Farmers among the Kissi people of Guinea sometimes find stone statues in their fields. Most are cylindrical in overall outline and human in subject. They are not made by the Kissi and are described by them as "pomdo," the dead or images of the dead. The identity of the specific ancestor is revealed in a dream and the figure receives sacrifices, offerings and is placed with others on an altar. Some
In most of Africa, flywhisks were carried as prestige regalia and during masquerades. They emphasized both gestures and spoken words. Their materials tended to be made of inherantly status conferring materials. For example this flywhisk that was once owned by Emperor Theodor (1855-1868) of Ethiopia is made of richly dyed horsehair. The horse is associated with military success and is valued in dir
In most of Africa, flywhisks were carried as prestige regalia and during masquerades. They emphasized both gestures and spoken words. Their materials tended to be made of inherantly status conferring materials. For example this flywhisk that was once owned by Emperor Theodor (1855-1868) of Ethiopia is made of richly dyed horsehair. The horse is associated with military success and is valued in dir
MacGaffey in MacGaffey, Wyatt and Michael Harris. 1993. Astonishment and Power. Washington D.C.: National Museum of African Art, Smithsonian Institution, p. 61, no. 42.
As part of our commitment to accessibility and transparency, the Smithsonian National Museum of African Art is placing its collection records online. Please note that some records are incomplete (missing image or content descriptions) and others reflect out-of-date language or systems of thought regarding how to engage with and discuss cultural heritage and the specifics of individual artworks. If
As part of our commitment to accessibility and transparency, the Smithsonian National Museum of African Art is placing its collection records online. Please note that some records are incomplete (missing image or content descriptions) and others reflect out-of-date language or systems of thought regarding how to engage with and discuss cultural heritage and the specifics of individual artworks. If
As part of our commitment to accessibility and transparency, the Smithsonian National Museum of African Art is placing its collection records online. Please note that some records are incomplete (missing image or content descriptions) and others reflect out-of-date language or systems of thought regarding how to engage with and discuss cultural heritage and the specifics of individual artworks. If
As part of our commitment to accessibility and transparency, the Smithsonian National Museum of African Art is placing its collection records online. Please note that some records are incomplete (missing image or content descriptions) and others reflect out-of-date language or systems of thought regarding how to engage with and discuss cultural heritage and the specifics of individual artworks. If
Kreamer, Christine Mullen, Bryna Freyer and Andrea Nicolls. 2007. African Vision: The Walt Disney-Tishman African Art Collection. Washington, D.C.: National Museum of African Art, Smithsonian Institution, pp. 56, 70-71, fig. 15, no. 16.
As part of our commitment to accessibility and transparency, the Smithsonian National Museum of African Art is placing its collection records online. Please note that some records are incomplete (missing image or content descriptions) and others reflect out-of-date language or systems of thought regarding how to engage with and discuss cultural heritage and the specifics of individual artworks. If
Tellem headrests that have been excavated from documented cave sites have elegant silhouettes but minimal decoration. Other undocumented examples, are adorned with circles, zigzags or other geometric designs. Although unusual, some headrests have animal heads projecting from either end of the curved upper platform. The heads resemble those found on trough-like containers and benches of the contemp