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Samples of recorded Adinkra symbols. Adinkra are symbols from Ghana that represent concepts or aphorisms. Adinkra are used extensively in fabrics, logos and pottery. They are incorporated into walls and other architectural features.
The patterns used range from geometric tribal motifs to figurative patterns of humans and animals. Clamp resist dyeing is used by the Kuba. Raphia panels are folded to form a cube and then clamped and dip dyed. The clamps are removed after dyeing to reveal the resist pattern in natural raphia against the usually black dyed background.
Owu tribal marks consist of six incisions on each side of the cheeks and peculiar to the indigenes of Owu, a historical city in Abeokuta, the capital of Ogun State, Nigeria. The Owu tribal mark was inscribed on the cheeks of Chief Olusegun Obasanjo , who was a former President of the Federal Republic of Nigeria .
Kente comes from the word kɛntɛn, which means "basket" in the Asante dialect of the Akan language, referencing its basket-like pattern. In Ghana, the Akan ethnic group also refers to kente as nwentoma, meaning "woven cloth". Ashanti folklore includes a story where weavers invented kente by seeking to replicate the patterns of Anansi the ...
Scarification in Africa is a major aspect of African cultures and cultural practice among African ethnic groups; the practice of scarification in Africa includes the process of making "superficial incisions on the skin using stones, glass, knives, or other tools to create meaningful pictures, words, or designs" and expresses "clan identity ...
A Nguni shield is a traditional, pointed oval-shaped, ox or cowhide shield which is used by various ethnic groups among the Nguni people of southern Africa. Currently it is used by diviners or for ceremonial and symbolic purposes, [1] and many are produced for the tourist market. [2]
Africa Explores: 20th-Century African Art. Center for African Art, 1994. Woodward, Richard B. African Art: Virginia Museum of Fine Arts. The Museum, 2000. Roberts, Allen F., et al. Animals in African Art: from the Familiar to the Marvelous. The Museum for African Art, 1995. "Baga - Art & Life in Africa - The University of Iowa Museum of Art."
As African masks are largely appropriated by Europeans, they are widely commercialized and sold in most tourist-oriented markets and shops in Africa (as well as "ethnic" shops in the Western world). As a consequence, the traditional art of mask-making has gradually ceased to be a privileged, status-related practice, and mass production of masks ...