shaping identity: study guide for student

Transcription

SHAPING IDENTITY: STUDY GUIDE FOR STUDENT TOURS/TALKS
This Study Guide uses the same format throughout. There is an entry for each object from
spring training 2007. In the future when new objects are added, new entries will be
written and distributed.
Format for each entry:
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Image
Grade level
The grade level to which an object can be presented
Objects included in Art to the Schools talks are indicated by ATS
Object Data (“tombstone” information as it appears in the gallery)
Object Label Text (object label text from the gallery)
Group/Gallery Theme Text (panel texts from gallery—if any associated
with that object)
Additional information
o Info from spring training
o Contextual information
Pronunciation Guide (if needed)
Curriculum tie-ins (for you to know how the educators might use
information from your tour or talk)
Underlined items above indicate that the text from the galleries has been quoted in the
Study Guide—not tailored to an object. A panel may refer to two or more objects where
only one is included in your object list. REMEMBER TO ONLY SPEAK ABOUT THE
OBJECT USED IN TRAINING.
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OBJECT TABLE OF CONTENTS
African Galleries
Funerary figure (Kongo)
Chair (Chokwe)
Palace Door (Yoruba)
Trio of Kuba Masks
Nail Figure (Kongo)
Vigangu (Kambe)
Vessel in form of Kneeling Mother and Child (Kongo)
Sowo masks (Mende)
Mpondo Bridal Outfit (Xhosa)
Double Effigy Vessel, Mangbetu (modern Zaire)
Untitled, Magdalene Odundo
Royal Portrait (Queen Mother), Benin (Edo, Nigeria)
Ancient Egyptian Gallery
Relief of Peasants Driving Cattle and Fishing
Mummy
Head of a Woman
Relief of a Ramesside Ruler
Ba-ba-ef (2 versions)
Native American Galleries
Jaguar Vessel
Bowl with Children Spinning
Couple
Bear Claw Necklace
Man’s Coat
Kachina Doll
Jar
Chief Shoppenegons, Eanger Irving Couse
Dutch Galleries
Mother Nursing her Child
Gamblers Quarreling
View of Grote Kerk in Haarlem
River Landscape
Portrait of a Lady, Nicolaes Eliasz Pickenoy
Still Life: A Letter Rack, Edwart Collyer
British Gallery
The Cottagers
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Kresge Reception Area
Quilting Time
American Galleries
James Bowdoin
Hannah Loring
The Lamplight Portrait
Jonathan Mountfort
Domestic Happiness
In Nature’s Wonderland
At the Front, George Cochran Lambdin
The Freedman, John Quincy Adams Ward
Trappers Return
Woman Sewing
Contemporary Galleries
Atrabiliarious (Defiant)
Self Portrait, Andy Warhol
Lot’s Wife
Officer of the Hussars, Kehinde Wiley, American
African American Galleries
Beyond Midnight
To Disembark: Billie Holiday
Portrait of Christopher D. Fisher, 4th Reich Skinhead
Modern Galleries
Mexican Pueblo
Evening by the Sea
Self-Portrait, Joan Miro
A Young Man, (1486), Michael Wohlgemut, German
Self-Portrait, Otto Dix, German
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First Floor: non-Western galleries
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FAQ Sheet
Theme
Looking at art in terms of strategies that individuals, groups, and nations use to construct
personal social and cultural identity – and also how the identity of others is constructed.
Object rotations:
Objects made of light-sensitive materials including textiles, animal hides, paper,
and feathers will rotate off view every few months. Similar objects will replace them and
will provide the same looking and learning experiences for students.
Special Interpretives
Special interpretive materials in the form of labels, videos and other interactive
stations, are included throughout the gallery and intended for public use. Docents may
point them out during tours and suggest the group use them after the tour, or on a return
visit.
When do students typically study Identity?
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English language arts students study and create informational texts dealing with
identity when they read, write and present biographies and autobiographies,
personal essays, personal correspondence and persuasive essays.
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Narrative texts are also studied and include analysis of how characters and
communities reflect life in multicultural literature.
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Stereotypes in literature based on gender race and culture are also investigated in
narrative texts.
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Art teachers may have students create portraits and self-portraits and other works
focusing on personal or group identity using a variety of media.
When do students typically study Africa and Egypt?
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Social studies students study identities of various cultures of the world. Africa
and Egypt can be studied as part of seventh grade Eastern Hemisphere studies
and in high school World History and Geography.
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Art teachers often use projects inspired by diverse cultures.
When do students typically study Native Americans?
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Social studies students might study Native American culture and identity
o in fourth grade as part of Michigan History
o in fifth and eighth grades and high school as part of United States
History and Geography, and
o in sixth grade as part of West Hemisphere studies.
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When do students typically study American history and culture?
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Social Studies students study the 1700s and the beginnings of United States
History through the American Revolution in elementary school
Middle schoolers study the 1800s and the Civil War
High School students study the 1900s.
There is overlap when the curriculum emphasizes Civics and core democratic
values.
Students may also study United States History
o in fourth grade as part of Michigan History
o in the fifth, eighth grades and high school as part of United States
History and Geography
o in sixth grade as part of West Hemisphere studies
o High School World History includes the Americas in the global impact
of trade through history.
Art teachers often include American art in their lessons.
When do students typically study European history and culture?
o Social studies students may study Dutch and British settlements as part of the
colonial history of the United States
o Europe can be studied as part of seventh grade Eastern Hemisphere studies
and in high school World History and Geography
Curriculum links
o Arts Education and the Visual Arts are an integral component of all student
tours.
o Tours and talks will begin by asking students to talk about what they see.
o There are many ways to link the objects and information to the Curriculum
and Content Standards developed by the Michigan Department of Education.
o In addition to Visual Arts, links can be made to Music, Social Studies
(History, Geography, Civics, Economics) Science, Math, Language
Arts, World Languages and Careers.
o These links are embedded in the content for each object.
o It is not necessary for the docent to separate out such information in the course
of a tour.
o For educators, The Educator’s Guide for Shaping Identity makes direct
connections to the state content standards
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AFRICAN GALLERIES
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Grades 3 – 12 MUSEUM TOURS AND ATS TALKS
Object Data:
Funerary Figure, late 1800s
Wood, porcelain, resin, black pigment
Unknown artist
Kongo culture, Democratic Republic of Congo
23 1/4 x 8 3/4 x 7 1/4 in.
DIA no. 2000.87
Object Label Text
European styles are found in some African art. This sculpture is a portrait of a chief of the
Kongo kingdom in central Africa, who wears a coat, a hat, and boots and carries a gun.
These rare and expensive European clothes convey the chief’s high status, prestige, and
cosmopolitan taste.
Additional Information:
• Purpose
o As a memorial to the deceased leader
o As a protector to watch over the deceased
• European imports can have more than one meaning
o He may seem to be a “stranger” or outsider to some of his people as he is
wearing clothing associated with Europe
o At the same time this clothing establishes his status because of their cost
and rarity
o Firearms have been known in the Kongo since the 1500s—they can be
seen not only as a status symbol, but also as a warning to keep bad spirits
away
• Aesthetics which help define the group’s identity
o Carved from one piece of wood
o Highly polished, which gives a smooth finish on the sculpture
o sculptural symmetry is valued
o his physical characteristics follow the group’s ideals
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Curriculum Tie-In
7th Grade History and Geography and World History studies Africa, and the cultural
impact of European colonization of African countries
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Grades 3 – 12 MUSEUM TOURS ONLY
Object Data:
Chair, 1900s
Wood, leather, metal, tacks, nails, trade beads
Unknown artist
Chokwe culture, Democratic Republic of Congo
22 5/8 x 11 1/2 x 16 5/8 in.
DIA no. 1985.39
Object Label Text
An artist blended figures and patterns derived from Chokwe traditions with European
form and materials on this chair. During the 1500s and 1600s, European visitors
presented chairs to African leaders as tokens of friendship. These rare European gifts
became symbols of high status, inspiring African craftsmen to make their own versions.
Additional information:
• The basic shape of the chair is European
o Chair form introduced to the Chokwe during the 1700s by trade caravans
that came through the area
o The form was later made smaller by the Chokwe to suit their aesthetics (as
seen here)
o The Chokwe variation is popular in the West and many have been sold to
the outside market
• This chair created by a Chokwe craftsman for his leader—it helps define him.
o It elevates him when he is sitting (others sit on the ground)
o Also separates him from everyone else by his implied association to the
figures carved on the chair
o The leader sits in a place on honor on the veranda in front of his house in
this chair
o The leader is still the symbolic center of the village although much of his
actual power has diminished over time
o Chief receives visitors, hears disputes and oversees all village activities
from this chair—it is literally his Seat of Power
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o The chair “lives” in the company of the chief: speaks of his wealth, status,
and his ability to order such a well-carved chair
o All Chokwe men learned carving skills, but it is only professional carvers
who can carve such a chair
o These chairs one of the few African wooden pieces not carved from one
piece—they are assembled in parts
o Carving here shows skill, imagination and refinement within the Chokwe
aesthetics
Iconography helps define the group’s identity
o There are sets of male/female couples above the backrest and on the front
and back braces between the chair’s legs
o The couple on the backrest represent the actual or mythological First
Couple of the Chokwe—the chief is identifying his right to rule with his
association to them. They represent fertility being imparted to the villagers
Big hairdo=princely rank
Male carries hunting stick
Woman shown ideally beautiful
Fertility, like the abundance of game, is dependent on the chief
who inherits the sacred power necessary to insure the village’s
prosperity and well-being from his ancestors
o Couples on braces between legs are genre scenes: the front couple show
Chokwe ideals of beauty and “goodness;” the couple on the back brace are
sexually involved—a reference to fertility and the continuation of the
people
o Legs of the chair end in the form of human feet
o these sets of figures may also be guardian figs for the chief, and therefore
of the village
o The overall organization of these scenes creates a united visual narrative
emphasizing the social harmony and continuity that is ultimately achieved
through following the enlightened leadership of the chair's owner, namely,
the chief.
o Beads are a symbol of rank and beauty—sculptured figures wear beads
o Triangles and diamonds of nails stand for the fires that shine in the night
like stars in the sky
Chokwe—about 1,000,000 now live in Angola, Zambia and Zaire.
o Originally in the southern savannahs of SC Africa.
o hunters and farmers
Pronunciation:
Chokwe: (CHOCK way)
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Curriculum Tie-In
7th Grade History and Geography and World History studies Africa, and the cultural
impact of European colonization of African countries
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Object Data:
Palace Door, about 1920
Wood
Olówè of Isè
Yoruba, Nigeria, 1875–1938
74 x 56 7/16 x 10 1/4 in.
DIA no. 1997.80.A & B
Object Label Text This object has no text in the gallery
o Door for the royal palace at Ikere in Nigeria
o Images of secular and religious life of the group
o Carved by one of the most revered Yoruba artists [adds to the DIA’s
prestige to have one of his sculptures]
o Made in two pieces
o Iconography
o Colors are traditionally Yoruba
o Five registers on the right side
Musicians
Helper, king, 2 wives
5 women, dancing
Adults and children, someone climbing up a kola nut tree
Wrestlers and a man carrying an adze (going to the fields to work?)
o Middle has a double row of repeated images of Eshu, the trickster god
o Five registers on the left
Diviner with board, beads and animal, probably a goat
Diviner, board and kola nut container
2 men, one holding a chicken for sacrifice
2 men on each of the bottom 2 registers
o Identity and Aesthetics
o Hairstyles, large eyes, and body types identifiable as Yoruba
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Pronunciation:
Olówè of Isè: (ol OH weh of ee SEH)
Yoruba: (YOUR-uh-bah)
Eshu: (ay shoo)
Ikere: (ick EY ree)
Note: Royal Presentation Bowl T2006.205 is also by Olówè of Isè.
Curriculum Tie-In
The artist was a skilled sculptor with a distinctive style that helps us identify his work
Students can describe the function and explore the meaning of this work in the context of
Yoruba culture.
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Object Data:
Trio of Kuba Masks:
Left: Nagaady-A-Mwaash mask, 20th century
Wood, cowry shell, glass beads
Unknown artist
Kuba culture, Democratic Republic of Congo
15 x 10 x 10 in.
DIA no. 1992.215
Middle: Mukyeem mask, 20th century
Wood, cowry shells, glass beads, raffia
Unknown artist
27 1/8 x 17 1/4 x 24 in.
DIA no. 1997.40
Right: Maboom mask, 20th century
Wood, fabric, beads, cowry shell, hide, hair
Unknown artist
19 3/4 x 13 x 13 in.
DIA no. 1994.79
Object Label Text This trio of objects has no text in the gallery
Group Theme Text
Stories of Origin Support a Dynasty
According to the oral history of the central African kingdom of Kuba, the marriage of its
founder named Woot (center mask) to his sister/wife Ngaady (pronounced IN-gah-dee;
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far left) started the royal line. Today, Kuba kings claim over 120 generations of direct
descent from Woot and Ngaady, thus legitimizing their rule. Mask performances remind
the people of this long history.
The masks are decorated with an interlaced pattern and precious materials—brass sheet,
imported beads, and cowry shells—reserved for kings to reinforce political and economic
authority. Mask designs may also include parts of rare animals associated with kingship,
such as leopard skin and red parrot feathers, or allusions to elephants, another royal
symbol.
Gallery Text
Masquerades Validate a Leader’s Authority
Certain masquerade performances may remind viewers of the leadership’s claim to power
through the reenactment of historical events, such as the founding of a kingdom or
dynasty. Masks featured in this context may include those depicting revered ancestors,
whose presence sanctions the current leadership. Facial scars—a mark of political
identity or legitimacy—may appear on masks to drive home the links with the leadership
and its right to rule.
A royal mask’s ornate decoration can reflect the wealth and economic power of the
leader. Precious materials, such as beads and brass, help to reinforce certain spiritual
qualities of leadership, as well as its permanence.
Through dances and gestures, maskers may act out specific historical events involving
legendary rulers and cultural heroes. Royal masks may also perform at a leader’s funeral
as a tribute. Sometimes viewed as manifestations of royal ancestors, such masks
command enormous respect and awe—the audience showers them with appropriate
praise names.
• Kuba royalty are the keepers of the oral tradition which reinforces pride in their
strong genealogy
• The Kuba origin story is kept in living memory by the performance of the masks
at solemn religious occasions such as funerals and during the initiation of Kuba
boys into adulthood
• There is currently no explanation for the beaded strips appearing across the
mouths of Mukyeem and Ngaady a Mwaash
• In the 1700-1800s Kuba had great wealth due to trade—cowry shells and glass
beads were crucial items in trade with the Europeans, and indicated wealth
• Kuba believe in the aesthetic enhancement of every object, both secular and
religious. The most elaborate decoration is for royalty, as here
• Nagaady-a-Mwaash (wife/sister)
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o She has painted triangles on forehead and mouth which are reminiscent of
the traditionally patterned Kuba cut-pile fabric
o Lines running down her cheeks are tears
o Separate ears are attached to her head
o Headdress is made of raffia with cowries sewn into the cap forming
additional triangular forms
o Attached costume would also have been decorated with shells and beads
Maboom (stranger/outsider)
o Mask has copper sheeting which may have come from a neighboring
area—thereby signifying him as an outsider
o His mask fringe of bark cloth and raffia cloth costume sets him apart from
the other Kuba royal masks which use Kuba designed cloth
Mukyeem (chief/king—AKA Woot))
o Red parrot feathers (birds are celestial creatures) signify the ability to
communicate with the spirits—thereby adding to his divinity
o He is credited with instituting several cultural innovations in textile
weaving and agriculture
o The projecting “trunk” refers to the elephant, another animal associated
with royalty in Africa
Pronunciation:
Ngaady a Mwaash: (IN gah dee a IM wash)
Mukyeem: (moo CHEEM)
Maboom: (ma boom)
Curriculum Tie-In
Multiple cultural interactions have occurred in this region (the Congo) as a result of trade
The masks and the masquerade can serve as a narrative text that tells the origin story of
the Kuba people, with antagonists, protagonists, conflicts and resolutions
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Object Data:
Nail Figure (Nkonde), 1875–1900
Wood with screws, nails, blades, cowry shell, other materials
Unknown artist
46 x 18 1/2 x 14 1/4 in.
DIA no. 76.79
Gallery Theme Text
These Sculptures Channel Powerful Forces
These sculptures were originally believed to contain spiritual powers that could be
activated through secret words recited in ceremonies. Their owners manipulated the
sculpture’s spiritual force to achieve many goals—healing illness, garnering protection,
settling disputes, and overseeing other human interactions.
Artists often combined animal, vegetable, and other natural elements to create these
highly creative sculptures. Some objects in this room include dirt from graves, which
represents the world of ancestors. Others include conch and cowry shells from the sea,
believed to be the home of spirits. Nails, beads, feathers, and bones are other important
components that facilitate or enhance the sculptures’ spiritual capabilities.
o Physical characteristics of sculpture
o Male figure with hands on hips, torso thrust forward, open mouth with
bared teeth, large feet
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o Front of upper body has inserted metal nails, screws and blades, a large
cowry shell covers the naval area
o Eyes made of slices of conch shell
o Cap carved into head
o Bracelets on upper arms
o What does each area mean?
o Stance of figure is an aggressive one which signals awareness and
alertness, power or authority
o Filed teeth elevate the figure to an elite status. An open mouth is
associated with the ritual licking of blades by the Nganga (spiritual figure)
before insertion
o Large feet support him and rest on topless sandals
o White, staring eyes may indicate clairvoyance, mystical vision, or the
presence of ancestors
o Wearing a chief’s cap which indicates wisdom. Small knob at the top of
the cap (“naval of the head”) allows passage of supernatural secrets to him
o Bracelets symbolize his ability to give or take life
o Pierced ears make him the receptor for all problems
o He originally had a large beard of resin, clay and fiber, as well as a straw
skirt
o What is the figure?
o Nkisi Nkondi are power sculptures which embody spiritual potency
o Purpose: to harness spiritual forces such as heal illness, seal agreements,
protect against thieves or mishaps, or weaken an enemy
o Figure is made first by a master carver, then activated by a spiritualist with
the insertion into the naval cavity of powerfully spiritual substances such
as herbs or grave dirt which are sealed closed with the large cowry shell
o Powers of the figure are activated by the insertion of the metal blades
o Figure is NOT a focus of worship—he is a tool to achieve specific ends
It is a historical document which records/attests to the number of
problems it has solved (number of nails inserted)
Oaths are sworn, trials are held, and pacts are made in front of the
figure
Sometimes a gun is fired after nails are inserted which also seals
the bargain
Figure serves as representations of a chief, doctor, priest and judge
all at one time
Figure is kept in the care of a Nganga, a spiritual leader
Nkisi also protect the community through their ability to hunt
down criminals, witches
o This Nkisi collected in 1903 by a missionary. It is thought to have been made in
the same workshop which created 12 other similar figures.
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Pronunciation:
Nkisi Nkondi: (EN kee si EN kon day)
Nganga: (EN gang ah)
Curriculum Tie-In
Multiple cultural interactions have occurred in this region (the Congo) as a result of trade;
cowry shells came from the coast, some metal blades may have been imported from
Europe
Each blade represents and agreement to uphold personal and civic responsibilities
Several elements of the sculpture are symbolic and stand for something else
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Object Data:
Vigangu, about 1850
Wood
Unknown artist
Kambe culture, Kenya
44 ½ x 8 ¾ x 5 ½ in.
DIA no. 78.14
Object Label Text
This sculpture’s carved head probably represents an ancestor. When an important elder
among the Mijikenda people of Kenya dies, the family asks an artist to carve a sculpture
such as this one to honor the deceased. The finished sculpture is placed alongside similar
sculptures, creating a three-dimensional kinship chart that records the family’s history.
Gallery Text
Ancestors Protect the Living
When an especially moral and accomplished person dies, the family or community may
recognize that person as an ancestor. The deceased’s spirit intercedes with the gods on
behalf of the living. Some also believe ancestors enforce moral values by protecting those
who uphold society’s norms and punishing violators.
Many Africans invoke ancestors as part of daily life, making small offerings before
starting an important undertaking. Personal and accessible, ancestors are not worshipped
as gods. Rather, Africans respect ancestors as representing a moral and social ideal.
Abstract portraits represent ancestors
A work of art, often a portrait, stands in for the ancestor as a focus for veneration. While
styles differ among African cultures, many ancestral sculptures have a neutral expression
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and a cold, authoritative gaze. Scars, hair styles, bracelets, thrones, and other symbols
represent the high esteem in which cultures hold their ancestors.
o The Kambe people believe communication between living and dead is vital to
the maintenance of life
o What does it look like?
o Abstract flat human figure with round head
o Deeply incised geometric patterning which probably represents human
ribs
o Carved from hardwood which resists termites.
o Now weathered over time and climate, it would have originally had a
base which has worn away
o May have originally been painted
o Kambe believe the post need not have portrait accuracy as they know
how their relatives looked
Post only needs to look enough like a human being so the spirit
will know to inhabit it
Large figure here speaks to the importance of the deceased
Large head indicates the location of wisdom and strength
The cut patterning refers to vital organs inside the body
o Why Vigangu? (kigango, singular)
o Vigangu represent a deceased male of the family who had been a
member of a special men’s society—none made for women
o They are not grave markers, but rather stand among a group of other
posts in the men’s conversation area of the village
o They are created during the year following the death, prior to his burial
ceremony as a “new body” for the spirit of the deceased
o A group of posts form an ensemble—a visual kinship chart recording
the history of the lineage and also preserving the memories of family
land rights
Due to intermarriage and constant migration, the association
with the land is important as a record
Vigangu are not to be moved from their original position
o The elder male of the clan is responsible for presenting libations such
as palm wine in small cocoanut shells as offerings to the post
(ancestor)
Pronunciation:
Vigangu: (vuh GAN gu)
Curriculum Tie-In
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In the sub-Saharan African ecosystem, wood is a renewable resource. Wooden objects
degrade quickly in tropical climates, but trees grow quickly as well
Honoring ancestors is a global theme, across time and culture
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Grades 3-12 MUSEUM TOURS AND ATS TALKS
Object Data:
Vessel in the form of Kneeling Mother and Child,
Wood, metal tacks
Unknown artist
9 1/8 x 3 7/8 x 3 3/4 in.
DIA no. 70.129
Group Theme Text
Mothers Wear Their Scars with Pride
Both of these mother figures from the Democratic Republic of Congo are decorated with
body scars: the concentric circles and parallel lines on the standing figure (left) and the
crosshatch pattern of squares on the kneeling figure (70.129 - right).
In some African cultures, people partake in ceremonial scarring to signify their change in
status when they achieve a milestone, such as motherhood. Acquired over a lifetime, full
body scars represent the ideals of beauty, accomplishment, and moral standing.
The figures’ elaborate hairstyles indicate their high social status. The sculptures may
represent respected elders or ancestors that an expectant mother hopes are reborn as her
children.
Gallery Text
Mother-and-child images promote fertility, protect the mother and her unborn child, and
honor the nurturing role of mothers. A suckling infant, large breasts, and an “outie” belly
button all symbolize women’s role in childbirth. Some maternal figures also bear
distinctive scars, which may indicate an ideal, morally upright woman who has been fully
initiated into her society.
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o Kongo ideals of beauty determine the appearance of the vessel
o Mother and child figures are nude
o Elaborate body scarification patterns were important markers of status and
beauty. Not always practiced today, scarification patterns were recorded
on sculptures
The pattern of this scarification is called “endless knot”
o Elaborate coiffure and filed teeth identify her as a member of the Yombe
group within the Kongo culture
The crested hairstyle shown here with metal nails indicates wealth
and prestige
o She shows a calm and composed attitude which stands for moral goodness
and perfection
o Small sculptures of scarified nursing mothers are called phemba
o Child clings to her with small arms
o She is shown as aristocratic, proud, and majestic
o The sculpture as a vessel
o We believe this was a gunpowder flask
o Mother’s head is removeable revealing an opening in the neck
o Nailheads form eyes and also decorate the hairstyle
Pronunciation:
Phemba: (FEM bah)
Curriculum Tie-In
Mother and child images are a global theme across time and culture
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Object Data:
Left: Sowo Mask, 1800s–1900s
Wood, pigment
Unknown artist
Mende culture, Liberia
15 13/16 x 9 x 10 /12 in.
DIA no. 1990.268
Right: Sowo Mask, 1850–1900
Wood, pigment
Unknown artist
Mende culture, Sierra Leone
13 1/2 x 8 x 9 in.
DIA no. F76.119
Group Theme Text
Masks Teach Beauty and Womanhood
These masks were used during puberty ceremonies that helped young Mende
(pronounced men-DAY) women of Sierra Leone learn the culture’s ideals of
womanhood. The masks’ downcast eyes represent composure. Their small, delicate
pursed lips symbolize discretion and the power of silence.
Notice the rings around the neck. These represent beauty and the round softness of a
woman’s healthy, well-nourished body. The rings also signify transformation. In Mende
belief, when Sowo, the water spirit, is reborn, it rises from the water leaving rings
rippling in its wake. Artists reference these rings in masks to suggest that a girl at puberty
is, like Sowo, reborn, becoming a young woman.
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o Masks are made for Mende women who are members of the hierarchical Bundu
society
o All Mende women are members of Bundu—it is a prerequisite for an adult
woman—a girl remains a child unless she goes through the physical and
mental initiations of the Bundu society
o Girls enter the society at puberty and progress through the society’s ranks
as they age
o Masks for the Bundu society are called Sowo masks—unlike other masks
in Africa, they are worn by women
o Masker has the authority to identify and punish men who commit acts
against women
o Mende believe physical beauty does not come naturally but is artistically
constructed—hair is braided by one’s friends and relatives. Unkempt hair
is a sign of uncivilized behavior
o Sowo mask making
o Although worn and danced by women, they are carved by men
o Woman commissions a man to make it, and then the mask belongs to her
o Male carver must respect the secrecy of the society
o Carver must possess the skills necessary to produce a highly aesthetic
mask
o Mask must be light and comfortable to wear
Carved no thicker than ¾ inch thick
Must have a smooth interior and have good visibility through eye
holes
Must be able to be balanced and steady on the shoulders
Must be smooth and dark as those are Mende ideals of beauty, so
carver polishes mask with rough leaves, and dyes it black with
many layers of plant dyes and then polishes it with palm oil
Mask neck must be wide to fit over the head
o Characteristics of the face on the mask
o They embody the aspirations and ideals of womanhood
o Masks symbolize ethical principles of harmony and justice
o Shows a well-groomed woman with neatly coiffed hair which indicates
orderliness
o Closed eyes important as direct eye contact is disrespectful
o Ears carefully shaped as ability to hear is believed never to die
o Small closed mouth signifies spiritual power of silence
o Maskers identity completely concealed under outfit of black raffia, black
gloves and socks
o Holes along the bottom of mask are to attach outfit
o She is assisted by another Bundu member who communicates for her as
she does not use words in the dance
o Mask on Right represents a young woman
o Mask on left is an older, adult woman
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o On cheeks, four scarification marks
o Neck folds may represent fat rings of prosperity OR water ripples
associated with legend that original sowo masks came out of the water—
symbolically associated with rebirth
o Word for black in Mende language means “wet”—the color is another
reference to water spirits
o Women’s neck folds are considered attractive
o Band with double row of flaps surrounding the hair= copied from the cloth
and leather straps worn around the waists and necks of medicine men
o Projections at top of hair are probably an unidentified plant that was eaten
ritually
Pronunciation:
Mende: (men DAY)
Sowo: (SOW oh)
Curriculum Tie-In
Transition from childhood to adulthood is a global theme across time and culture
Masks symbolize women at different ages
These masks are symmetrical – if divided in half from top to bottom, one side mirrors the
other
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Object Data:
Mpondo Bride and Groom’s Ensemble Consisting of 105 Pieces, 1950s
Cotton, glass, plastic, metals, rubber, wool, bone, wood
Unknown artist
Life sized long garments
Xhosa culture, Republic of South Africa
DIA no. 2004.1.1-54 (bride, left)
DIA no. 2004.2.1-54 (groom, right) Rotated Object
Object Label Text
Xhosa (pronounce: KOH-suh) women from southern Africa meticulously strung and
wove the beadwork on these outfits made for a bride and groom. Friends and family
attending the wedding ceremony would have understood the special significance of the
work—the beads represent both families’ wealth and the importance they attached to
their ancestors.
Gallery Text
Marriage Marks a Change in Status
In many cultures around the world, marriage is an important transition celebrated with
special clothes and treasured objects. In much of Africa, as elsewhere, marriage
transcends the union of two individuals and becomes a bond between two families.
A couple’s wedding attire symbolizes this change in status. Colors, materials, and designs
of wedding garments can have specific meanings to families. Clothing highlights family
history, acknowledging important ancestors. Outfits incorporating precious materials may
convey family wealth and a wish for abundance. Some elements of dress may ensure the
couple’s fertility or provide spiritual protection during this critical transition.
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The distinctive clothing you see here highlights the two levels of union—male with
female and family with family—enacted in marriage. Ancestors, integral to all families,
are represented by the multiple strands of beads. The beadwork symbolizes the joining
together of family ancestors in the union between a husband and a wife.
Additional Information
Beads communicate the wearer’s ancestry, position, and status. They also reflect light,
which some people believe enables the beads to transmit spiritual energy.
• Emphasis on beadwork
• Beads represent ancestors and give you your social identity
• The weight of the beads equals the weight of your pride in your ancestors
• Beads are trade seed beads from Europe
• Outfits are made by the couple by their extended family
• Both bride and groom wear crowns
• Groom carries beaded cans containing “medicine”
• Bride wears powerful “medicine” around neck, etc.
• Groom’s staff also covered in beads
Pronunciation:
Xhosa: (KOH suh)
Mpondo: (EM pon doe)
Curriculum Tie-In
Natural resources were exported from Africa in exchange for manufactured goods such as
European glass beads
Marriage, uniting a couple and two families, is a global theme across time and culture
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Object data:
Double Effigy Vessel, late 1800s
earthenware
artist unknown
Mangbetu (modern Zaire)
23 ¾ x 10 3/8 inches
DIA no: 76.80
Object data:
Untitled, 1994
Clay
Magdalene Odundo
Kenyan, born 1950
18 ¼ x 11 15/16 x 10 ½ inches
DIA no: 1997.16
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Location: African Cultural and Historical Highlights gallery
Object Label Text: (Double Effigy Vessel)
This double vessel depicts a woman with an elaborate hairstyle. The traditional Mangbetu
people of the Democratic Republic of Congo were known for binding the skull to change
its shape—a symbol of beauty and nobility. This practice is less common today.
These hairstyles also inspired the modern vessel to the right. What similarities do you
see?
Object Label Text: (Untitled, by Odundo)
You can imagine when you’re coiling… clay onto a vessel, this woman laboriously
binding her head. The head among the Mangbetu is the apex… its elaboration, its
adornment, emphasizes its importance. –Magdalene Odundo
Kenyan-born artist Magdalene Odundo finds inspiration in the ways women alter their
bodies for beauty. The upper part of this piece echoes a traditional Mangbetu hairstyle.
These two objects are one stop. The older vessel (76.80) depicts a woman with a
traditional hairstyle, which tops an elongated head achieved through a head binding
process.
Head binding involves tightly wrapping the head with cloth to create an elongated form
considered beautiful among the Mangbetu people of the Congo. This elongated form is
also considered to be a sign of wisdom. It identifies the woman as being part of the local
community. Though such elaborate hairstyles are less common today, in the past
Mangbetu people were known for their striking treatment and adornment of the body.
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Mangbetu coiffure, about 1929-1937
Casimir Zagourski, (1883-1944)
gelatin silver print
Eliot Elisofon Photographic Archives
National Museum of African Art
Smithsonian Institution
1987-241055
Magdalene Odundo based her contemporary sculpture on this same traditional hairstyle,
exploring the ways in which women alter their bodies (tying into how women and
communities define beauty). Odundo is interested in women’s bodies and style—
especially the elaborate ways in which their bodies are altered for reasons of
style/fashion. The wide, flat bowl-like shape of the hairstyle that inspired both Odundo’s
vessel and the double effigy vessel is particularly apt for interpretation in these forms, as
the basket-like hairstyle is concave, and provides a discreet opening into the vessel.
Pronunciation:
Mangbetu: mang- BEH-too
Odundo: oh-DUHN-doh
Curriculum Tie-in:
• A Symbol is an image that, through cultural agreement, refers to or stands for
something else. The hair style and head shape symbolize a woman’s identity as a
Mangbetu.
• Patterns of global interaction include cultural diffusion
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Object data:
Royal Portrait (Queen Mother), 1750/1850
cast bronze
unknown artist
Benin (Edo, Nigeria)
21 x 10 ½ x 10 ½ inches
DIA no: 26.180
Location: African Leadership and Status gallery
Object Label Text:
This altar figure memorializes a queen mother. The portrait’s “cock’s beak” hairstyle
symbolizes her royal power and wealth. King Esegie, who ruled Benin in the early 1500s,
recognized women’s powerful influence in Benin politics by appointing his mother as the
first queen mother.
This is an image of a Benin queen mother (the mother of the reigning king). The
sculpture was used as part of the furnishing for a royal ancestral altar dedicated to a
deceased queen mother. The piece is one of many sculptures that reinforce the Benin
belief in the continuity of the court in the afterlife.
She is shown in full ceremonial attire that symbolizes her royal power and wealth:
• An elaborate “cock’s beak” headgear, which is depicted as a woven beaded net
around a coiffure that rises like a cone above the forehead.
• A high beaded collar, which in real life would likely have been composed of coral
beads. Coral beads are treasured in Benin royal circles as a symbol of royal
wealth.
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The figure is cast brass. Brass projects royal power because of its durability – suggesting
the permanence of leadership. Copper and its alloys have prestigious associations that
stem from both their scarcity and their invested socio-political significance. Brass/Bronze
also projects royal wealth because of its original association with the European trade and
its use as currency. Like gold in Akan culture, the large quantity of copper alloyed
sculpture in Benin leadership art is intended to draw attention or suggest the ruler’s
capacity to accumulate and to redistribute wealth. Copper is also believed to possess
spiritual implications, suggesting or amplifying the divine attributes of leadership.
In Benin kingdom copper, like red coral beads, were valued and monopolized by
kingship because the color red reflected the fiery temperament of the leader that makes
him patently dangerous to encounter. Moreover the permanence of the medium has
propagandistic implications, suggesting the durability/imperishability of leadership. In
contrast to Benin royal art, memorial busts produced for provincial chiefs are carved
wood decorated minimally with sheet brass.
The base has flanges that help to stabilize the piece.
Pronunciation:
Benin: beh-NEEN
Akan: ah-KAHN
Curriculum Tie-in:
• Multiple cultural interactions have occurred in this region (Nigeria) as a result of
trade
• Bronze is an alloy of copper and tin. To cast this sculpture, bronze was heated until
molten, then poured into a hollow mold and cooled to a solid state.
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ANCIENT EGYPT
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Object Data:
Relief of Peasants Driving Cattle and Fishing, 2345 – 2181 B.C.E.
Carved and painted limestone
Unknown artist, Egyptian
Overall: 18 1/2 x 59 x 2 in.
DIA no. 30.371
Group Theme Text
Set in Stone
On the wall to your left, a carving shows men on a papyrus boat filling their nets with
fish from the Nile River. A herdsman carries a calf in hopes that its mother and the rest of
the cattle will follow. The other carving depicts heaps of foods—fowl and fresh meat,
fruits, vegetables, and loaves of bread—in plentiful array.
Decorating the walls of tombs, these carvings reveal scenes of everyday life that
ancient Egyptians hoped would endure in the afterlife. They believed that the imagery
itself could substitute for the wealth and resources of the earthly world.
Gallery Text
Providing for the Afterlife
The afterlife was believed to be a continuation of life on earth. Because of this, ancient
Egyptians filled their tombs with food, clothing, furniture, and other necessities they
thought would be needed in the next life. Beads and bracelets provided adornment;
headrests offered a place to lay one’s head for sleep.
Imagery could serve as a substitute for these worldly goods. A painted banquet of
food could forever satisfy the hunger of the deceased. Pictures of one’s spouse and
children guaranteed familial connections. Depictions of priestly offerings helped to
ensure eternal care.
Friends and family were supposed to visit the tomb on special feast days to bring
additional offerings to the deceased. The living could leave letters in hopes of
communicating with their ancestor’s souls.
• carved and painted in two sections
• images were to insure the quality of life in the next life
• perhaps a relief on a mastaba tomb (mastaba—an ancient Egyptian tomb made of
mud brick, rectangular in plan with sloping sides and a flat roof. From the Arabic
for “bench”)
• Driving cattle scene (left side of panel)
o Cattle crossing a canal; 5 steers and 2 cows
o Man on far left herding them across the water
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•
•
o Animals are in profile but steer’s horns and eyes are frontal so they can be
better identified
o Shaved head and kilt style here were worn by both herdsmen and
fishermen
o Residue of painted zigzag lines representing water near herdsman
Fishing scene (right side of panel)
o 5 men on a raft, hauling in the fishing net
o Raft is slab-like
o Net is twisted rope with triangular wooden floats on top and stone weights
tied to the bottom
o 4 fish in the net—second from the right is tilapia
o Man carrying a calf that reaches back to touch tongues with its mother
o Other cow drinking water
This relief was acquired for the DIA in Egypt in 1930 by Howard Carter (King
Tut’s Tomb discoverer) who was hired as a museum agent to purchase objects for
us
Pronunciation:
Mastaba: (MAS ta bah)
Curriculum Tie-in
7th Grade History and Geography and High School World History study ancient Egypt
The iconography of ancient Egyptian art communicates the social roles of elite Egyptian
society.
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Object Data.
Mummy, 30 B.C.E.–395 C.E
Human remains, linen, gold, brass
13 x 69 x 14 in.
DIA no. 01.4
Object Label Text
Layers of linen in an elaborate geometric pattern enclose a woman’s mummified remains.
Ancient Egyptians believed that a body preserved with linen wrapping could house the
soul for eternity. The golden face mask equated the deceased with the gods who,
according to ancient Egyptian belief, had flesh of gold.
Gallery installation also includes an X-ray of the mummy
Gallery Text
To Preserve and Protect
To continue life forever in the afterlife, Egyptians believed that the body and soul of the
deceased had to be protected. Many of the objects found in the tomb served this purpose.
The mummy could provide protection for the soul on earth. Egyptians took great
care to wrap the body, ensuring its preservation for the next life.
In case anything happened to the body, statues were often included in tombs to
serve as substitute homes for the soul. The figures were carved out of solid stone in the
hope that they would last forever.
Certain objects held the deceased’s remains. Canopic jars stored and sheltered
organs that were removed during mummification. Mummy cases that enclosed and
protected the body were often decorated to represent the deceased.
Additonal information:
• “Gold will illumine your face in the world between. You will breathe because of
gold, you will come forth because of gold.”
o The gilt plaster mask is gold which is associated with the sun-god whose
flesh was thought to be of gold
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•
•
•
•
Cartonnage (linen or papyrus held together by glue and molded into coffins and
funeral masks) is wrapped into a diamond pattern
Brass studs in the center of the linen diamond pattern
On head are images of the god Horus (god of the sun), goddess Ma’at (goddess of
truth and the established order) and Osiris (god of the underworld, judge of the
dead—he represents annual death and resurrection)
Mummification (simplified steps)
o Remove soft internal organs—lungs, liver, stomach, intestines, and brain
o Completely dry out the body, then prepare it with spices, balms etc.
o Wrap body in linen bandages (cartonnage)
Pronunciation:
Cartonnage: (car ton AHHJ)
Canopic: (can OH pick)
Curriculum Tie-in;
Scientific investigation of the mummy using x-ray technology helped construct new
knowledge
7th Grade History and Geography studies ancient Egypt as part of the eastern hemisphere
Weather conditions and climate are factors in cultural development.
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Object data
Head of a Woman, 130–160
Encaustic with gilded stucco on wood panel
22 x 13 3/16 x 2 1/2 in.
DIA no. 25.2
Object Label Text
Although the young woman represented here is Egyptian, her short, curly hairstyle and
elaborate, gold jewelry reflect the styles of the Roman Empire that ruled over Egypt at
the time this portrait was made.
Upon the woman’s death, this wooden panel was fitted over her face and held in
place with linen wrappings to preserve her memory.
• Image of a woman
o wears earrings, a necklace, and a purple cloak over a light colored garment
o necklace (called “torc”) is applied in glided stucco relief and has a coin set
into it
• Painting technique—encaustic
o Painted onto a wooden panel
o Encaustic—pigment mixed with melted wax and applied warm to the
panel with a small spatula
• How was this portrait used?
o Portrait was placed over the face of the mummified body and secured to it
with more linen wrappings
o Panel shaped here to fit over the shoulders
o These paintings survived due to the dry climate of Egypt
Pronunciation:
Encaustic: (en KAWS tic)
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Object Data:
Relief of a Ramesside Ruler, 1301/1234 BCE
polychromed limestone
unknown artist
Egyptian
25 ½ x 17 x 2 inches
DIA no: 65.2
Location: Egyptian Arts of Life gallery
Group Label Text (excerpt):
Publicizing Authority
The pharaoh, or king, served as the head priest and commanding military officer. Like
most powerful rulers through history, he had images created to illustrate these important
roles. Inscriptions identified the king for the public as well as the gods.
On the stone carving, King Ramesses is depicted as a priest offering incense to the gods.
His name is written to the upper left in a cartouche, an encircling rope that symbolizes
universal power.
Ancient Egyptians would have understood this image to represent King Ramesses and his
authoritative power. The king can be identified by his royal beard, and a head cloth with a
cobra, which symbolically show him to be the Pharaoh. His name is written in the ovalshaped rope to the upper left, which symbolized the king’s encircling power.
The figure holds a vessel for incense with his right hand (part of the image is lost) and he
is placing pellets of incense into it with his left.
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Pronunciation:
Ramesses: RAM-sees
Curriculum Tie-in:
• A symbol is an image that, through cultural agreement, refers to or stands for
something else.
Ancient Egyptian hieroglyphs are a form of writing using images to stand for speech
sounds and words.
Curriculum Tie-in
7th Grade History and Geography and High School World History study ancient Egypt
A portrait can contain information, like a biography
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Object data:
Ba-ba-ef, Dynasty V
Limestone
unknown artist
Egyptian
59 x 19 x 29 ¼ inches
57 x 16 ½ x 23 ½ inches
DIA nos: T1984.201-202
Location: Egyptian Arts of the Afterlife gallery
Object Label Text:
Safety in Numbers
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These figures were found in the tomb of Ba-ba-ef, an important official in Egypt over
4,500 years ago. They are only two of seventy sculptures that filled the tomb.
Why so many statues? Egyptians believed that objects like these could protect the soul in
case anything happened to the body. If an enemy destroyed the images, he destroyed
hopes for eternal life. More statues meant more shelters for the soul.
Many of Babaef’s statues were destroyed or damaged, like these headless figures.
Luckily for him, a few survived intact.
These two objects represent the same person, Prince Ba-ba-ef. We know who they
represent because the sculptures have his name on them. Ba-ba-ef was a member of the
royal court. He was an important high official, possibly the son of a king.
These sculptures are two of many of varying sizes and materials found in a special statue
chamber in his tomb of at Giza. He had over seventy statues in his tomb. They were
believed to be protectors of his soul and in case anything happened to his body. As a
safeguard, a statue could serve as a substitute home for the soul. As a precaution, the
wealthier you were, the more statues you could have. For protection, the statues were
often kept in hidden chambers, just as the mummy was placed in a tomb. They were
considered essential to one’s afterlife. If your enemies outlived you, they might enter the
tomb and destroy your images and your hope for eternal life.
These sculptures show Ba-ba-ef wearing both a short and a long kilt, an ancient type of
clothing for men, suitable to the hot Egyptian climate. The fact that each of the
sculptures depicts him differently brings up interesting questions about representation. In
one image his muscles seem more defined, to show the figure at the peak of his physical
strength. The second shows a slight bulging around the waist. The figure is seen as being
somewhat older, at time of life when he would be respected as figure of authority or
leadership.
He is shown with one foot in front of the other, as though he were walking, rather than
standing still. This shows him as a person of action and progress.
Pronunciation:
Ba-ba-ef: BAH-bah-EHF
Giza: GEE-zah
Curriculum Tie-in:
• 7th Grade and High School World History study Egypt
The iconography of ancient Egyptian art communicates the social roles of elite Egyptian
society.
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Native American Galleries
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FAQs about NATIVE AMERICAN ART
Where does this art come from?
o The DIA’s collection of Native American art spans thousands of years, from
ancient times to the present day.
o Art objects were made by artists from North and South America—from as far
south as Peru, to the northern shores of Alaska and the Arctic.
o objects played roles in diverse cultural experiences from ancient politics, to life
on reservations, and contemporary expressions of the modern world.
“Native American?” or “Indian?”
o The galleries use the name Native Americans to refer to the native peoples of the
Americas. American Indian, Indian people and First Peoples are also used.
o The term Native American actually represents over 500 different groups. These
groups (tribes, or nations), live in different climates, speak different languages
and have different cultural values, histories and experiences.
o Each tribe is a community with a common language and heritage.
o Anishinabe (say ah nish in a bey ) Ojibwa and Chippewa are all names
that refer to one Indian nation. In DIA galleries we use either Anisinabe or
Ojibwa. Spellings can vary because these names are being translated
phonetically from the original Algonquin language into English.
Anishinabe means ‘first men’ in Algonquin.
What is Native American art?
o In earlier Native American societies, there was no specific word for “art” as
objects were created to be useful, not merely decorative.
o Most Native American objects in the DIA collection were made for a religious or
civic purpose, and none were meant to be viewed out of their original context, or
in a museum showcase.
o Today we recognize that these objects show evidence of great skill and a sense of
tradition. The men and women who made the objects were honored within their
community for their expertise in creating them.
o In many Native American groups, certain art forms had been restricted by
gender—wooden objects were made by men, women created baskets, for
example—but this is now changing.
o Today’s Native Americans continue to create objects for daily as well as religious
use that follow in the earlier traditions while also including contemporary
adaptations.
o Studying Native American art helps students learn about their history and culture.
When was the art made?
o The DIA’s collection of Native American art spans thousands of years, from
ancient times to the present day. In the museum we use B.C.E. (Before the
Common Era) and C.E. (Common Era) for dating objects. Objects with no
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initials after the date are made in the Common Era and dated forward from the
year One
When do students typically study Native Americans?
o Sadly, little or no time is devoted to the study of Native Americans in most
curricula. Students might study Native Americans in fourth grade as part of
Michigan History, in fifth and eighth grades and high school as part of
American History and Geography, and in sixth grade as part of West
Hemisphere studies.
o November is federally recognized as Native American Month, and younger
students may study Native Americans as part of the first Thanksgiving.
o Art teachers may include Native American-inspired projects in their
curriculum.
o There are many reasons teachers may take this tour or talk and we should be
prepared to work with students from grades 3 – 12. Hopefully, once educators
see these wonderful objects and learn more about them, educators will be
inspired to include Native Americans in future lessons.
Curriculum links
o There are many ways to link the objects and information to the Curriculum and
Content Standards developed by the Michigan Department of Education including
Visual Arts, Music, Social Studies (History, Geography, Civics, Economics)
Science, Math, Language Arts, World Languages and Careers.
o Links are embedded in the content for each object. It is not necessary for the
docent to separate out such information in the course of a tour. The Educator’s
Guide for Native American Art makes direct connections to the state content
standards for educators (see below).
o Arts Education and the Visual Arts are an integral component of all student tours.
o Tours and talks will begin by asking students to talk about what they see.
Symbolism in Native American Art
o A symbol is something that stands for or suggests something else. Symbols
can have meaning recognized by many, or known only to the individual.
o Native Americans use visual symbols to represent the cosmos, their view of
the physical and spiritual universe. These beliefs are also represented
symbolically in verbal or written story form. These origin stories educate
youth about important cultural values. Symbolism is included in the
curriculum in English Language Arts and Visual Arts.
Materials for Educators
o Both the Educator’s Guide for Shaping Identity and Educator’s Guide for Native
American Art are available free on request, either as booklets, or they can be
downloaded from our web site (www.dia.org/education).
o Each guide links selected works of art to state content standards and
contains resources.
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o Guides may be used before or after a visit to the museum. Please
recommend them to educators after the tour. They will find the
information useful for continued learning after their visit.
Audio Tours
Audio tours of selected works of art from the collection are available. Inquire at
Information Desks.
• The Directors audio tour for the general public is for adults and includes 16
Native American objects indicated by a symbol on the label.
• Student audio tour of the Native American gallery intended for upper elementary
students. We recommend it for students on a return visit with family or friends.
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Object data:
Jar in the form of a Jaguar, 1000-1500
Ceramic
Nicoya-Guanacaste culture, Costa Rica
11 5/8 x 9 5/8 x 10 in.
DIA no: 56.235
Gallery Label Text
This jar represents a jaguar, the strongest and most dangerous creature of the
Costa Rican jungle. The artist shows the jaguar posed like a chief of ancient Costa Rica,
who sat with hands on bent knees. The jar conveys the power and authority of its original
owner, most likely a mighty chief.
o Animal decorations conveyed power. Ornaments of frogs, bats, lizards, and eagles
were believed to capture the unique skills and power of these animals for the
Costa Rican leaders who wore them.
o Smaller jaguar heads are on the legs, arms and elsewhere on the jar’s body.
o These smaller heads are imitating the jaguar’s spots
o Legs contain beans or seeds which make a rattling sound through the slits in the
legs when the vessel is shaken—stands for the roar of the jaguar.
Curriculum Tie-in
The jar symbolizes the power and authority of a chief using a jaguar.
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Object Data:
Bowl Decorated with Children Spinning Yarn, about 400
Ceramic
Unknown artist
Nasca culture, Peru
7 3/4 x 7 1/8 in. diam.
DIA no: 73.245
Group Theme Text
Patterns of Leadership
In ancient Peru, the patterns on clothing and blankets indicated social status. These clay
bottles represent leaders and are decorated with textile designs, like those to your right.
On the bowl, the four figures spinning yarn are probably children. Among the
more highly organized kingdoms of ancient Peru, administrators created textile
workshops that employed hundreds of weavers, including children. The garments they
made were exclusively for officials and administrators.
Curriculum Tie-in
The government of ancient Peru made economic decisions that reserved textiles for elite
members of society.
Spinning is a skill necessary to create woven textiles.
Fibers from llamas, alpacas and other camelids indigenous to the Americas were used
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Grade 3 – 12 MUSEUM TOURS AND ATS TALKS
Object Data:
Male and Female Figures, 100 B.C.E. – 400 C.E.
Ceramic
Unknown artist
Nayarit culture, West Mexico
male figure: 19 1/2 x 9 1/2 x 7 1/4 in. female figure:16 x 8 1/2 x 7 3/8 in.
DIA nos: 1999.4 and 1999.5
Group Theme Text
Pleasures in the Next Life
The attributes of this well-appointed couple represent the ideal life:
• Ornaments decorating the nose and ears show wealth.
• Bodies covered with painted designs represent beauty.
• The woman holding a baby signals the desire for healthy children.
• The man playing a musical instrument suggests many festivals to enjoy.
When placed in a tomb by the deceased’s family, this clay couple expressed the hope
that the next life would provide all the pleasures and opportunities of this one.
o Nayarit was a shaft tomb culture: the dead were buried deep in underground
tombs, reachable by slanted shafts which hid the tombs and discouraged graverobbers
o When placed in a tomb near the deceased, this clay couple expressed the hope that
the next life would provide all the pleasures and opportunities of this life.
o They believed that life and death alternate with one another in constant rotation, a
continuous cycle, like night and day, or the changing seasons.
o Both are wearing nose ornaments and earrings
o Wearing elaborate textiles
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Pronunciation
Nayarit: (Nye ar REET)
Curriculum Tie-in
This sculpture symbolizes the gender roles of men and women in the Nayarit culture.
Compare and contrast the two figures.
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Object data:
Four Directions: Vision, 1995
Oil paint, acrylic, wax
Kay WalkingStick
American, born 1935
Cherokee culture
30 x 60 x 3 in.
DIA no: 2005.25.A-B
Object Label Text
“Nature is both temporal and spiritual. My work expresses the balance and unity between
these two aspects of the earth.” Kay WalkingStick, Cherokee nation
On the right, WalkingStick depicts a cliff glinting in the afternoon sunlight to symbolize
the land we perceive through our senses—in this case, through sight. On the left, a
symbol for the four cardinal directions represents the earth’s invisible, spiritual
dimension. By having the images side by side, WalkingStick unites these two perceptions
of the world.
o Ms. Walkingstick says, “My paintings take a broad view of what constitutes
Native American Art. My wish has been to express our Native and non-native
shared identity. We humans of all races are more alike than different, and it is this
shared heritage, as well as my personal heritage I wish to express.”
o WalkingStick’s mother is Scotch/Irish, and her father is Cherokee. She was raised
as a Cherokee by both parents, but thinks of herself as a Christian. Both cultures
influence her thinking and art
o She describes her art as a balance between her two cultures
o The sacred earth is a theme she repeats often in her art
o She thinks of herself as an earth painter, not a landscape painter
o Makes her art very tactile—uses her hands as well as brushes
o This painting has paint and melted wax (encaustic)
o In other works she has added bits of dirt and metal shavings to the canvas
o She draws, repaints, reworks
o She often describes her work as “almost ugly”
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o Although the cross is a Native American symbol for the four directions,
WalkingStick sees no problem if someone interprets it as the Christian
cross, a plus sign, or an astrological sign
o She believes future generations may interpret her work differently and that
is ok
Curriculum tie-in
Ms. Walkingstick’s mother is European-American and her father is a Native American.
She credits both ethnicities in her artist statement.
The four directions can be symbolized by an equal arm cross, or a circle that is made up
of four equal parts; these shapes are geometric and symmetrical
Resources
Website: http://www.kaywalkingstick.com/index.htm
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Grade 3 – 12 MUSEUM TOURS AND ATS TALKS
Object Data:
Bear Claw Necklace, about 1865
Bear claws, otter fur, glass beads, ribbon, horsehair, wool cloth
Unknown artist
Mesquakie culture, Iowa
67 1/2 x 14 x 4 in.
DIA no: 81.644 Rotated object
Object Label Text: this object has no text in the gallery
o What is it?
o an example of personal adornment expressing the social importance of the
owner
o The owner’s prestige was increased due to his power to kill the bears (or
have them killed on his behalf), and also his status to request a skilled
woman beadworker to make it for him
The woman also accrues prestige by making the beaded sections
o Why bear claws?
o The bear was believed to be the most powerful and intelligent of animals.
o wearing such a necklace implied the sharing of the strength and spiritual
power of the bear
o The claws came from the prairie grizzly bear, a subspecies that became
extinct on the prairies in the early 1800s
o The claws were prized because they grew especially long in the grassy
environment. All of the claws used came from the forepaws of the animal,
and a maximum of eight could be taken from a single bear
o Here 40 claws=5 bears
o How was it made?
o The necklace is wrapped in otter fur, with another otter skin trailing down
the man’s back
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o Large dotted beads, obtained by trade with Europeans, separate the claws
o Also include various beaded panels and colorful rosettes made of tiny
(seed) imported European glass beads
o A religious specialist was required to assemble the necklace and endow it
with protective powers. Only the most esteemed chiefs and warriors
would wear such a necklace
Pronunciation:
Mesquakie: (mes SQUAWK ee)
.
Curriculum tie-in
This ornament could only be worn by an important chief or warrior
Recognize situations that can be solved using multiplication and division: By dividing the
total number of claws (40) by the maximum number of claws taken from each bear (8)
we know how many bears were hunted to make this necklace
Humans use and benefit from animal and plant materials
Art has an historical, social and cultural context
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Front
back (only back will be on view in gallery)
Coat, about 1890
Wool trade cloth with rainbow selvage, glass beads, copper sequins, and cotton
Unknown artist
Oto culture
L: 39 in.
DIA no. 2006.23 Rotated object
Gallery Text
Clothing as Art and Identity
The clothing you wear can say a lot about who you are. This statement is particularly true
among the Native American nations of the Great Lakes region and the Plains to the west.
Clothing displays the skills of those who make it and the social identity of those who
wear it.
The three groups of clothing in this gallery show that identity can take many forms:
Personal identity: What does clothing communicate about an individual?
Community style: How can clothing identify someone as a member of a specific
community group?
Native American identity: How did clothing play a role in asserting a broader “Native
American” identity when missionaries, officials, and others pressured Native Americans
to assimilate?
Throughout history and today, Native American women have made clothes with
elaborate, colorful designs to serve as expressions of cultural strength, community pride,
and the persistence of traditional cultural values.
o This navy blue man’s coat is beaded with symbols from the visionary dream of
William Faw Faw.
o The coat identifies the wearer as a follower of the religion
o William FawFaw began the FawFaw religion to resist the forced move of Native
Americans to reservations and the taking over of their land by whites
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o FawFaw religion is at the same time as the better known Ghost Dance religion
o Symbols on the coat include buffalo heads, cedar trees, horses, humans, and six
pointed stars
o Buffalo skulls relate to the wish for the return of the buffalo in numbers
equal to before the arrival of Europeans
o buffalos’ breath is shown (as blue triangles surrounded by pink at the hem
of the coat) as it is believed to be purifying
o The stars are a cosmological reference
o Cedar trees are sacred to many Native Americans and are often used in
building religious structures
o The wool, copper sequins and beads are imported trade materials
o Forced removal of people from their lands
o Indians were forcibly moved west beginning 1830 due to the Indian
Removal Act which designated territory and reservations in which to
confine them
o Reservations brought different cultural groups together and new alliances
and antagonisms were formed
o Intertribal events and intermarrying merged and changed styles
o Traditional tribal styles receded and the Prairie style (1860-1900)
developed as people learned and copied from one another
o This coat is an example of the late Prairie style with its curvy colorful
designs outlined in white beads
Curriculum Tie-in
The history of the United States includes forced relocation, development of the
Reservation System and treaties with American Indian nations.
A symbol is something that stands for or suggests something else. Symbols can have
meaning recognized by many, or known only to the individual.
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Grades 3-12 MUSEUM TOURS AND ATS TALKS
Object data:
Kachina Doll, about 1930
Wood, paint
Unknown artist
Hopi Culture, Arizona
18 3/4 x 8 x 4 1/4 in.
DIA no: 1997.23
NOTE: This kachina is in a case with others. The case may be discussed as a unit for
museum tours.
Object Label Text this object has no text in the gallery
Group Theme Text
What are kachinas?
Kachinas are spirit messengers that visit the Zunis and Hopis every year. The kachinas
are believed to bring health, well-being, and rain to communities in the dry Southwest.
Why are kachina dolls made?
They teach children about the spirit messengers—what they look like, what they do, and
what their personalities are. Each type of kachina doll has visual characteristics that
children use to identify them.
What’s the difference between older and newer dolls?
Older dolls were made to be carried in hand or hung on the walls of homes. New ones
have stands for display. Recent sculptors represent kachinas in action, often dancing.
Gallery Text
Kachina dolls are given to children to teach about rituals. They began to be sold to
outsiders early in the 1900s. Artists created more animated kachina dolls during the
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1960s. They pioneered the “action” style kachinas, the stances of which suggest lifelike
movement.
By 1970s, Kachinas were created for the marketplace—tourists, collectors, dealers and
gallery owners.
o Kachina spirits are impersonated by masked dancers who perform during events
associated with agricultural seasons
o Hundreds of different Kachina spirits can be identified by the Hopi and Zuni
o Kachina spirits have many powers:
• to bring rain (important in the dry southwest)
• to help in everyday life of the village
• to punish lawbreakers
• to be messengers between man and the spirit world
Pronunciation:
Kachina: (ka CHEE nah)
Curriculum Tie-in
Kachina or katsina is a word from the Hopi language meaning supernatural being.
Weather conditions and climate are factors in cultural development.
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Grades 7-12 MUSEUM TOURS ONLY
Object data:
Jar, 2003
Ceramic
Nathan Youngbood
American, born 1954
Santa Clara culture, New Mexico
12 x 9 in. diam.
DIA no: 2004.109
Gallery Label Text
Southwest potter Nathan Youngblood, a contemporary artist from the Santa Clara pueblo,
uses traditional blackware as the basis for his artistic creations. The distinctive doubleform shape looks as though he stacked one pot on top of another. Around the center of
the jar, Youngblood added sparkling mica clay, a personal innovation
o Youngblood comes from a long line of potters
o He is the sixth generation of potters in his family
o His great-grandmother was a famous potter named Margaret Tafoya
o Tafoya perfected the black slip technique (slip is liquid clay)
o Originally potters in the SW of the US were women, but in the past 80
years men have begun to work with clay as well
o He comes from the Santa Clara pueblo (village) where pottery made with
black slip has been made for well over 100 years
o His grandmother told him: “clay wasn’t something you play with, that it
is serious business. The clay is a gift; it is a privilege that the Clay Mother
gives us, and we are very fortunate. You can’t be good if you just play
with it. You have to totally commit yourself".
o How does he work?
o clay is gathered from the foothills around Santa Clara pueblo
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o The bowl is hand-coiled and formed, then left to dry, which can take up to
a month
o When dry, the design is then penciled onto the clay and he begins to carve
into the clay with a knife blade and a series of small screwdrivers
o The piece is then sanded and the slip is applied and polished with a stone
o Each piece is individually fired in a special shed he has constructed
o Only 3-4 out of 10 that he creates will survive the firing, as others will
crack
o His innovations:
o stacking one pot on top of another to form one vessel
o creation of some areas highly polished, and others left matte
o addition of mica to the clay, here along the decorative curved bands
circling the vessel
o he experiments with carving patterns which often are symbolic of water
o Artist quote: “In the past 25 years artists have taken pottery to such a level that
people are beginning to understand there is a possibility of its being fine-art
quality and not just craft.”
Curriculum tie-in
The mineral mica has special properties
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Object data:
Chief Shoppenegons, 1910
oil on canvas
Eanger Irving Couse
American, 1866-1936
DIA no: 11.4
Object Label Text:
When he posed for this portrait in 1910, David Shoppenagons, an Ojibwa from Michigan,
intentionally chose to wear clothing that identified him with his ancestors. His attire was
customary for leaders of the early 1800s, when the Ojibwas traded with European
Americans.
He holds a canoe paddle, a reference to his own work as a guide for hunting and fishing.
This painting is depiction of a Native American done by a European American painter. It
differs from some of the other paintings in the museum by European American painters
in which the subjects (Native Americans) had no “say” in their own representation. In
this painting, Chief Shoppenegons, has intentionally chosen to present himself in
traditional clothing that identifies him with his ancestors. He also holds a canoe paddle,
which references his profession as a fishing guide.
David Shoppenagons was born sometime around 1830 at the Ojibwa community of
Green Point on the Saginaw River, a location now within the city limits of present-day
Saginaw, Michigan. Shoppenagons had moved to the vicinity of Grayling—in northern
Michigan—with his family in 1876. He and his family worked as guides for hunters and
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fishermen, particularly for the fishermen who came to the Au Sable River to fish for
grayling (a fish that is now extinct in the Au Sable River, but which had inspired the
name of the city).
Shoppenagons became well known as a guide, and presumably this is why the Michiganborn artist E. Irving Couse sought him out for this portrait and other paintings in which
he is featured. Shoppenagons died in 1911, only a few years after this portrait was
created.
Shoppenagons wears distinctive clothing in this portrait. We know that he owned all
these articles of clothing, so that his choice to wear them was a conscious decision about
how he wanted to present himself. He wanted the clothing to say something about who
he was.
He does not wear the day-to-day work clothing of guide for fishing and hunting, although
he holds a canoe paddle in his hand as a reference to this work. Instead, he chose clothing
that had been made during the time of his childhood: dress clothing of a kind that might
have been worn by his father or grandfather. The blue and red leggings visible beneath
the coat are of a style popular during the 1830s and 1840s. They are tied with beaded
garters that would date only slightly later. He wears a deerskin coat with red wool
epaulettes of a type that was worn by Native leaders of the fur trade era: male heads of
extended families that banded together to trap beaver and process their pelts. These
impressive garments were known as “captain’s coats.” He wears the headdress of a chief,
and two gorgets (neck ornaments) of silver that must have been at least one hundred
years old at the time the portrait was painted. Gorgets were given to Ojibwa chiefs by
their European trade partners in recognition of their status as captains of the fur trade.
With his choice of clothing, Shoppenagons chose to represent himself as the inheritor of
Ojibwa ancestral tradition. He equates himself with the ancestral Ojibwa male role of
“captain of the trade,” the leader of an extended family who organized their efforts,
provided for their comfort, and managed relations with their trade partners: a role
Shoppenagons updated as hunting and fishing guide and head of his family enterprise.
His facial expression communicates his pride in this heritage.
Pronuciation:
Shoppenagons: SHOH-peh-NEH-gons
Ojibway: oh-JIB-way
Couse: KOOSE
Note: Anishinabe (say ah nish in a bey), Ojibwa (say o jib wa) and Chippewa are terms
that refer to the same Indian nation. In DIA galleries we use either Anishinabe or Ojibwa.
Spellings can vary because these names are being translated phonetically from the
original Algonquin language into English. “Anishinabe” means ‘first men’ in Algonquin.
Curriculum Tie-in:
• Gorget is from the French word gorge for throat—used here as a neckpiece.
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•
•
•
This image can be read as a visual biography of Chief Shoppenagons
The Anishinabe are key people in the history of Michigan
People adapt to regions using food, clothing and shelter
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EUROPEAN ART
When do students typically study European history and culture?
Social studies students may study Dutch and British settlements as part of the
colonial history of the United States. Europe can be studied as part of seventh grade
Eastern Hemisphere studies and in high school World History and Geography.
Art teachers may use projects inspired by European cultures.
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Dutch Gallery Suite
Gallery Text
Dutch Golden Age
1600 to 1700
The DIA’s collection of Dutch paintings is one of the finest outside of the Netherlands,
boasting works from almost every master of the period, including Rembrandt and
Ruisdael.
Discover images of spirituality, material wealth, and intense patriotism—all
expressed with stunning realism.
“Dutch Worlds”
Windows into Dutch Worlds
• Portraits in this gallery reveal how the Dutch wished to be remembered
• Land and seascapes show love of the environment
• Images of churches represent spirituality and history
During the 1600s, the Dutch experienced—and caused—extraordinary change. The
Dutch Republic, now called the Netherlands, won its independence from foreign rulers.
Dutch ships sped across the world bringing home unprecedented riches. New colonies
left the Dutch footprint in distant lands. The Calvinist church set rigorous standards for
modesty, tempering the newfound wealth.
Dutch artists responded to their times, turning their eyes onto their world—the land
that surrounded them, the way people lived, and the religious stories that guided them.
Artists were prolific; some scholars estimate that up to 300,000 paintings were made
during the century. These paintings, filled with minute and realistic detail, are like
windows, providing us with views into the Dutch world of the 1600s.
“Belief and Behavior”
Pictures of Behavior, Portrayals of Belief
Dutch Calvinists believed they were held in God’s special favor. They saw their personal
prosperity, their country’s cultural stability, and its economic success around the world as
evidence of divine providence. This created social pressure to observe highly respectable
behavior, making moralizing paintings extremely popular. Hung in the home, the pictures
reminded their owners of the dangers of sinful or questionable behavior.
As you explore this gallery, you will see that, for all their differences, every one of these
paintings does exactly that. Some explicitly recommend decency; they depict biblical
parables or people engaged in respectable activities, such as walking quietly in a public
square or caring for children.
Most of these paintings, however, portray bad behavior. While images of gambling,
drinking, brawling, and thieving provided viewers with examples of how not to behave,
they also offered them the vicarious pleasure of witnessing sinful behavior.
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How the Dutch were defining themselves
- Had won independence from powerful Spain
o David to the powerful Goliath
- Had wrested land from the sea
o Dutch saying of the time “Whereas God made the world, the Dutch made
Holland”
- Had built up an expansive trade empire
- Had established a prosperous middle-class society
- Social structure not based on royalty and aristocracy
Notes for Dutch works:
- Reflect a deep sense of pride and satisfaction in accomplishments
- People were wealthy, but at the same time cautious of exhibiting pride and
indulging in extravagance because of dominant Calvinist religion, which
demanded austerity
Note:
Multiple stops – even all four stops - in Dutch galleries can be used together. If you do
this, other areas of non-western art must be used to serve as other examples about how
people use art to construct and transmit identity
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Grades 3 – 12 ATS
Object data:
Mother Nursing Her Child c.1674/1676
Oil on canvas
Pieter de Hooch
Dutch, 1629-1684
31 3/8 x 23 1/2 in.
DIA no: 89.39
Object label text This object has no text in the gallery
Reflects cultural identity and values
General Meaning
- The ideal Dutch home
- Description of Dutch domestic values
What do you see?
- Interior space: spotless
- Mother nursing child
- Dog at her feet, looking toward door
- Stairway leads to window with light streaming in
- Covered bed in background
Painting defines role of women
- Realm of the family, domestic arena as opposed to civic or economic arenas
- Mother
o Attentive to the care of her child
It was thought that infants absorbed the personality traits of the
mother, so wet-nurse considered less desirable
- Homemaker
o Pride of home defined through cleanliness and order
Examples: Wall on landing is spotless, floor is highly polished
Other meaning
- Dog = idea of faithful companion in the household
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o Poised on guard, will protect against intrusion
The painting depicts an ideal domestic environment
- Realm of women
- Neat, orderly and peaceful
Pronunciation
Pieter de Hooch (Peter de Hook)
Curriculum Tie-in
7th Grade and High School World History and Geography study Europe
The prosperity of this home was due to Dutch success in global trade that led to cultural
and economic transformation of Europe
Students can analyze the arts in their historical, social and cultural contexts
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Grades 3 – 12 ATS
Object data:
Gamblers Quarreling c.1665
Oil on canvas
Jan Steen
Dutch, 1625-1679
27 3/4 x 35 in.
DIA no: 89.46
Object label text
A disagreement over cards, stoked by excessive drinking, has led to a brawl. One man
reaches for his sword. Onlookers sit by the fireplace, enjoying the show.
The artist explicitly cautions against drunken excess by inscribing in Dutch the biblical
proverb “Wine is a mocker” on the chandelier.
Group Theme Text
These paintings provided something more than edgy slices of reality. They were moral
gauges that helped Dutch viewers understand how not to behave.
Such scenes of dangerously bad behavior held fascination for artists and collectors. The
subjects of these pictures allowed respectable citizens to distinguish easily between
innocence and lawlessness, decency and mayhem, right and wrong.
Cultural values
What do you see?
Scene in a tavern – bar
Mayhem
People fighting
Things strewn on the ground
Guy playing the fiddle about the fray
Three onlookers at right
Narrative
They’ve been playing cards and backgammon
How does this represent Dutch life and values?
Humor used as admonition
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Transmitting cultural values about what is good behavior by satirizing bad
behavior – What NOT to do
Symbols
- Broken crockery, cards, broken pipe and tankard = Vice
o Beer brewing was an important industry, especially in Haarlem
At least 50 breweries in Steen’s time
Drunkenness was a matter of concern; subject of many sermons
leads to bad behavior such as fighting, robbing, raping, killing
- Tobacco, imported into Europe during early 17th century
o thought by some to have medicinal value
o at this time, was already recognized as an addictive substance
1630, pamphlet published in Haarlem on the use and misuse of
tobacco
- Broom, discarded = abandonment of proper order
- Fiddle player
o Image related to Folly – what people in the scene are doing is folly
NOTE: Steen was a tavern keeper
Pronunciation
Jan Steen yahn stain
Curriculum Tie-in
Symbols, such as the broom thrown down meaning disorder, are incorporated into this
work
This painting can be read as a narrative text with setting, conflict and antagonists and
protagonists whose thoughts and motivations can be analyzed
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Gallery Text
“God is in the Details”
verisimilitude (vérisimílitōōd, -tyōōd) n. 1. the appearance of being real 2. a statement,
image, etc., that seems true
How did Dutch artists achieve verisimilitude in their paintings?
Light
Because many Dutch people related light to God’s presence, artists paid particular
attention to the light in paintings. They used it to convey effects and moods, from the
hushed serenity of a church interior to the drama of a burning barn.
Perspective
Artists created convincing illusions of depth and distance. They strategically used
systems of diagonal lines that converged at a single point in a painting. These lines
helped artists adjust the scale of objects, making them larger or smaller to suggest their
distance from the viewer.
Detail
The Dutch were fascinated with all aspects of their world: they created highly detailed
maps and sea charts; a Dutchman invented the microscope. Artists sometimes used
magnifying glasses and single-bristle brushes to represent even the smallest detail with
astonishing accuracy.
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Grades 6 - 12
Object data:
View of the Church of Saint Bavon in Haarlem, 1695
Oil on canvas
Gerrit Adriaensz Berckheyde
Dutch, 1638–98
19 5/8 x 16 3/4 in.
DIA no. 89.30
Object Label Text
Nothing in Gerrit Berkheyde’s window onto the heart of Haarlem could offend even the
sternest Calvinist preacher.
Well-dressed, well-behaved people of different classes stroll through the
immaculate square. The city hall to the left of the square, a major church in the
background, and storefronts to the right represent the foundations of Dutch cultural
cohesion.
General meaning
- Dutch pride in the Dutch environment – pride in “Dutchness”
- Portrait of a city environment”
o Not just architecture
o Also: people and implications related to society
What do you see?
- Church dominates the scene
o Specific church, Saint Bavo
- Market Square at right
o 1st sign = arm holding grapes = wine shop
o deer’s head on 4th storefront probably indicates that venison sold there.
- Corner of brick building at left foreground, building is Town Hall
Meaning
- Church, City Hall, Market = Religion, government, commerce
o Cornerstones of Dutch prosperity and public life
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-
The street = the social realm
o People walking about, conversing
o Clean and orderly
Love of minute details
- Dutch tradition of detailed realism
o Characteristic of this area since 15th century
Mystical tradition = god exists in everything
Well suited also to the Dutch love of their everyday world
Such scenes appealed to local middle class – and those who governed the city
Pronunciation
Gerrit Berckheyde (Gare it Berk HIDE de)
Curriculum Tie-in
7th Grade and High School World History and Geography study Europe
The artist created an illusion of depth and distance using perspective, a system of
diagonal lines that converged at a single point in the painting.
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shaping identity: study guide for student

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