How Long Should You Wait To Tan After Waxing

East Africa - South Africa

sticks, both as a tool to combat both as a sign of social status, objects are very common in pastoral societies in East Africa. This board has four specimens, very linear and simple in form but with a good patina.

The first is a club fighter from the Dinka of Sudan, the weapon was used is "cutting" as a club, or peak, due to its sleek just ending with a pointed end, capable of doing serious harm if forced against a projected target. However, the presence of decorative elements on the entire surface, an engraved and colored with a white substance, maybe kaolin, suggests that this staff was also, perhaps above all, an object of prestige. E 'come in from Europe through the Sudan and Uganda is 86 cm long.

The second club, this to act as a weapon, Gogo from the people of central Tanzania and is called in their language "Rungu. Unlike knobkerries South Africa, in this case, the node that forms the heavy wooden percussion set to hit the target is not centrally located but the side and forms a sort of "knee" for hammering enemies. This staff, about 50 cm long., Was purchased in the 90s in the gallery Belgian Lavuun Quackelbeen, specializing in properties in the area concerned.

The third club, despite his slim build which suggests rather a bracket, it is an object for the self-defense: from the people of Kenya and the Turkana is called "abura" his "real" use more frequently, however, is "pastoral" used to govern the flock of sheep and goats. E '120 cm long. and was collected near the village of Lodwar near Lake Turkana, in the '70s, it highlights the central grip of reptile skin.

The fourth and last club, certainly the easiest of the group, but the population is southwest of the Marakwet of Kenya, this is also referred to as "Rungu" and has both functions of weapon that the object of social status. E '60 cm high. Although this item was collected in situ in the 70s.

I bought all four sticks at different times, by the collector German Wolf Dieter Miersch.

Bibliography:

1) Marakwet & Turkana

Günther Best - Museum fur Volkerkunde, Frankfurt am Main, 1993

2) Africa. Art forms

Marc Ginzberg - Skira, Geneva, Milan, 2000

Milena Velba Doktorka

poles and brackets - brackets and Knobkerries

In between museums and collectors of art from outside Europe is a long debate, which sometimes gets so turned on to be a disagreement between those who consider it "art" only the sculptures anthropomorphic or zoomorphic forms and rituals, thus excluding all other objects of material culture, considered only in terms of ethnographic and including only "special cases" such as Kuba cups that have a particular abundance of carving, and those who include in terms of aesthetics and artistic production also commodities. In particular, certain restraints, with special sculptural or geometric ornaments, some pulleys to the frame, some locks, some combs were the first to be counted among the works of "art" and only in relatively recent years the objects of everyday use, if provided with objective aesthetic value, have been recognized as aesthetic objects, if not at least art for "design" art.

sticks Africans, unlike those of the art ocean area in which they are a primary manifestation and has long been acclaimed production aesthetic has always been a little 'overlooked: sometimes considered part of the arms, sometimes numbered in the kind of tools for everyday use, have so far failed even to receive the recognition of a specialized publication of absolute scientific reference. Among the a few guys who have done some collecting outcome, there are South Africans Knobkerries, the local Zulu, Swazi and Nguni.

The term "knobkerrie" derives from the 'Afrikaans' knopkierie "resulting from the merger of the word" knop "or" knob "(from Middle Dutch" cnoppe ") which means" knot "with the word" Kieri "(from the Khoikhoin word "Kirri"), which means "stick". In short, the Knobkerrie typical weapon of the people of South Africa, with which the Zulu people stood up to the late nineteenth century to the powerful British army armed with rifles and bayonets, a gnarled stick, balanced to perfection to be handy and lightweight but harmful and even potentially lethal if thrown or slammed violently against the heads of enemies. Not for nothing that these clubs are also known as "splitting heads" ... The first of two that I present here (65 cm.) Is probably very old, almost certainly dates from the late nineteenth century, is Zulu or Swazi bill and has a beautiful patina varied, darker, more intense at a recess, placed on the "head" of the weapon, designed to contain tobacco, probably mixed in some way, better to load the warrior spirit of the soldier who used this wood. I've had from the small gallery of English Adam Prout, specialized in this type of object in South Africa. The second, head to the grain of the typical two-tone wood and decorated with the equally typical Wireworks wire woven objects Zulu, it is also from Great Britain, that due to the Anglo - Zulu above, has a particular concentration of these objects, taken as spoils of war homeland, but came to me with a stop for many years in Germany where I bought from a collector and an ethnographic researcher Dieter Wolf Miersch, is 60 cm long. and is as old almost as the previous one, judging from the beautiful and dense patina of the wood.

The last object that has a bracket is carved, it is also from England, about 80 cm long, with a leopard hunting an antelope on the one hand and a snake spiraling other. E 'bill of Zulu - Nguni and, like other clubs, it is probably quite old.

Bibliography:

1) Art and ambiguity. Perspectives on the Brenthurst Collection of Southern African Art

AA. VV. - Johannesburg Art Gallery, Johannesburg, 1991

2) Ubuntu. Arts et cultures d'Afrique du Sud

AA. VV. - EXH. cat. Musée national des Arts d'Afrique et d'Oceans, Paris, 2002

3) Arts from Southern Africa Collection Conru

Sandra Klopper, Karel Nel, Kevin Conru - 5 Continents , Milan, 2002

4) The Art of Southern Africa. The Terence Pethica collection.

Sandra Klopper, Anitra Nettleton, Terence Pethica - 5 Continents, Milan, 2007

problematic for art / ethnography should be noted:

1) ART / artifact. African Art in Anthropology Collections.

Susan Vogel (ed.) - The Center for African Art / Prestel, New York, 1988

Sony Dcr-trv18 Transfer Firewire Usb

Pende or Lele - caps with figures

These objects are quite rare, as far as I know, and also on the literature, at least those in my possession, I found no references significant in this regard.

The object type is well known: hardwood caps that end with an anthropomorphic representation, in this case only the head, and had to be closed containers, in this case - judging by the length of the stem and the patina - is likely to be elongated jars containing palm oil or a similar fat. The unusual results by ethnicity: for these items were not produced in East Africa, as in most such cases, but in the center of the Kasai region of Congo, probably from the population slope or from Lele (called Leela also). They were part of a group of five similar, all from the New York gallery of Michael Oliver, while another unit of the same type and origin could be seen until recently in the catalog of another American gallery, Leslie Sacks, Los Angeles.

The smallest of my two, purchased from the gallery of Craig De Lora, measuring 20 cm. while the longer 27 cm. They are interesting trinkets, with a good patina, the first time I saw them in pictures and know no size or function, I have "interpreted" as brackets more than a meter high ... But this is one of the most popular features, and unique, a kind of "African art", which can develop a sense of monumentality in the viewer even after from small pieces.

Nadine Jansen Playing Pool

Kwere - calabash with figure

Near the iconography of Mwana Hiti (like "dolls", we have again the trunk of the figure reduced to a simple cylinder, with women's breasts just mentioned, hair topped by a two ridges) is the cap of this container Kwere, neighbors of the aforementioned Zaramo on the coast of Tanzania that gave the Indian Ocean. Such objects, once quite common in Africa but now - if of good quality - rather rare, was used by "medicine men" of the villages to contain substances "magic", mostly powdered herbs, and are constructed emptied and dried with a pumpkin with a carved wooden cap. This
we present, a total of 20 cm high. and has a great patina, comes expert German Klaus - Jochen Krüger, who has in turn bought by an antiques dealer in Nairobi (Kenya).

Flour Baby How To Make

Zaramo - Mwana Hiti "dolls"

In Africa there are many ethnic groups, including demonstrations of traditional production of objects that we Westerners call "African art", include statues commonly called "dolls ", mainly because their use is addressed primarily to girls or girls for sex women.

As always happens, however, in Africa, such objects are never "in themselves" and I am not only used for recreational purposes or, as in the West, only for social purposes, transmission an identity of gender roles within the culture of belonging, but also roles have always symbolic magic. In this case, the "dolls" of Africa have often, almost always, the function to promote and encourage female fertility, especially in cases where this is made to wait even after marriage. There are three most popular types of "dolls" of the Akuaba Ghanaian Akan and Fante, dolls Mossi of Burkina Faso and, specifically, These "dolls" Zaramo of Tanzania that we present in this sheet. As do the other types mentioned, these Zaramo "dolls" are characterized by a pronounced stylization of the female image, which calls for both the vertical and forms an image too phallic, consisting of a simple truncated cone surmounted by a characteristic ridge-hair bilobed. Genuine synthesis of female and male dolls Zaramo belong to the iconography of the most popular African arts and are among the most popular types of ethnic groups in East Africa, an area valued only in relatively recent times within the collector and art-historical .

These two specimens are excellent in their specific field, and can boast a pedigree more than good.

The first, high 20 cm. Comes from the gallery of Craig De Lora (USA) and previously by Noble and Jean Endicott collection, was published in volume To Cure and Protect: Sickness and Health in African Art of Frank Herreman (The Museum for African Art, New York, 1999) on page 48.

The second, only 10 cm high. Is another impressive collection of American, to Nicole and John Dintenfass of NYC, and is adorned with a pink beads necklace very minute, almost microscopic, like the first, this you purchased Craig De Lora web since tribal arts (NJ - USA).

Bibliografia

sulle "dolls":

1) Is not s / he a doll? Play and ritual in African sculpture

Elisabeth L. Cameron, Doran Ross - UCLA, Los Angeles, 1996

2) African dolls for play and magic

Esther A. Dagan - Gallery Amrad African Arts, Montreal, 1990

3) ritual or game? Dolls from Africa and Egypt

AA. VV. - Exh. cat. Berlin-Munich, 2004

sugli Zaramo:

1) Mwana Hiti. Life and art of the matrilineal Bantu of Tanzania

Marc L. Felix - Fred Jahn, München, 1990

2) Tanzania

Marc L. Felix, Maria Kecskési - Kunstbau Lenbachhouse, München, 1994

3) Ostafrikanische Plastik

Kurt Krieger - SMPK, Berlin, 1990

4) Masks and Figures from Eastern and Southern Africa

Ladislav Holy - Paul Hamlyn, London, 1967

5) Glaube Kult und Geisterwelt

Ralf Schulte - Bahrenberg - Edition Phaistos, Steinheim, 2007