Human and Spiritual Acts

 

The organization of space and objects within space remains a significant way West African architectural identities are formulated. Abogan Peter’s article emphasizes the importance of tradition in Yoruba architecture through the organization of the courtyard and arrangement of the Yuroba city, which represents the value of outdoor activity, family structure or hierarchy, and worship settings. Despite this, western influences (whether through colonization or the importing of emancipated slaves “back to Africa” like the Saros peoples of Brazil) along with technological advances have allowed modernization to impose new typologies and hasten the loss of traditional building types, material usages, and skills. 

Labelle Prussian defines the characteristics of the 18th and 19th century Asante Confederation as an example of the blending of cultures differently from Peter’s account of the Yoruba people. There are simiaries in the arabesque reliefs, sculptural, incised spandrels,  and iconographies between peoples. Yet, their manifestation can be characterized by the “ritual behaviors associated with space” and the “ancestral attachments to place.” Similar to the Yoruba’s, this is manifested in the positioning of objects of significance, such as the case of the Asante’s gyase dua or “God’s tree” which established man’s place in the universe and a similar motif by the Fulbe people– the do ba and earthen pillar symbolizing a “man-made image of ancestry.” The gyase dua is situated at the entry or forecourt of all compounds or in the Asantehene's bedroom, accompanied by “brass cups” in its particular location. Rather than being a simple borrowing of cultures, one can interpret the context of lifestyle- the migration to a new state would be accompanied by these motifs.

Similarly, one can understand the dynamics of what Prussian called the “human (and political) acts” from the “spiritual world.” This can be seen in the distinction between the Shrine of the god, which is circular, and the fetish shrine houses, which are rectangular. Political effects are also seen in the walls of the rectangular shrine rooms - unadorned in charms but instead the arabesque designs - reminiscent of the possible affiliation to Islam. Such objects associated with ritual are projected onto the wall instead. Most connected to the Asante traditional style were the stool shrines as opposed to the shrine style for the gods.

Annotated Bibliography

Perani, Judith, and Norma Hackleman Wolff. 1999. Cloth, Dress, and Art Patronage in Africa. Oxford ; New York: Berg.

Perani expresses the role of ritual practices and patronage, intimately tied to the use of clothes and cloth patterns throughout Africa. Perani’s book offers general insight into the symbolic importance of patterns and cloth type. This general overview will allow me to draw the connection between symbolism in patternmaking for fabric and that of the traditional home. Perani also offers examples within the Yoruba people of Nigeria. 

 Cole, Herbert M., Chike Cyril. Aniakor, Chike Cyril Attah, Alexander Jenkins, Della Kasfir, Sidney Littlefield Weston, Bonnie E. Achebe, et al. 1984. Igbo Arts : Community and Cosmos. Los Angeles: Museum of Cultural History, University of California.

This exhibition was published during the 27th Annual Meeting of the African Studies Association and in honor of the 25th anniversary of the UCLA African Studies Center. The images and descriptions offer an in-depth understanding of Igbo art and individual expression. The body art and textiles unique to the Igbo people are detailed, as are the community planning and architectural designs of the Igbo people. The architecture and decoration of domestic compounds are especially pertinent to my research.

 Ene-Orji, Chinedu. 2022. “Traditional Igbo Architecture: A Symbolic Evaluation.” African Arts 55 (2): 66–81. https://doi.org/10.1162/afar_a_00657. 

Ene-Orji presents the history of Igbo traditional architecture in light of intangible attributes such as philosophy, astronomy, and religion. The attributes and guiding concepts of the architecture in Igboland exist post-colonialization and post-European influence. The concepts are pertinent to the language, imagery, and names, which begin to show parallels in textile design in Nigeria. Ene-Orji defines these attributes and their appropriation in contemporary architecture throughout the Global West as well as in literature. The examination of  Chinua Achebe’s novels has highlighted the symbolism in Igboland’s architecture.

  Achebe, Chinua. 1964. Arrow of God. London: Heinemann.

This novel offers insight into customs and rituals within Igboland during the early 20th century, which underline the practical use of textiles and the understanding of space throughout village life. This novel also describes the introduction to Christianity and how this affected the way of life and possible designs of the Igbo’s lifestyle, customs, and physical environment. 

Other Sources:

 Okeke, C. S. 1977. “Factors Which Influenced Igbo Traditional Woven Designs for Apparel Fabrics.” Textile History 8 (1): 116–30. https://doi.org/10.1179/004049677793691620.

 Ikwuemesi, Chuu Krydz. 2016. “Art as a Tool for Cross-Cultural Conversation: A Personal Dialogue with Igbo and Ainu Art.” Cogent Arts & Humanities 3 (1): 1262997. https://doi.org/10.1080/23311983.2016.1262997.

 Udechukwu, Obiora, Chika Okeke-Agulu, and Wole Soyinka. 2012. Ezumeezu : Essays on Nigerian Art & Architecture : a Festschrift in Honour of Demas Nwoko. Glassboro, NJ: Goldline & Jacobs Pub.