Cultural Research: Maasai People - Beaded Jewellery

World

3. Present the following information on the culture you have chosen - a global map and position of region, their beliefs and religion and the landscape.

Geography/Landscape/Climate

The landscape in the area of Kenya and Tanzania is described as "endless plains" by the Maasai.
The geography of where the Maasai tribes inhabit is in southern Kenya and Northern Tanzania in Africa. Most of the Maasai people who inhabit in Kenya live in the Maasai Mara Reserve. The Maasai Mara Reserve is a large park located in the South West area of Kenya and is named after the Maasai people who live there and the Mara River, which runs through the park.

The climate of East Africa has temperatures averaging from 20 to 30 degrees Celsius all year round. From December through to March is the dry and warm moths and April and May create heavy rains. June through to September are the cool and dry months and October and November are spring-like. However, due to the likelihood of climate change, in recent years, May has been dry, not rainy.

Beliefs and Religion

            

The Maasai people believe in one omnipresent God whom they call Ngai. Ngai is neither a male nor a female, however, there are two main manifestations of Ngai: Ngai Narok who is benevolent and “black”; and Ngai Na-nyokie who is angry and red. The Maasai believe that Ngai is the creator of everything. They also believe that in the beginning of time, Nagi (also meaning sky) was one with the earth and owned all the cattle that lived on it. However one day, the earth and sky separated. The cattle, though, needed sustenance from the earth, so to prevent them from dying, Ngai sent the cattle to the Maasai and told them to look after them. This is why cattle play an important role in most ritual occasions.


Practice


4. How are these forms created, made and displayed? Describe the materials, implements and procedures used. Describe the constraints the artists face and how that may influence the choice of materials.

Maasai beaded jewellery during past generations was made using natural recourses including seeds, clay, wood, bone, copper, brass and dried grasses dyed with various compounds. Today, the beads are plastic however the craftwork is the same as it always was. The types of jewellery include necklaces, bracelets and pendants. During the late 19^th Century, Europeans traded glass beads that were available to the African people. The Maasai tribes started to use the glass beads for their jewellery and it is now their main use of material for their jewellery.

Some of the implements include wire, needles and thread. Some of the constraints the Maasai people face in relation to their beaded jewellery, which influences their choices of materials, include access to materials. The Maasai have access to beads through their selling of livestock to groups in Kenya.


Artists

5. Who creates these art forms?

The women of the Maasai tribes are the ones who create the art, however, it is worn by both women and men. Learning how to make the jewellery is considered the duty of every Maasai woman.

6. Do they work individually or collaboratively?

It appears that the Maasai women work both individually and collaboratively. Every day, they set aside some time to meet and work on beaded jewellery.




Artwork

7. Describe some of the symbols and conventions of this art from within this culture?

There are many symbols within the beaded jewellery art form in the Maasai culture. These symbols are expressed in the jewellery from colour to design. Maasai beadwork in general exemplifies the whole of Maasai culture representing tradition, beauty, strength, warrior hood, age group, marital status, social status and their deep love and devotion for their cattle. Maasai jewellery is extremely colourful and each colour has a particular symbolic meaning. Some of these include bravery, strength, energy and sustenance, nourishment and production, warmth, friendship, generosity and hospitality, fertility and growth, purity and health, unity, harmony and solidarity.

8. What is the purpose and meaning of the Body Art within this culture?

The purpose and meaning of Maasai beaded jewellery overall is that it is used to express their culture’s values and symbols. Also, one of the types of Jewellery of the Maasai, which is very important in their culture, is the collar. The collar is important, as it is an entire map of the Maasai village. The villages are always laid out in a circle, with a fence along the perimeter. The perimeter is represented by a ring of alternating light and dark beads on the edge of the collar. Houses arranged in the village, inside the fence are represented by each of the geometric shapes. The center of the village is where the animals such as cattle, goats, and sheep are kept at night. This is represented by the hole in the center of the collar. The number of beaded strings that hang from the collar indicates the number of animals that will be given by the groom’s family to the bride’s family. The collar is also important not only because it is a map, but also represents values of the Maasai culture and its people such as marital status, social status. The jewellery can also include symbols. For example, as a community member presents their gifts of animals, they tie a knot in one of the strings (a large, loose knot for a cow, and a small and tight knot for a sheep or goat). An example of a symbol is that collars may have are cowry shells on the end of the strings, symbolizing peace.

Audience


9. Are these art forms used in ceremony, event or for a particular audience?

Loads of Maasai beaded jewellery is placed around the neck and arms of the Maasai poeple. The jewellery is worn by both men and women and may differ in colour depending on the occasion. This indicates that the beaded jewellery is used in Maasai ceremonies and rituals. Some of the areas in which the jewellery is used in include a part of bridal costumes and warrior’s outfits.

10. What do you think is the role of the audience in this type of body art? Why?

The role of the audience in this type of art is to enjoy it, learn from it, and think about the values it holds. Maasai beaded jewellery is extremely colourful and beautiful therefore the audience ought to enjoy the art. The jewellery can also show a lot about the person who is wearing it. For example, you can tell their marital status, social status and age group as well as how many and what kind of animals they own. Maasai jewellery also holds many values and symbols represented by the colours and patterns therefore the audience is encouraged to think about the values and symbols of their culture and traditions.

References

‘Africa Facts: Maasai Bead Jewellery’ date unknown Available: http://interesting-africa-facts.com/African-Jewelry/Maasai-Bead-Jewelry.shtml [Accessed: 18th February 2015]

‘Ultimate Africa Safaris: Africa Weather’ 2004 Available: http://www.ultimateafrica.com/weather.htm [Accessed: 5th February 2015]

‘Maasai Association: The Maasai People’ date unknown Available: http://www.maasai-association.org/maasai.html [Accessed: 22th February 2015]

‘International Expeditions: Climate’ 2010 Available: http://www.ietravel.com/africa-and-middle-east/kenya-tanzania/climate [Accessed: 22th February 2015]

‘Beads of Esiteti: Symbolism of Maasai Jewelry’ 2013 Available: http://beadsofesiteti.com/symbolism-of-maasai-jewelry/ [Accessed: 22th February 2015]

‘Cultural Survival: The secret life of Beads’ date unknown Available: http://www.culturalsurvival.org/publications/cultural-survival-quarterly/kenya/secret-life-beads [Accessed: 22th February 2015]

'Nora Photos: African Landscape. Kenya & Tanzania. East Africa Stock' date unknown Available: http://www.noraphotos.com/p271837429 [Accessed: 3rd March 2015]

‘Kenya Information Guide: The Maasai Tribe’ 2015 Available: http://www.kenya-information-guide.com/maasai-tribe.html [Accessed: 25th February 2015]

  

William Kentridge: Conceptual Framework

Conceptual Framework: (Frames – which frames suit the reading of the artwork and practice?)

Frames Kentridge uses:

• Subjective (psychological)
• Emotive – his artworks portray emotion and evoke emotion              
• Feelings – anxiety, isolation, loneliness, confusion are all experiences we all have yet are common to human condition
• Cultural
• Political – current issues
• Social issues – Felix in Exile was inspired at a subconscious level by Kentridge’s discovery of the photographs of the Sharpville Massacre.

Artwork:

World:

Audience:

• Work isn’t created for the audience.
• The interplay of audience interacting with the artworks is a shifting field and remains ambiguous. He leaves it out for interpretation.

Practice: (how, when, where, why the artist creates the work)

• Uses charcoal
• Prefers to work with black and white
• Feels that colour is a distraction as it slows him down
• Doesn’t feel he uses colour naturally or well
• Prefers to use non picturesque landscapes with black and white visuals of his practice
• He uses his own references and resources
• Some of his animations were inspired by dreams he had
• He is always inspired in his work “I have always wanted too…”
• He feels responsible for his characters particularly ‘Soho’ as he got older. He also sees himself in his characters, “I feel that I should have a character that is not me. I wouldn’t feel so responsible for them.
• Instead keeping a written journal/diary of his travels, he purchases books and draws in them. The places he visits help to inform his ideas in art making. When he is somewhere, he thinks of his ideas then and there and draws them later.
• He needs to make sure that his characters go places that he would want to draw.
• Kentridge compares writing a novel and making a film. Each scene is like a chapter in a novel – visual novel or his artworks. His artworks are visual narratives.
• Still like to create as in creating he leaves a concrete trace in one way or another.
• In his films we can see the merging of memories and drawings.

Salvador Dali: Conceptual Framework

Artist

•   Salvador Dali was born on the 11 May, 1904 in Catalonia, Spain, and died on the 23^rdJanuary, 1989.

•   His mother died when he was 16 which had a profound effect on him.

•   In 1922, Dali moved to Madrid to study at the school of fine arts.

•   He was a prominent Spanish Catalan surrealist painter in the Surrealist movement with an eccentric nature.This made Dali the most prominent representative of the Surrealist movement and the most recognised artists in the world.

•   He was also the first artist to hold a solo exhibition in Barcelona.

•   While Dai’s artistic output is enormous, he is most often associated with images of melting clocks

•   In 1931, he painted the Persistence of Memory, his most famous work.

•   Imagination partly exists in dreams. This is shown in The Persistence of Memory through the melting cheese idea represented by the melting watches.  There are many theories of the melting clocks. On Dali’s death bed, scientists approached him and asked him if it had something to do with Einstein’s theory of relativity. Dai said no and that it is based of Camembert cheese melting in the sun.

Audience (impact)

One of Salvador Dali’s recognizable works, The Persistence of Memory became frequently referenced in popular culture and therefore was widely recognized. When The Persistence of Memory was painted the impact it had on the audience is different to its response now. At the time it was painted his paintings were criticised because Surrealists identified with leftist politics. However,  Dali thought that art could be apolitical. There are many different interpretations of the painting, some of these include:

·      Feminist

·      Marxism

·      New Historicism

·      Deconstruction

World (influences)

•   Sigmund Freud was Dali’s hero and one of his influences. Freud was a neurologist who became influential in the field of psychoanalysis. Psychoanalysis is the treatment in which a patient talks about their thoughts, dreams and fantasies so the doctor can figure out their symptoms. In 1938 Dali met Freud and sketched his portrait.

•   A dream is defined as a series of thoughts, images, and sensations occurring in a person's mind during sleep. Freud’s analysis of dreams as wish-fulfilments helped him to analyse symptom formation as well as elaborate his theory that a person’s unconscious can shape their conscious state of mind.

•   Andre Breton was a French writer and poet. However is well-known as the founder of Surrealism. Breton was influential to Dali as he was the leading Surrealist at the time but they differed in terms of their political beliefs. Breton also wrote the first manifesto on Surrealism. In his manifesto he states that dreams are important as a reservoir of Surrealist inspiration.

Practice

How:

•    Dali made paintings, usually using oil on canvas, prints, sculptures, films, photographs, jewellery and was a designer.

•   He uses many big brush strokes and bold hand movements.

•   Dali’s preferred painting method is the Paranoiac critical method. This method deals with the interpretation of unconscious thoughts and feelings into increasingly elaborate visual illusions.

When:

•   From around 1920 up until his death

Where:

•   Dali created his works everywhere. He even created some in public. He was a performer and took part in performance pieces that were despised by critics.

Why:

•   He was inspired by realism 

•   He was inspired by surrealism 

•   He was a supporter of Dadaism 

•   Because of his political views

Artworks

Artwork 1 – ‘The Persistence of Memory’,1931, oil on canvas

Figure 1http://karmajello.com/culture/art/salvador-dali-art-compilation-photo-gallery-video.html

•   ‘The Persistence of Memory’ is Dali’s most recognizable works.

•   Since 1934, it has been in the collection of the Museum of Modern Art in New York City. It was received from an anonymous donor.

•   The image of the soft melting pocket watch exemplifies Dali’s theory of “softness” and “hardness”. In Dali’s time, this theory was central to his thinking.

•   In his painting, ”the soft watches are an unconscious symbol of the relativity of time and space, a Surrealist meditation on the collapse of our notions of a fixed cosmic order" (Ades, Dawn. Dalí. Thames and Hudson, 1982).

•   The human figure in the middle of the composition appears ambiguous as it is obscure. However, it is a strange monster. This “monster” was used in several of Dali’s contemporary pieces to represent him - the abstract form of becoming something of a self-portrait, appearing frequently in his work.

•   The focal point the viewer is immediately drawn to is the animal figure in the mid ground. Its unusual appearance makes it significant. The background features an arid landscape of cliffs whereas in the foreground, melting clocks can be seen.

Artwork 2 – ‘Swans Reflecting Elephants’, 1937, oil on canvas

Figure 2: http://www.dali.com/blog/swans-reflecting-elephants-is-one-of-those-dali-paintings-everybody-loves/

•   The double images used in this painting were a major part of Dalí's "paranoia-critical method”. Dalí used this "paranoia-critical method” to bring forth the hallucinatory forms, double images and visual illusions that appeared frequently amongst his work during the Thirties.

•   The three swans in front of leafless trees are reflected in the lake so that the swans' necks become the elephants' trunks and the trees become the legs of the elephants. 

•   In the background of the painting is a Catalonian landscape portrayed in fiery autumn colours.

In contrast to the stillness of the water, the brushwork creates swirls in the cliffs that surround the lake.