneakers and T-shirts are designed by Wiley on behalf of the sports goods manufacturer Puma for the World Cup in Africa.

The boundaries between art and design are no longer clearly defined, said Lowery Stokes Sims. Thus, the multi-storey black object from Harlem's Heaven Hat Boutique is sculpture and warm felt hat in one. And the kunterbuntscheckige quilt from the Siddi Women's Quilting Cooperative is suitable as a bedspread and as a wall decoration.

was inevitable during the preparation for this exhibition, the question raised about what would be better for Africa, investment or development project, said Lowery Stokes Sims

"I remembered the work of Peruvian economist Hernando de Soto, who wrote about the so-called Third Way, about the possibilities of establishing an independent company despite the lack of infrastructure. I see art, craft and design as a third way for economic development of Africa."

To the label "Made in Africa" is a bestseller, it will take a while. But what wicker baskets at cocktail parties concerned: The Gahaya Links Weaving Association, a joint venture between Hutu and Tutsi women in Rwanda, now employs 4,000 people. One of their main customers Macy's, America's most prestigious department store chain. Who wants to be replaced ahead of the trend, that is better now, the Gucci-Täsch by African wattle.

The exhibition "The Global Africa Project" at the Museum of Arts and Design in New York continues until 15 May Given under the same title a 280-page catalog is published. It costs 49.95 dollars.

African Art News: Connecting art in Africa

Last Thursday at the Egyptian Center for Culture and Arts (Makan), Egyptian colloquial artist Zine al-Abidine Fouad, Sudanese accompanist Salma al-Assal, and the Egyptian-Sudanese bandage Nass Makan aggregate to bless the barrage of the Egyptian affiliate of the Arterial Network, a affairs that aims to advance cultural assembly in Africa. The black was organized by the Arterial Arrangement forth with the Culture Resource in Egypt--a bounded alignment that supports Arab arts and encourages cultural barter beyond the developing world.

Since its founding in Senegal in 2007, the Arterial Arrangement has developed to accommodate over 130 assembly from 28 African countries, with civic accommodation in South Africa, Liberia, Namibia, Cameroon, Swaziland, Togo and Zimbabwe. Egypt is the best recent African country to accompany the network, and its associates --the aboriginal stages of which were actuality acclaimed at Makan-- signals a growing attack to abode civic limitations in arts apprenticeship and funding. 100 artistic workers alive on the Egyptian cultural arena were arrive on Thursday to accompany the arrangement and accept 7 associates for the council board that will administer the Arterial Arrangement activities in Egypt.

Funding of the African art arena is a continent-wide issue. Despite the ample cardinal of artists, the abstemious contributed beneath that 1% of the world’s barter in artistic appurtenances and industries in 2007. Governments are pressured to avoid the arts in adjustment to armamentarium sectors that assume added acute or economically viable. Arterial recognizes the affluence of African cultural activity and sees abundant abeyant in the artistic industries to accord to bread-and-butter advance and amusing development. By agreeable cultural practitioners and NGOs beyond the continent, Arterial hopes to advance fresh strategies for networking, accommodation architecture and funding. Basma al-Husseiny, the administrator of the Culture Resource in Egypt explained in her aperture accent on Thursday that developing countries, because they face agnate challenges, accept a more good adventitious of award applicable solutions through a arrangement like Arterial.

So far, Arterial has organized a cardinal of training workshops in arts administration and cultural journalism. It is developing educational toolkits and in the continued run hopes to strengthen bounded cultural institutions for a acceptable result. With best allotment options in the arena actuality bound to adopted donors --and appropriately the artists actuality pressured to accede to donors’ interests-- Arterial focuses on the conception of absolute funds for African cultural projects.

But whatever the intentions of the Network, African artists still attempt with assertive akin categorizations based on indigenous identifications on the all-around arts scene. Artistic workers are generally apparent as ambassadors of their cultures rather than absolute participants on the all-embracing scenes of beheld arts, dance, theatre and music. This has sometimes beat artists from agreeable with institutions and networks that advance arts in bounded terms.

Arterial Network, nevertheless, seems to accede these issues. In May 2009, it launched the Arts in Africa website, a agenda of arts contest in the continent. The website seeks to advance contest and festivals after suggesting a framework of representation. Arterial’s affairs for acclimation beheld arts, music, theatre and ball biennials as able-bodied as its assignment on accommodation architecture and developing allotment alternatives is meant to animate the conception of bounded and all-embracing markets for African arts and empower artistic workers to booty their arts in any administration they wish.

Whatever the risks of misinterpretation, the allowances of bounded networks cannot be disregarded in agreement of accouterment basement and accretion the afterimage of arts from Africa globally. The alacrity of African artists to arrangement amid one addition was axiomatic aftermost Thursday. Attendees of the affair at Makan started planning collective projects of accepted interest, and listened raptly to Al-Abidine’s account of a acclaimed Zulu composition delivered during the celebrations of South African leader, Nelson Mandela’s admiral in 1994; “Remember, O baton … that for every aliment atom you were fed in prison, millions starved.” The composition --one of abounding translated by al-Abidine in his book Poetry from Other River Banks: Translated African Poems-- was accounting to admonish Mandela that his autonomous accretion to ability was fabricated accessible by the abounding sacrifices of the South African people.

Sotheby's, A masterpiece of the "Master of Buli"

Masai/Maasai African Culture and Art

Masai/Maasai African Culture and Art
Image: Maasai Walking Stick
Size in cm: 92 x 13 x 5
Weight: 800 gr.

Since the colonial period, most of what used to be Maasai land has been taken over, for private farms and ranches, for government projects or for wildlife parks. Mostly they retain only the dryest and least fertile areas. The stress this causes to their herds has often been aggravated by attempts made by governments to 'develop' the Maasai. These are based on the idea that they keep too much cattle for the land. However, they are in fact very efficient livestock producers and rarely have more animals than they need or the land can carry. These 'development' efforts try to change their system of shared access to land. While this has suited outsiders and some entrepreneurial Maasai who have been able to acquire land for themselves or sell it off, it has often denuded the soil and brought poverty to the majority of Maasai, who are left with too little and only the worst land.

How do they live?
For the Maasai, cattle are what make the good life, and milk and meat are the best foods. Their old ideal was to live by their cattle alone – other foods they could get by exchange – but today they also need to grow crops. They move their herds from one place to another, so that the grass has a chance to grow again; traditionally, this is made possible by a communal land tenure system in which everyone in an area shares access to water and pasture. Nowadays Maasai have increasingly been forced to settle, and many take jobs in towns. Maasai society is organised into male age-groups whose members together pass through initiations to become warriors, and then elders. They have no chiefs, although each section has a Laibon, or spiritual leader, at its head. Maasai worship one god who dwells in all things, but may manifest himself as either kindly or destructive. Many Maasai today, however, belong to various Christian churches.

Maasai Art:
The Massai are one of the most famous African ethnic people known today. Living in southern Kenya and North central Tanzania these tall graceful people dress in many varieties of red and seem to refuse against all pressures to settle down to a village or agricultural life believing it a sin to cultivate land, as it is considered ruined for grazing after cultivation. They are nomadic and live by herding cattle and goats. Money is not important to them; they instead use cattle as a sign of wealth. Instead of villages the Maasai build temporary corrals where the women construct huts of clay, these are lived in for a little while and then abandoned. The Masai are a very communal people, and from a very young age children are divided into age groups to which they remain faithful to throughout their life. Men advance through different divisions in their age group hoping to achieve the status of a warrior. Traditionally, the only way to achieve this status is to single handily kill a lion with a spear. Known for their elaborate beadwork, the Maasai seem to be obsessed with red; they rub red dye all over their bodies and also cover themselves in elaborate red beadwork. Another art form of the Maasai is hair braiding. Most Masai will spend days doing elaborate hair designs. Men will sometimes grow their hair into huge braids similar to the women.

The African Mbira

The African Mbira (aka. plucked idiophone)
Image: Antique Mbira/Marimba Dark Africa Collection
Size in cm: 17 x 30 x 6
Weight: 400gr.

The mbira has been an important instrument in sub-Saharan Africa and has played a part in African culture for 800 years. Although it can be a solo instrument, it is more commonly used as an accompaniment to singers, musicians and dancers. It is not uncommon for the native African instruments to allow solo harmonization, but typically, harmony in African music serves as a variation to the theme being performed. Many versions of the mbira exist with tribes creating distinctive performance styles and names for the instrument. They vary widely in appearance, size, materials, and tuning from the smallest 6-note models of the Kalahari Bushmen, to the sophisticated 33-note instrument found in Zimbabwe. The name mbira is know throughout much of Africa, but regionally, the name mbira is more commonly used in Zimbabwe, while the name Kalimba is used in Kenya, the name ikembe is used in Rhuanda, and the name likembe is used in the Congo, while other names are bit less common such as sanza, sansa, marimba, marimbula, there are more generic names of finger harp, gourd piano, and thumb piano that are often used in the west. The mbira is also known as the thumb piano, because one's thumbs are used to pluck (or more accurately depress and release) the metal strips (tongues or lamellas) that sound particular notes. It is common for two mbiras to play together where one covers the melodic accompaniment of the singer while the other plays the bass line (or bourdon). Some mbiras have few tongues and others have many. Some of the more sophisticated instruments have two sets of tongues for one performer to play melody and harmony, or melody and bass line on the same instrument. In the 1920's, Hugh Tracey came from England to Rhodesia (now Zimbabwe) to help his older brother run a tobacco farm. He became fascinated by the local music culture and created the Kalimba, a version of the mbira. Introduced by Tracy in the early 1960's, Kalimba was the registered trademark for his diatonic instrument that soon became popular around the world. The word kalimba literally means little music. It was well suited for Western music and made it easy for the performer to play harmony using both thumbs. Today, versions of this African instrument can be found in most parts of the world, with a wide use in parts of Asia, the Middle East, North and South America. Much of this popularity is due to the work of Hugh Tracy, but the simplicity of the instrument's design and construction and the relative ease by which one can learn to play it has added to it's wide acceptance throughout the world.

Physical Description:
The basic mbira is a simple sound board or sound box with wooden (typically cane) or metal keys or tongues (called lamellas) attached on the top. The sound box is typically made from a calabash (gourd) or wood, and often the metal keys (tongues) were made from old spoon handles, bicycle spokes or spring wire that were cut and hammered to the desired shape. The keys (tongues) are plucked with the thumbs, or with combinations of thumbs and fingers. The keys usually consist of 6 to 33 metal keys (tongues) mounted across two bars (or wooden dowels) at one end attached to the sound box with another wooden dowel holding them in place. The bar closest to the sound hole serves as a bridge, the other to provide a means for the dowel to hold the keys (tongues) in place. The free ends of the keys (tongues) are positioned at different lengths to produce the variety of pitches. The length of the vibrating end of the keys (tongues) determines the pitch (a shorter key or tongue produces a higher pitch, and a longer key or tongue produces a lower pitch). Many of the mbiras with sound boxes, have holes drilled in the sides of the sound box. When the instrument is held in both hands with the thumbs plucking the tongues, the index fingers on each side can cover and uncover these side holes to change the resonance and can provide a tremolo effect. The mbira often has several rows of keys (tongues) positioned like multiple manuals (or rows of keys) on a keyboard. The lower manual (typically longer tongues and lower pitched notes) often represent the men's voices, while the upper manual (typically shorter tongues with higher pitched notes) represent the young men's voices, or are split with one side of the upper manual representing the young men's voices and the other representing the women's voices. The tuning and arrangement of the tongues are varied.

Sound Properties:
The mbira produces a haunting, fluid percussive sound that is considered tranquil and enchanting. Since you can play either simultaneously or alternating between both thumbs, harmonic and rhythmic effects are possible. An important feature of mbira music is its cyclical nature, with each new repetition of a theme varying slightly from the last and incorporate numerous interwoven melodies, with contrasting and syncopated rhythms. Mbira music lends itself to rhythmic and melodic diversity, and entails a great deal of improvisation, qualities common to African traditional music. The compositions usually consist of a main melodic part (kushaura), and a secondary melodic part (kutsinhira). A special attention should be paid to the combination of quadruple (4/4) and triple 3/4 meters within the rhythmic structure of the music. Most compositions can be thought of as a sequence of four 12-beat phrases. Those 12 beat can be divided into three groups of four, or four groups of three. While the Mbira can be an effective solo instrument, it is rarely found by itself at traditional Shona religious ceremonies. It is ordinarily accompanied by hosho players, handclapping, and singing. The persistant array of complex rhythms and variations of the melodies provides a rich source of sounds that captivates listeners. Many effects can be employed by plucking up or down on the keys (tongues). The sound can also be altered by wrapping the tongues with wire or adding a mirliton device. This adds an additional buzzing or humming character to the sound of the instrument which is an important sound in many of the tribal cultures. Often, snail shells or metal bottle caps are often attached to the sound board or the sound box to create or enhance the rich buzzing sound. The buzzing is thought to clear the mind and allow the listener to focus totally on the music. These buzzing effects are not commonly used on the diatonic versions of the mbira or outside of the African tribal cultures. Most recordings do not include these effects as they tend to favor the pure sounds of the instrument. Mbira tunings are numerous, and usage depends on personal preference. Mbira players usually settle on a particular tuning and use it consistently. Some of the more common Mbira tunings are Nyamaropa (most common), Gandanga Dongonda, Gandanga (or Mavembe), Nyuchi, Dambatsoko, Katsanzaira, Mande, Nemakonde, Nyamaropa Dongonda, Samsengere, and Saungweme.

African Djembe

African Djembe

Information on the djembe, their preparation and origin as well as some background knowledge.

The Djembe is a West African instrument whose origin was a long time ago in Guinea.
Over the years, the musical cultures have blended in Africa.
Today, the djembe in many other countries, such as in Mali, Senegal, Gambia, Burkina Faso, Niger, Ivory Coast / Cote d'Ivoire and in Ghana.

Djembe or: Jembe is traditionally an instrument of the Mande Bambara and Malinke peoples. From their settlements it has spread since the 60's in a regular sweeping across West Africa to South Africa and in recent decades in Europe and America.

Traditionally, the djembe of "musicians" is made, wherein the timber body in the "rhythm" worked.
There are few high-quality timber species which are, according to African musicians for the Djembe-production very well.
These particular species are West African and exotic woods hot Lenke, Iroko / Odum or Dweneboa. They are ideal for the construction of instruments such as djembe and balafon suitable.

During my musical travels through West Africa, I came into a small town, where be built today without European tools, but with self-forged tools Djembe.
This is done by means of a common rhythm, with the heaviest operation eg the hollowing out of the heartwood the beat determined and minor works, such as Decorations at the foot of the djembe, the melody arise.

For generations, this tradition has been maintained in musical families. When I am on my first visit in 1986 approached the small African town, where the tradition still exists today, I assume meant the sound of drums and rhythms can be.
At first I thought that one of the usual events in Africa such as Birth celebrations, weddings, outdooring ceremonies, harvest festivals or funerals drummed, danced and sung, but as I approached, I realized very soon that there were musicians at work or carving the Djembés there. By working on the Holzkorpora created rhythms that combines revealed a complex melodies play.

Later, I told an old, blind musician and carver, that he has made throughout his life and music made these instruments with his hands and has played and believe that the instruments of the rhythm is on, drums in carving.

Very soon I realized the value differences between instruments, which are made from cheap materials and with European tools and instruments that would be made to the old style of music sent hands in excellent quality.

The demand for African Art

CNN.com's video on the "Growing Demand for African Art"
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African People and Culture

African People and Culture

The ZULU People of South Africa

The Zulu are the better indigenous accumulation in South Africa. They are able-bodied accepted for their admirable blithely black chaplet and baskets as able-bodied as added baby carvings.

The Zulu accept that they are descendents from a arch from the Congo area, and in the 16th aeon migrated south acrimonious up abounding of the traditions and community of the San who additionally inhabited this South African area. During the 17th and 18th centuries abounding of the best able chiefs fabricated treaties and gave ascendancy of the Zulu villages to the British. This acquired abundant battle because the Zulu had able affectionate apple government systems so they fought adjoin the British but couldn't win because of the baby backbone they possessed. Finally, afterwards abundant of the Zulu breadth had been accustomed to the British the Zulu bodies absitively as a accomplished that they didn't appetite to be beneath British aphorism and in 1879 war erupted amid the British and the Zulu. Though the Zulu succeeded at aboriginal they were in 6 months baffled by the British who adopted the Zulu Kings and disconnected up the Zulu kingdom. In 1906 addition Zulu insurgence was advance and the Zulu abide to try to accretion aback what they accede to be their age-old kingdom.

The Zulu accept in a architect god accepted as Nkulunkulu, but this god does not collaborate with bodies and has no absorption in accustomed life. Therefore, best Zulus collaborate on a day to day akin with the spirits. In adjustment to collaborate with the alcohol the Zulu charge use divination to collaborate with the ancestors. All accident is a aftereffect of a angry abracadabra or affronted spirits, annihilation aloof happens because of accustomed causes.

The Zulu are about disconnected in bisected with about 50% active in cities and agreeable in calm assignment and addition 50% are working on farms.

Art from Zanzibar and Tanzania

Art from Zanzibar and Tanzania

Website recommendation: http://www.jumart.net/

Tanzania and Zanzibar are affluent in ability and art. Below are a few examples and in the absolute branch breadth to acquisition the art should you anytime appointment Tanzania.

Mokonde Abstraction is a charge shop for if you adore African abstraction from Tanzania. The Makonde bodies alive in the South East of Tanzania. This alien breadth of Tanzania has become acclaimed for the abstraction of atramentous [mpingo] or ironwood. Modern Makonde sculptures are able carvings, anniversary one unique. Their capacity usually accommodate shetani - which are spirits, demons and devils. The art is aqueous and at the aforementioned time awful angled. Traditionally the best able-bodied accepted carvings from this breadth were macho admission masks and abundant torsos absorption the accent of women in their society. Outside the arcade at the Cultural Heritage in Arusha in Northern Tanzania stands a twelve bottom aerial and ten bottom blubbery Mokonde carving. This abstraction is from a distinct timberline block and depicts intersecting abstracts assuming accustomed activity in Tanzania.

Tinga Tinga painting basic in Southern Tanzania and Mozambique and were corrective from pigments begin in nature; archetypal capacity to be corrective were bodies and animals. Eduardo S. Tingatinga was built-in in Mozambique but during the backward 1960s confused and acclimatized in Tanzania. He is accustomed with founding this art movement, which today takes his name; Tinga Tinga [sometimes spelt Tingatinga]. Traditionally corrective on aboveboard board bedding with active apply colors; generally corrective assimilate a atramentous background. The Tinga Tinga appearance of African art is corrective in a affable and aboveboard way.

The Maasai are apparently one of Africa's broadly apparent tribes. And their beadwork is apparent the apple over. The Maasai accept roamed the aerial grasslands of the Serengeti and Masai Mara of Southern Kenya and Northern Tanzania for centuries. The Maasai beadwork carries messages, from breadth you are and to which age accumulation you belong. The patterns and colors in a armlet are fabricated alone for anniversary age accumulation and the women alive calm in groups that adjudge the appearance of the jewellery to be fabricated for menfolk.

Red signifies danger, ferocity, bravery, strength, and decidedly unity, because it is the blush of the claret of the cow that is collapsed back the association comes calm in celebration.

Blue is important because it represents the sky which provides baptize for the cows.

Green is important because it represents the acreage which grows aliment for the beasts to eat. Green additionally represents the bloom of the Maasai association as there is a bounded bulb alleged olari which grows alpine and plentiful, as the Maasai.

Orange is the blush of the gourds that authority the milk that are offered to visitors and accordingly is the blush of hospitality.

Yellow additionally represents accommodation because it is the blush of the beastly banknote on the beds.

White is the blush of milk, which comes from a cow, advised a allowance from the gods to the Maasai bodies and so represents purity; and additionally health, because it is milk that nourishes the community.

Black represents the bodies but added decidedly it represents the hardships of life.

In Stone Town, Zanzibar, there are accounted to be 806 board doors dating from 1870. Designs arise from about the Persian Gulf, Afghanistan and the Punjab. They aboriginal accustomed in East Africa about 1500AD. It was in the time of Sultan Barghash (1870-1880) - the third Omani of Zanzibar that the doors became popular. The ellipsoidal aperture is encased in an intricately carved anatomy with the exoteric band of the anatomy carved into chains allegorical of the enslavement of angry alcohol aggravating to access the residence. There are eleven chain sections to a archetypal door. The abutting anatomy is sometimes carved with lotus flowers or approach leaves. Fish are generally carved into the doors, actuality an important allotment of aliment on the island. Above the aperture panels the axle is carved with rosettes, sometimes the name of the abode buyer is carved assimilate the lintel. In the earlier doors there is generally a ballad from the Koran and the date of carving. The axial column amid the doors is additionally carved. Generally the aperture panels accept huge assumption studs set into the aperture which are an accessory adaptation of spikes originally advised to anticipate battering by elephants.

The best way to ascertain the art of Tanzania is by visiting and exploring Dar es Salaam and Zanzibar. All to generally the day-tripper will appointment Tanzania for the bold safari. The cultures, the bodies the backdrop out of the bold parks has so abundant to action and is all to generally neglected. If you are anytime advantageous abundant to appointment Tanzania booty some time to analyze the art and ability begin in the cities forth the Swahili coast. Art can be begin in Dar es Salaam at Morogro Stores abutting to the Slipway and Mwenge Market. In Zanzibar there is art at the Old Fort in Stone Town.

Tribal Abstracts: Fang

Tribal Abstracts: Fang
Image: Female Fang Mask from Cameroon
Size in cm: 62 x 15 x 7
Weight: 200gr.

Fang Tribal Geographicals: Cameroon, Gabon and Equatorial Guinea

The tribes that are alleged “Fang” in the geographic or ethnographic abstract cardinal 800,000 and aggregate a all-inclusive circuitous of apple communities, accustomed in a ample breadth of Atlantic close Africa absolute Cameroon, continental close Guinea and about the accomplished arctic of Gabon, on the appropriate coffer of the Ogowe River. Historically the Fang were itinerant, and it is almost afresh that they accept acclimatized into this ample area. The afoot actuality of the Fang banned the conception of affiliated shrines at gravesites. Instead, the charcoal of the important dead, in the anatomy of the skull and added bones, were agitated from abode to abode in a annular case box. The abundant rain backwoods arena area the Fang acclimatized is a plateau of average altitude, cut by innumerable amnion with avalanche and avalanche apprehension aeronautics for the best allotment impossible, and with a altitude about equatorial. Fang are principally hunters but additionally agriculturists. Their amusing anatomy is based on a clan, a accumulation of individuals with a accepted ancestor, and on the family.

The ensemble of Fang peoples convenance a band adherent to antecedent lineages, the bieri, whose aim is to both assure themselves from the asleep and to recruit their aid in affairs of circadian life. This familial band does not absorb the Fang’s religious universe, for it coexists with added behavior and rituals of a added aggregate character. It is the bieri, or antecedent sculpture, which has best acutely accustomed acceleration to the authoritative of arresting board sculpture. The bronze of the Fang can be classified into three capital groups: active on continued necks, half-figures and abounding figures, continuing or seated. Carved with abundant simplicity, at the aforementioned time they display a aerial amount of composure in the allocation of annular forms. The close is generally a massive annular form. The accoutrements accept assorted positions: easily bound in advanced of the anatomy (sometimes captivation an object); captivated in advanced of the chest or absorbed to it; easily comatose on the knees in the built-in figures. The axis is generally abstract into a annular form. Legs are short, stunted. Usually there is a domed, advanced forehead and the eyebrows generally anatomy arcs with the nose. The eyes are generally fabricated of metal roundlets. The bieri would be consulted back the apple was to change location, back a fresh crop was planted, during a palaver, or afore activity hunting, fishing, or to war. But already afar from the reliquary chest, the sculpted article would lose its angelic amount and could be destroyed. The ritual consisted of prayers, libations, and sacrifices offered to the ancestor, whose scull would be rubbed with crumb and acrylic anniversary time. With its ample head, continued body, and abbreviate extremities, the Fang bieri had the admeasurement of a newborn, appropriately emphasizing the group’s chain with its antecedent and with the three classes of the society: the “not-yet-born,” the living, and the dead. The charcoal were about skull fragments, or sometimes complete skulls, jawbones, teeth and baby bones. The bieri additionally served for ameliorative rituals and, aloft all, for the admission of adolescent males during the abundant so festival.

The Fang acclimated masks in their abstruse societies. The ngil (gorilla) masks were beat by associates of a macho association of the aforementioned name during the admission of fresh associates and the animality of wrong-doers. Masqueraders, clad in raffia apparel and abounding by helpers, would actualize in the apple afterwards dark, aflame by ablaze torchlight. Fang masks, such as those beat by afoot troubadours and for hunting and backbreaking sorcerers, are corrective white with facial appearance categorical in black. Typical are large, continued masks covered with adobe and featuring a face that was usually heart-shaped with a long, accomplished nose. Apparently it has been affiliated with the asleep and ancestors, back white is their color. The ngontang ball association additionally acclimated white masks, sometimes in the anatomy of a four-sided helmet-mask with billowing forehead and eyebrows in heart-shaped arcs. The ngontang affectation symbolizes a ‘young white girl’. The so, or red antelope was affiliated with an admission that lasted several months; these masks action continued horns.

Musical instruments – like the harp, its ends sculpted into admirable figurines – accustomed advice with the hereafter. Blacksmiths bellows, abounding absolutely beautiful, were sculpted in the appearance of figures; there are additionally baby metal disks featuring heads, alleged “passport-masks”, the Fang absorbed these to their arms.

Special spoons were carved and acclimated to administrate magically comestible aliment as allotment of acceptable admission rites. An alone man’s beanery was a preciously attentive control that was agitated on his being in a accept bag back he catholic and was placed on his tomb back he accomplished away.

Zimbabwean stone sculpture

Zimbabwean stone sculpture
Image: Soapstone Hornbill "Toko"
Size in cm: 19 x 07 x 04
Weight: 600gr.

The Zimbabwean stone sculpture is a singular phenomenon in the context of African Art. A similar type of art it has not met in any other African country. This art is also singular in that it practically from scratch, ie from any tradition was born and after about thirty years ago to dissolve into the anonymity of mass production for the market again began folklore. Today it is probably right to say that it is no longer the art direction is.

There were the special circumstances of the history of the country who have contributed to the rise and decline. In the 50s of last century, Southern Rhodesia, as Zimbabwe was then known, to the stage of comparatively liberal multiracial experiment, at least in cultural terms.

In the capital Harare, a university and a National Gallery were established. The first director of the new National Gallery was the Briton Frank McEwen. His role in the development of the "new direction" can not be overestimated. He had learned in the thirties in Paris, which impulses from the ethnic African art to modern European painting and sculpture emanated. His interest was to go to the roots themselves, seek out the creative powers of Africa and promote the positive atmosphere in Rhodesia, the development of domestic, as he thought, unadulterated art.

It's not to say so, that it has no plastic in front on the floor, where traditions of Zimbabwe. But the view of African art history of the last two thousand years shows that the entire southern Africa compared with West and Central Africa was poor in artifacts. He was settled too thin. It lacked the great kingdom, the power of the ritual art of the past represented in the rule. Only in Great Zimbabwe, in the realm of Monomutapa, there had been cult figures made of stone eagle. But their sculptural tradition has long gone down with the Empire. That these figures are cited in the context of contemporary stone sculpture again and again, has to do with the need of the new government to strengthen the cultural self-esteem of the nation. Above all, the wrong job to do on the tradition with the marketing needs of the gallery. The "typical African" sells better.

Significantly stimulated and encouraged by McEwen developed in the mid sixties, a scene of young talented African Stone Sculpture. Among the first Yoram Mariga, John Takawira, Henry Munyaradzi, Nicholas and Joseph Mukomberanwa Ndandarika. They were all later, the leaders of the new movement. McEwen asked the young artists to make art for art's sake and to be inspired by their inner images and the myths of her people, the Shona. The concept of the Shona Sculpture was born. In 1965 the first work was shown abroad. 1968, works were shown in an exhibition at the New York Museum of Modern Art. The special exhibition at the Musée Rodin in Paris was the international recognition. In their motives, these early works were quite African. In anthropomorphic figures, they often symbolized the belief in the original unity of man and animal. It played an important mythical eagle and monkey role. In its style, these works were often "archaic" or "primitive" and recalled the art of the Aztecs, Mayas and Eskimos. However, it would be wrong to speak of a unified style.

Instead, over the years developed the important artists own personal styles. Henry Munyaradzis minimalist design of the human head reminiscent of Paul Klee. Nicholas Mukomberanwas work seemed influenced by Cubism. When John Takawira could see a resolution expressive of the contour. Without doubt, the artists were exposed to Western influences. The National Gallery has shown works by Picasso and Henry Moore and other important artists of European modernism, but also ethnic African art. It is pointless to argue about whether the sculptures, which at that time were, were typically African or not. Anyway, they were not traditional in the strict sense, nor really modern. They were something special, a synthesis, an experiment, just the Zimbabwean stone sculpture.

When Frank McEwen was the genuine inspiration from the wealth of collective unconscious, he refrained form the artist. Instead, he shielded them against the temptations was already emerging from the commercialization, poor work rejected as "airport art" (they were actually destroyed) and shifted his Workshop School to the country. In 1965 the white settler colony of Southern Rhodesia declared its unilateral independence from the British crown. The international sanctions imposed against the country then, not only economically isolated Southern Rhodesia, but also culturally. But should it prove necessary for the new art as a blessing. It allowed the young artists the chance of a slow maturation on the right track. The growing reputation of the "Shona Sculpture" and the beginnings of interest from collectors offered the best sculptors of a sufficient material basis in order to establish themselves as professional artists living not only for their art, but for them too.

Which matured at the time, could be harvested after the country gained independence in 1980. The eighties were the culmination of the movement but also the beginning of its decline. Numerous exhibitions abroad made known its most important representatives and encouraged them to experiment and to choose for their work larger size. Surfaces were trimmed raw. With new tools, especially harder chisels, could be harder stones such as Spring Stone, lepidolite or Verdite editing and design easier breakthroughs. Young artists were joined to the movement. had studied Tapfuma Gutsa of Art in London, working in mixed media and often combined in his elegant works of stone and wood. Brighton Sango stone sculptures were abstract. They remembered nothing more in Africa. The term "Shona Sculpture" was unpopular with art connoisseurs as well as some artists. It almost seemed as if the Zimbabwean sculpture is alive enough to develop.

But after independence, also uses the problems. It was becoming obvious that the Zimbabwean stone sculpture was neither traditional nor typical African and not anchored in the country. She had neither a public nor a critical feedback from the local press. Even the wealthy new elite was not interested in that which spawned their most important artistic representatives abroad. The major annual exhibitions of the National Gallery were called but National Heritage Exhibition, but it lacked the artistic traditions, which were invoked in the name of the new nation. The quality of the pieces took off year after year, what the curators obviously did not prevent, to increase the quantity of the exhibits. Just as the market works. In the capital, were settling down numerous galleries, offering everything that increased the tastes of the tourists, whose numbers from year to year, in line. Because prices and sales were always started more young Zimbabweans who had no talent to copy what would sell. The result was a regrettable decline in quality, while damage to the reputation of the whole movement. In the nineties, this trend continued to the airport art. With the ominous decline of the economy, the plight of the African population grew in the cities as well as in the country. Those who did not work trying to get in the informal sector to stay afloat. On the way, flooding the mass produced pieces that were at best craftsmen, generally cheaper but kitsch, the market and undermined completely, which had developed by then.

Today, a review is possible on the Zimbabwean sculpture. The leading artists of the early years nearly all have died. A marked generation of younger artists whose work is of artistic quality and creativity would be, could not grow under the described circumstances. The time was too short and the movement is too small, as this could have caused what constitutes generally the art of a country: continuity and change, individuality, while many references to the cultural and social environment. Too weak, the response in our own society, and was too much demand from commercial interests and tourism needs determined. The Zimbabwean situation has equalized in this respect, the other African countries.

More valuable now seem in retrospect, the work of the most important representative of the early period. Their quality has moved the name of Zimbabwean stone sculpture in the world in the first place. The originality and uniqueness of artists such as Nicolas Mukomberanwa, John and Henry Munyaradzi Takawira is undisputed, even if their work is based on a syncretism, on an ambivalent fusion of African tradition and European modernity, which gives the impression both of the familiar as the stranger. Today, as the movement has lost almost all their contours, such works usually come only from private collections on the market.

African Art

African Art
Image #1: The thinking men
Size in cm: 15 x 06 x 02
Weight: 400gr.
Origin: Zimbabwe

Image #2: "Elephants" Carving from solid wood
Size in cm: 55 x 38 x 11
Weight: 3,0 kg
Origin: Zambia

African art constitutes one of the best assorted legacies on earth. Though abounding accidental assemblage tend to generalize "traditional" African art, the abstemious is abounding of people, societies, and civilizations, anniversary with a altered beheld appropriate culture. The analogue additionally includes the art of the African Diasporas, such as the art of African Americans. Despite this diversity, there are some accumulation aesthetic capacity back because the accumulation of the beheld ability from the abstemious of Africa.

* Accent on the beastly figure: The beastly amount has consistently been the primary accountable amount for best African art, and this accent alike afflicted assertive European traditions. For example, in the fifteenth aeon Portugal traded with the Sapi ability abreast the Ivory Coast in West Africa, who created busy ivory saltcellars that were hybrids of African and European designs, best conspicuously in the accession of the beastly amount (the beastly amount about did not arise in Portuguese saltcellars). The beastly amount may betoken the active or the dead, may advertence chiefs, dancers, or assorted trades such as drummers or hunters, or alike may be an beastly representation of a god or accept added votive function. Another accepted affair is the inter-morphosis of beastly and animal.

* Beheld abstraction: African artworks tend to favor beheld absorption over naturalistic representation. This is because abounding African artworks generalize stylistic norms. Ancient Egyptian art, additionally usually anticipation of as naturalistically depictive, makes use of awful absent and regimented beheld canons, abnormally in painting, as able-bodied as the use of altered colors to represent the qualities and characteristics of an alone actuality depicted.

* Accent on sculpture: African artists tend to favor three-dimensional artworks over two-dimensional works. Alike abounding African paintings or bolt works were meant to be accomplished three-dimensionally. Abode paintings are generally apparent as a connected architecture captivated about a house, banishment the eyewitness to airing about the assignment to acquaintance it fully; while busy cloths are beat as adorning or august garments, transforming the wearer into a active sculpture. Distinct from the changeless anatomy of acceptable Western carve African art displays animation, a address to move.

* Accent on achievement art: An addendum of the advantage and three-dimensionality of acceptable African art is the actuality that abundant of it is crafted for use in achievement contexts, rather than in changeless ones. For example, masks and apparel actual generally are acclimated in communal, august contexts, area they are "danced." Best societies in Africa accept names for their masks, but this distinct name incorporates not alone the sculpture, but additionally the meanings of the mask, the ball associated with it, and the alcohol that abide within. In African thought, the three cannot be differentiated.

* Nonlinear scaling: Generally a baby allotment of an African architecture will attending agnate to a beyond part, such as the chunk at altered scales in the Kasai arrangement at right. Louis Senghor, Senegal’s aboriginal president, referred to this as “dynamic symmetry.” William Fagg, the British art historian, compared it to the logarithmic mapping of accustomed advance by biologist D’Arcy Thompson. More afresh it has been declared in agreement of fractal geometry.

The Functions of African Art

The Functions of African Art

Image: Male Nkigi Ghost Figure
Size in cm: 58 x 12 x 14
Weight: 200gr.
Origin: Ghana

For the most part works of art were created by several tribal artists working according to tradition. Yet, in spite of all his restrictions, the African artist managed to express his own imagination and technique. If new technique proved be good, it became part or ever growing tradition.

Much of the world's art is religious. So too is African art. Ancestor worship, spirits, magic, and other aspects of the religion of African tribes is reflected in the art. Art was also created for ceremonies of marriage, for funerals, and for the festive celebrations of people.

We in the West can value a work of art for its beauty alone. But in Africa every line, every form, and every arrangement of shapes on a work of art has a meaning. An African sculptor seldom creates art just for the pleasure of doing so, just for the purpose of creation something beautiful. Nearly everything has a function or purpose.

Statutes are carved to honor ancestors, kings, and gods. Masks are created for festive occasions. Jewelry, trinkets, and beads are sometimes used to indicate wealth, growing up, authority, or marriage. Guardian figures are fastened to coffins to invite good spirits to protect the dead and to chase away evil demons. Combs, spoons, bowls, stools, and other useful items are carved to make them decorative. But an object of art is always meant to be useful first and beautiful only second.

The use of masks was an important part of the spirit world that existed in the lives of the African people. They were used at initiations, for example, when a boy was accepted as an adult hunter. Their main purpose was to scare away evil intruders.

Among the masks most widely admired, at least by people in the Western world, are those of the Bambara of the Sudan region. They have graceful lines and a smooth finish, which show the craftsmanship of the artists. Sometimes they are covered with feathers or other decorations. Often worn on top of the head instead of over the face, the designs of the masks are usually based on the horns of an animal, reaching heavenward.

Art galleries in KwaZulu-Natal

Art galleries in KwaZulu-Natal

Source: South African Info

AFRICAN ART CENTRE
94 Florida Road, Durban
Found in the centre of Durban, the African Art Centre exhibits the work of both young and established black artists, working in contemporary and traditional styles. There is a strong representation of printmaking, beadwork, woodwork, sculpture, textiles and ceramics.
Website

ALLIANCE FRANÇAISE
22 Sutton Cresent, Morningside, Durban
This non-profit gallery often hosts travelling shows with a Gallic bias. It also supports work by local artists.
Website

ANDREW WALFORD SHONGWENI POTTERY GALLERY
Hillcrest, KwaZulu-Natal
Internationally renowned Andrew Walford's hilltop studio and gallery is situated in indigenous bush overlooking the Shongweni Dam and Nature Reserve. His stoneware and porcelain is inspired by nature. By appointment only.
Website

ARTSPACE DURBAN
3 Millar Road, Stamford Hill, Durban
ArtSpace Durban offers a contemporary visual arts gallery adjacent to and in collaboration with dedicated artists studio spaces. ArtSpace offers exhibition, marketing, sales, promotion and venue hire facilities to both artists and those interested in developing the contemporary visual arts by way of organisations or project development. ASD offers a professional artists agency function focused on networking, collaborative commissions and large-scale public and private sector partnerships and projects.
Website

BAT CENTRE
45 Maritime Place, Small Craft Harbour, Durban
This non-profit centre, originating from a grant by the Bartel Arts Trust, exhibits temporary shows by young, mainly black artists and craftspeople. It encourages first-timers in the Democratic Gallery and more established artists in the Menzi Mchunu Gallery. Housed in a converted wharfside building, it has a café and overlooks the harbour. It is also a popular venue for music gigs.
Website

CARNEGIE ART GALLERY
Old Library Building, Scott Street, Newcastle
Lying in the centre of Newcastle, this municipal gallery boasts a small but rich permanent collection of South African contemporary art. A collecting policy built around the theme of landscape and a particular focus on the art and craft of the Newcastle region give the collection coherence.
Website

DURBAN ART GALLERY
Second floor, City Hall, Smith Street, Durban
Housed in the Durban City Hall, this municipal gallery has a permanent collection specialising in Victorian painting and South African contemporary art. The bulk of the European collection was donated in 1920 and includes British, French and Dutch paintings, objets d'art such as French and Chinese ceramics, early glass vases by Lalique and bronzes by Rodin. The collection focus is now largely concentrated on works that reflect the rich multi-cultural diversity of Durban and South Africa. The gallery hosts a wide range of travelling shows of national and international interest.
Website

DURBAN INSTITUTE OF TECHNOLOGY ART GALLERY
Library Block, Durban Institute of Technology, 51 Mansfield Road, Berea, Durban
Established to bring art to the student body of the Durban Institute of Technology (formerly Technikon Natal), this educational gallery focuses on student work and travelling exhibitions. It has a permanent collection of South African contemporary art with a special focus on KZN artists such as Andrew Verster, Clive van den Berg and Bronwen Findlay.
Website

EMPANGENI ART AND CULTURAL HISTORY MUSEUM
Turnbill Street, Empangeni
Non-profit gallery with a permanent collection and rotating exhibitions. The Empangeni museum is situated in the Old Town Hall erected by the sugar farmers of the town in 1916. Extensively renovated in 1995 it was reopened as a museum in April 1996. It houses a representative collection of contemporary art from KwaZulu-Natal including works by Andrew Verster, Trevor Makoba, Dennis Purvis, Andries Botha, Gert Swart, Raphael Magwaza, Diamond Bozas, Bonnie Ntshali and Nesta Nala.
Website

IMBIZO GALLERY
Shop 7A, Ballito Lifestyle Centre, Ballito
(032) 946 1937
The Imbizo Gallery, located in beautiful Ballito on the KwaZulu-Natal north coast, features paintings by leading artists in a wide variety of styles. The Gallery is also home to a superb collection of bronzes and pots. Check the website for news of exhibitions.
Website

JACK HEATH ART GALLERY
Fine Art Department, University of KwaZulu-Natal, Pietermaritzburg
(033) 260 5170
Based at the University of KwaZulu-Natal, the gallery's collection focuses on contemporary South African art, particularly graphic prints and ceramics. It also includes a few fine examples of European art. The gallery frequently holds exhibitions by Masters students and contemporary KZN artists.

KIZO ART CONSULTANTS AND ART GALLERY
Shop G350, Palm Boulevard, Gateway Theatre of Shopping, Umhlanga, Durban
(031) 566 4324
The Kizo Art Gallery is owned by Craig and Barbra Mark, who have more than 20 years of experience in the South African art industry. They have coordinated exhibitions are over the world, including in the USA, the United Kingdom, India, Switzerland, and at the United Nations. The gallery plays an active role in arts awareness programmes. Kizo is also the founder and coordinator of The Heritage Arts Festival, the premier arts festival in KwaZulu-Natal. In addition, in a world first, it is also behind 2010 Fine Art, which is an art collection officially endorsed by Fifa to celebrate the 2010 World Cup..

KZNSA GALLERY
166 Bulwer Road, Glenwood, Durban
This non-profit gallery services the members of the KwaZulu-Natal Society of Arts. Housed in a custom-designed building by an award-winning architect, it has a regular exhibition schedule showing work of established artists of provincial, national and international reputation working within a contemporary arts framework. The gallery also supports younger up-and-coming artists and is involved in community outreach initiatives.
Website

MARGATE MUNICIPAL ART MUSEUM
Address: Civic Centre, Dan Pienaar Square, Margate
(039) 688 2000
This municipal gallery has a permanent collection of contemporary South African art and also hosts temporary exhibitions. Focusing mainly on two-dimensional work with pieces by Dennis Purvis, Tinus de Jonge and Andrew Verster, the collection also has a small ceramics section including works by Ian Calder and Jonothan Keep.

TAMASA GALLERY
36 Overport Drive, Berea, Durban
(031) 207 1223
A small commercial gallery, Tamasa exhibits a broad variety of contemporary KZN artists.

TATHAM ART GALLERY
Corner Longmarket Street and Chief Albert Luthuli (Commercial) Road, Pietermaritzburg
Housed in the former Supreme Court building in Pietermaritzburg, the Tatham collection was initiated in 1904 with donations of Victorian art. Supplemented in 1923 by a collection of glassware, porcelain and Oriental rugs as well as 19th and early 20th century French and British art works, the collection has grown to include Degas, Renoir, members of the Bloomsbury group, Picasso, Matisse and Hockney. The current collection focus is on creating a historically representative and contemporary collection of work by KwaZulu-Natal artists, and a programme of temporary exhibitions ensures public exposure to a range of travelling and locally curated exhibitions.
Website

Traditional African Art

Traditional African Art
Image: Ape Mask from the Dark Africa Collection
Size in cm: 14 x 30 x 20
Weight: 100 gr.

Traditional art describes the most popular and studied forms of African art which are typically found in museum collections.

Wooden masks, which might either be human or animal or of mythical creatures, are one of the most commonly found forms of art in western Africa. In their original contexts, ceremonial masks are used for celebrations, initiations, crop harvesting, and war preparation. The masks are worn by a chosen or initiated dancer. During the mask ceremony the dancer goes into deep trance, and during this state of mind he "communicates" with his ancestors. The masks can be worn in three different ways: vertically covering the face: as helmets, encasing the entire head, and as crest, resting upon the head, which was commonly covered by material as part of the disguise. African masks often represent a spirit and it is strongly believed that the spirit of the ancestors possesses the wearer. Most African masks are made with wood, and can be decorated with: Ivory, animal hair, plant fibers (such as raffia), pigments (like kaolin), stones, and semi-precious gems also are included in the masks.

Statues, usually of wood or ivory, are often inlaid with cowrie shells, metal studs and nails. Decorative clothing is also commonplace and comprises another large part of African art. Among the most complex of African textiles is the colorful, strip-woven Kente cloth of Ghana. Boldly patterned mudcloth is another well known technique.

Getting hold of African American Art

Getting hold of African American Art

Image source: North Carolina Central University Art Museum

If you’re looking add African American art to your home, you need to know where to find it.While it might seem like an easy task, finding prints or paintings that are authentic and high quality isn’t always simple. There are three main venues that you can use to find African American art, however, but each has its advantages and disadvantages. Here is what you need to know.

Galleries are the first place to go when you’re looking for authentic pieces that are displayed by the artists themselves. You can also find an assortment of up and coming artists that are showing their work, enabling you to find an African American art piece while it’s still new and not as valuable as it will become. You can find these galleries by looking in your local phone book or simply talk to the curator of your local modern art museum. By talking to the museum, you can get an inside scoop as to where this art can be found. The only downside to galleries is that they can be difficult to find at first, and the pieces of art can be very expensive. Sometimes, these pieces of art will not grow in value, so you are taking a risk when buying newer pieces.

With online stores, you can gain access to a number of great prints, paintings, and sculptures that are hand created or reproduced pieces of African American art. These pieces are sometimes easier to locate online as they can be found in mass numbers as well as through a number of retailers. You can also find a wide variety of styles and prices to fit your home and your budget. The main concern with buying art online is that some of the pieces may not be produced by who the seller says they are produced by – in other words, you can find some that are fakes. However, if you take the time to investigate the seller and determine whether or not they are reputable, you should have no problems with your purchase.

Another option that the internet provides for buying African American art is online auction sites. These sites tend to offer an easy way to find specific time periods of art as well as numerous pieces that are for sale at any given time. By allowing you to bid on the works, you will be able to set your price and your limitations on that price. These sites also offer safe payment options as well as options for larger ticket items. The main concern with these sites is also the authenticity of the pieces of art. Since you’re not always able to investigate the background of the seller, you may be spending a lot of money for something that isn’t the real thing.

Finding African American art has become easier in today’s age of the internet and many local galleries, but when you’re shopping, you need to be careful that what you’ve paid for is what you’re actually getting in return.

Arty Crafts of South Africa

Arty Crafts of South Africa

The vibrant variety of cultural groups living in South Africa, and its rich artistic heritage, means that there are countless opportunities for visitors to purchase a wide range of traditional handicrafts. Almost everywhere you go there will be artists selling their wares and by purchasing authentic souvenirs, you can not only take home an attractive keepsake, but also promote local economies and provide these entrepreneurs with a sustainable income.

All of the major cities including Cape Town, Johannesburg, Pretoria, Durban and Port Elizabeth have huge markets dedicated to selling local arts and crafts, and it's often here that you can pick up the most unique crafts at the best price. Smaller towns also have some charming markets, some of which are permanent, while others run monthly, or during peak tourist season. Bargaining is acceptable in some markets, but realise that you are supporting the livelihood of local vendors.Crafty Cape Town

Cape Town is cosmopolitan, arty and the perfect place to pick up a unique souvenir. The 'Mother City' is home to a brilliant variety of craft markets, which sell good quality, authentically South African pieces at ideal prices.

The cobble-stoned Greenmarket Square in Cape Town's centre is a lively craft market, selling African carvings, masks and drums, beadwork, jewellery, clothing, leather work and ceramics. You'll definitely be able to find something as a personal souvenir, or as a gift to take home to someone special. The Red Shed Craft Workshop, and the Waterfront Craft Market are both indoor markets situated at the V&A Waterfront, and are open seven days a week, selling clothing, jewellery, and other fine crafts. For a vibrant flea market experience, head to Greenpoint Market on Sundays, where you can purchase a wide variety of crafts, including African art and beads. Weekends are the time for craft markets across Cape Town, and Hout Bay, Constantia, Kirstenbosch and Rondesbosch hold regular craft fairs.

Zulu Finery

If you're in KwaZulu Natal, visiting the spectacular Drakensberg or the region's gorgeous beaches, you have to pick up some of the beautiful traditional Zulu handicrafts that originate in this area. Although highly decorative and colourful, Zulu beadwork is not just attractive jewellery, but also has an important symbolic significance in Zulu culture.
Traditional Zulu clothing and beads used to be worn throughout the year, but now are normally worn only on ceremonial occasions. Beads are intricately woven into the history of Zulu people, as they were used for traditional finery since they first became available through trading, mainly from India. These glass beads were highly valued in South Africa, because the science of glass-making was as yet unknown in the country. Beads therefore became precious, and were crafted into adornments to be worn for traditional customs, or as a sign of social status.
Certain messages are sent through the specific colours and design of a beadwork item, and this means that the stunning creations you may buy in a craft shop or market might have a wonderful deeper meaning. The language of Zulu beadwork is based around the shape of the triangle, and seven basic colours. The three corners of the triangle represent father, mother and child. So a triangle pointing down represents an unmarried woman, and pointing up it represents an unmarried man. Two triangles joined at their base are for a married woman, and two triangles joined at their points in an hourglass shape stand for a married man. The vivid colours of Zulu beadwork also express particular ideas, both positive and negative. Black, for instance, stands for both marriage and sorrow, while green means both illness and contentment.
You can buy amazing Zulu crafts, including jewellery and décor items, at markets and curio shops all over KwaZulu Natal, or for a really authentic experience, visit a Traditional Village like Dumazulu in Hluhluwe, where Zulu residents demonstrate the skilful processes of basket-weaving, spear and shield making, pot-making and beadwork.

Swazi Creations

Swaziland, the tiny but culturally rich nation within South Africa's borders, is renowned, along with its fantastic wildlife, for its wonderful art and craft shops and markets. Wooden sculpture, soapstone carvings, glassware, mohair, tapestries, pottery and clothing are among the beautifully-made crafts that can be purchased in Swaziland. The really traditional Swazi craft is grass weaving, and expertly-woven mats and baskets are attractive and useful items that are sold everywhere in the country. One type of basket is so closely and skilfully woven it can even store liquids.
Roadside markets are especially great places to stop off on a road trip to the lively capital, Mbabane, as you can purchase some traditional crafts at bargain prices and also meet the friendly Swazi people.

A piece of Africa

Crafts in South Africa are more than just souvenirs of a region. They reflect the country's rich cultures, and whether you're taking home a quirky wire creation, a beaded masterpiece, or a gorgeous woven basket, you'll always have something unique to remind you of your wonderful trip to South Africa.