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. Accessed May 19, 2015. http://www.randafricanart.com/Lobi_Bateba_figure15.html “Lobi: People.” http://www.britannica.com/EBchecked/topic/345462/Lobi Siegmann, William C. African Art: A Century at the Brooklyn Museum. Brooklyn, NY: Brooklyn Museum and DelMonico/Prestel, 2009. Visona, Moncia Blackmun, R. Poyner, H.M. Cole and M.D. Harris. A History of Art in Africa. NY: Abrams, 2001. Wassing, Rene. African Art; Its Background and Traditions. New York: Abrams, 1968.

the mysterious and exotic. Alas, the same is true of the wide variety of objects produced throughout the continent that all can be called “African art.” Too often it is suggested that such objects are bizarre or creepy, thereby ignoring their beauty and sophistication and totally missing what such objects can reveal about cultures, values and history. That which can be called African art ranges from what is often labeled traditional sculpture and masks to contemporary painting, photography

Learn More: Yaka Ndeemba MaskAfter a long history of forced migration and union with other groups, the Yaka have been an independent society since the 19th century.  Living in the northern Congo, the Yaka are primarily hunters, although they also practice small scale farming.  The tight-knit social system of the Yaka consists of a chief and his second in command who delegates to lineage chiefs.  The Yaka are known for their masks, sculpture, and decorative everyday objects.  Also, the

intricate patterns. All of the masks have small holes around the base of the helmet, which is where the black raffia skirts were previously attached. – Carli Snyder ’17, History, Women’s and Gender Studies Sources: Boone, Sylvia Ardyn. Radiance From the Waters: Ideals of Feminine Beauty in Mende Art. London: Yale University Press, 1986. McClusky, Pam. “Long Steps Never Broke a Back,” In Art From Africa. Princeton: Princeton University Press, 2002. Phillips, Ruth B. Representing Woman: Sande Masquerades

intricate patterns. All of the masks have small holes around the base of the helmet, which is where the black raffia skirts were previously attached. – Carli Snyder ’17, History, Women’s and Gender Studies Sources: Boone, Sylvia Ardyn. Radiance From the Waters: Ideals of Feminine Beauty in Mende Art. London: Yale University Press, 1986. McClusky, Pam. “Long Steps Never Broke a Back,” In Art From Africa. Princeton: Princeton University Press, 2002. Phillips, Ruth B. Representing Woman: Sande Masquerades

intricate patterns. All of the masks have small holes around the base of the helmet, which is where the black raffia skirts were previously attached. – Carli Snyder ’17, History, Women’s and Gender Studies Sources: Boone, Sylvia Ardyn. Radiance From the Waters: Ideals of Feminine Beauty in Mende Art. London: Yale University Press, 1986. McClusky, Pam. “Long Steps Never Broke a Back,” In Art From Africa. Princeton: Princeton University Press, 2002. Phillips, Ruth B. Representing Woman: Sande Masquerades