MOSSI

Burkina Faso, west Africa
Neighboring people: Dogon, Bisa, Kurumba 

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The Mossi make both political art and spiritual art. Figures are used by the ruling class to validate political power, and masks are used by the conquered peoples to control the forces of nature. Each year at the annual celebrations of the royal ancestors, figures of the deceased kings are displayed. On many occasions each year, especially during the long dry season from October to May, masks appear to honor the spirits of nature that control the forces of the environment. The several mask styles reflect the diversity of the population before the 15th century invasion. Long tall masks in the north are made by the descendants of the conquered Dogon population, while red, white, and black animal masks in the southwest are made by descendants of the conquered Gurunsi people


The Mossi states were created about 1500 A.D., when bands of horsemen rode north from what is now northern Ghana into the basin of the Volta River and conquered several less powerful peoples, including Dogon, Lela, Nuna, and Kurumba. These were integrated into a new society call Mossi, with the invaders as chiefs and the conquered as commoners. The emperor of the Mossi is the Moro Naba, who lives in the ancient and contemporary capital, Ouagadougou. In the centuries between 1500 and 1900 the Mossi were a major political and military force in the bend of the Niger River and were effective in resisting the movements of Muslim Fulani armies across the Sudan area of west Africa. In 1897 the first French military explorers arrived in the area and staked French colonial claims. During the sixty years of French colonial rule the Mossi population was exploited as a source of human labor for French plantations in Côte d'Ivoire. In 1960 Burkina Faso gained its independence from the French. The first elected president Ouezzin Coulibaly was succeeded by Maurice Yameogo, a Mossi. In 1967 a coup-d'état put in place a military government that has ruled with infrequent change ever since.

The Mossi are unique in Burkina Faso for their centralized and hierarchical political system. The nakomse are the ruling class and are directed descendants of the first invaders from the south. At the apex of political hierarchy is the Moro Naba (emperor), whose palace is in Ouagadougou, the capital of Burkina Faso. Nabas (chiefs) rule over each of the regions of Mossi country and pay homage to the emperor. Each chief presides over a political hierarchy of local officials who are responsible for raising armies, levying taxes, etc. The nyonyose are the descendants of the conquered peoples who lived in the region before the Mossi arrived.

The descendants of the conquered nyonyose (farmers) honor nature spirits that provide them with supernatural power to control the weather, disease, crop failure, and general well-being. These are the "invented spirits" that become important as the congregation faces a particular affliction and which decrease in influence as the problem is solved. These spirits are often represented by masks and figures that make them visible and concrete. The spirits themselves provide, through the diviner, the religious laws that govern the community and so provide a system of sacred rule. The creator god Wennam is associated with the sun and with the nakomse (political hierarchy). The spiritual power of the nyonyosebased on nature spirits is in direct opposition to the secular power of thenakomse based on the horse and associated with the sun. Among the most important religious celebrations are annual sacrifices to honor the memories of the royal ancestors, when each and every male head of a household reaffirms his dependence on the benevolence of the chief and his ancestors for health and well-being of his family.


By Steve Foreman ismael
s. afrca uima

Becky Roesler

United states, America

Contact: becky@beckyroeslerart.com
Site Webhttp://www.beckyroeslerart.com/


Becky Roesler was born in Indiana and moved to Texas when she was just a few months old. She grew up near Houston with a love of nature and a crazy obsession with crayon color names. Becky always knew she was an artistShe won her first art awards in 1960’s interscholastic art competitions, and began studying art through the Houston Museum of Fine Art and local college libraries while in her teens. It was here that she found her all-time favorite painting, Bonaventure Pine, by Neo-Impressionist artist, Paul Signac, which still brings her to tears whenever she sees it. Becky became a professional floral designer and attended University of Houston until she moved to New Braunfels, Texas in the late 1970's. She earned a bachelor’s degree at Southwest Texas State University in 1982, then worked in corporate business management while creating art and operating an antiques business in her spare time. Becky became a full-time artist in 2000, and is now happily making richly layered and joyful paintings filled with ecstatic color and positive energy.
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                                     Resume

Education

Bachelor of Applied Arts and Sciences, With Honors, Texas State University, San Marcos, Texas, 1982.

Publications

Becky Hicks-Roesler: In Full ColorAnimal Attraction, by Deborah Secor, The Pastel Journal Magazine, Issue No. 56, June 2008.

Selected Exhibitions

2015     Chico Art Center Gallery, 9th Annual Contemporary Women Exhibition, Chico, California.
2015     Williams Tower Gallery, Visual Arts Alliance 32nd Juried Open Exhibition, Houston, Texas.
2009     Coppini Academy of Fine Arts, Texas Pastel Society Juried Exhibition, San Antonio, Texas.   
2008     New Braunfels Art Gallery, 43rd Annual Artoberfest Fine Art Show, New Braunfels, Texas.
2007     New Braunfels Art Gallery, 42nd Annual Artoberfest Fine Art Show, New Braunfels.Texas,First Place Award.
2007     New Braunfels Art Gallery, Texas Art Exhibition, New Braunfels, Texas, Honorable Mention Award.                            
2007     New Braunfels Art Gallery, Contemporary Art Exhibition, New Braunfels, Texas.
2007     Palette & Chisel Academy of Fine Arts, Pastels Chicago National Juried Exhibition, Chicago Pastel Painters Society, Chicago, Illinois, Southeastern Pastel Society Award.
2007     San Antonio Art League Museum, 77th Annual San Antonio Artists Exhibition, San Antonio, Texas.
2007     Chase Bank Building Corridor of Art, Austin Pastel Society 7th Annual Juried Membership Exhibition, Austin, Texas.
2007     The Von Liebig Art Center, International Association of Pastel Societies 10th Juried Exhibition, Naples, Florida.
2006     New Braunfels Art Gallery, 41st Annual Artoberfest Fine Art Show, New Braunfels, Texas.
2006     New Braunfels Art Gallery, Small Treasures Exhibition, New Braunfels, Texas.
2006     Expo New Mexico, Pastel Society of New Mexico 15th Annual National Pastel Painting Exhibition, Albuquerque, New Mexico, New Mexico Watercolor Society Award.
2006     Umpqua Valley Art Center, Pastel Society of Oregon 15th Biennial National Exhibition, Roseburg   Oregon, Pastel Society of America Award.
2006     Place St. Charles, Degas Pastel Society 11th Biennial National Exhibition, Kenner, Louisiana.
2006     Charles Sumner School Museum, Maryland Pastel Society Shades of Pastel National Open Exhibition, Washington, D.C.
2006     International Association of Pastel Societies 9th Juried Exhibition, www.pastelinternational.com,            First Place Award.
2006     Harbor Gallery, Northwest Pastel Society 20th International Open Exhibition, Gig Harbor,  Washington.
2006     Creative Arts Center, Pastel Painters Society of Cape Cod, 11th Annual National Exhibition For Pastels Only On Cape Cod, Chatham, Massachusetts.
2006     Long Beach Art Gallery, Works On Paper, Long Beach Arts National Exhibition, Long Beach,   California.
2006     San Antonio Art League Museum, 76th Annual San Antonio Artists Exhibition, San Antonio, Texas.
2006     Chase Bank Building Corridor of Art, Austin Pastel Society 7th Annual Juried Membership Exhibitition Austin, Texas, Second Place Still Life Award.
2006     Jewish Community Center, Alabama Pastel Society, Pastels 2006 You’ve Got The Magic Dust National Exhibition, Birmingham, Alabama.
2006     New Braunfels Art Gallery, 2005 Artists Of The Year Exhibition, New Braunfels, Texas.
2005     New Braunfels Art Gallery, December Artist of the Month, New Braunfels, Texas, exhibit of 24  paintings.
2005     Charles W. Eisemann Center, Pastel Society of the Southwest 24th Juried Membership Exhibition, Richardson, Texas.
2005     New Braunfels Art Gallery, 40th Annual ARTFest Fine Arts Show, New Braunfels, Texas, Best In Pastel Award.  
2005     Degas Pastel Society 14th Juried Membership Exhibition, Hammond, Louisiana.
2005     Chase Bank Building Corridor of Art, Austin Pastel Society 6th Annual Juried Membership Exhibition, Austin, Texas.

Gallery Affilations:

New Braunfels Art Gallery, New Braunfels, Texas, 2002 to 2009.
Verve Art Boutique, New Braunfels, Texas, 2005.
Robot Art Gallery, San Antonio, Texas, 2005.
Artrageous Art Gallery, New Braunfels, Texas, 2003 to 2004.

Today, Becky Roesler is an award-winning, professional artist who enjoys creating bold and vibrant abstract paintings in acrylic, pastel, and mixed media. Her colorful artwork is exhibited in many national art shows, select galleries, and in homes and businesses in almost every state in the U.S.A. Becky lives and works beside a river near New Braunfels, Texas with her husband, pets, giant trees, and some sneaky wildlife.



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By steve forman ismael
+Becky Roesler  +Galerie Meitner +Galeria Estação +Museum of Fine Arts, Boston +Galeries Lafayette +Erin Muller Barber 

MUMUYE

Nigeria, west Africa
Neighboring people: Bata,  Chamba , Mama

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Until the 1970s most Mumuye sculpture was misattributed to their neighbors the Chamba. Their style is distinctive, assuming a long narrow pole-like style. They also use bush cow masks like those of their neighbors.
The Mumuye were pushed into their current locale during the Fulani holy wars, which extended from the 17th century into the early 19th century. Along with their neighbors, with whom they have much in common, they fled southwards into the hills of eastern Nigeria where they divided into small communities that remained relatively isolated from one another. The Benue River Valley had very little to offer to Europeans in terms of natural resources, and so they remained relatively isolated from colonialist enterprise.
Mumuye are farmers, although the soil in this area is not exceptionally fertile. During the dry season from October to March nothing can be grown on the desolate scrub-like land. Millet is the staple crop in the region and is used to make flour and beer. The uncertainty of harvests in this region have led to the development of various prayers and offerings that are made during both planting and harvesting cycles in hopes of increasing the annual yield. Hunting is widely practiced to augment the local diet, and game is generally abundant. Each village has its own hunting lands, and permission is required for an outsider to hunt on these lands.
The relative isolation of individual communities remains today. For the most part, small villages are made up of one or two extended families and the spouses who have married into those families. Individual lineages identify with a totemic spirit that is metaphorically embodied in certain animals. Families that might otherwise be unrelated may develop political ties because they both belong the the same spirit. The result of this sort of relationship is a somewhat decentralized power structure that permits the members of each totem group to retain a degree of power.
The totemic groups mentioned above are of primary importance in Mama religion, for a lineage's membership in a certain group is defined by the group to which their ancestors belonged. Offerings and sacrifices are made to the family ancestors to appease them and to thank them, especially during harvest times. The dancing of bush cow masks is known to be a part of a secret society whose main purpose is to ask the ancestors who are associated with the bush cow for abundance and agricultural fertility. The skulls of ancestors are considered the resting place of their souls. Wooden statues that are carved to represent the dead are placed near the skull of the deceased person. It is believed that the spirit is then able to enter the statue which can be transported into the house where it is involved in the daily lives of the living.

By steve foreman ismael 
source  #Africauima 

                                      PRAY FOR PARIS 



+PRAYFORPARIS @PRAYFORPARIS
@GALERIESOUTERRAINE
STEVE FOREMAN ISMAEL



"Nu Couché"

Artiste: Amedeo Modigliani
Naissance : 12 juillet 1884, Livourne, ItalieDécès : 24 janvier 1920, ParisÉpouse : Jeanne Hébuterne (m. 1917)Enfant : Jeanne ModiglianiInfluences : Pablo Picasso, Paul Cézanne, Henri de Toulouse-Lautrec






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Une toile d'Amedeo Modigliani, Nu couché, considérée comme une des œuvres majeures du peintre italien, a été adjugée 170,4 millions de dollars (158 millions d'euros) chez Christie's, à New York, lundi 9 novembre. Il s'agit d'un record mondial aux enchères pour une œuvre de Modigliani.

La deuxième toile la plus chère vendue aux enchères

Nu couché, peint en 1917-1918, fait partie d'une série de nus créés par l'artiste alors qu'il résidait à Paris. La toile, qui avait fait scandale lors de sa première exposition, a été adjugée sous les applaudissements d'une salle comble, après neuf minutes d'enchères enfiévrées entre sept acheteurs. C'est un enchérisseur chinois qui l'a emporté au téléphone, a précisé la maison d'enchères, qui avait estimé l'œuvre à 100 millions de dollars (93 millions d'euros).
Le tableau devient le deuxième le plus cher jamais vendu aux enchères, après Les Femmes d'Alger (version O) de Pablo Picasso. Cette toile a été adjugée en mai dernier 179,4 millions de dollars (167 millions d'euros), également chez Christie's à New York.


Qui est l'heureux propriétaire du "Nu couché" de Modigliani ?



Liu Yiqian cultive plutôt la discrétion et, jusqu'à présent, c'était un quasi-inconnu hors de Chine. C'est fini ! Le magnat chinois a stupéfait le monde des collectionneurs en s'offrant le Nu couché de Modigliani pour plus de 170 millions de dollars. Et Liu Yiqian a fait une nouvelle fois la démonstration de la puissance financière des collectionneurs chinois, désormais incontournables sur le marché de l'art.

Son histoire tient de l'épopée capitaliste. Âgé de 51 ans, Liu Yiqian est un ancien chauffeur de taxi. Aujourd'hui, il préside le groupe Sunline, est à la tête d'une fortune estimée à 1,38 milliard de dollars par le magazine Forbes et figure à ce titre parmi les super-riches de la Chine communiste. Il a bâti son empire d'abord en jouant à la Bourse naissante de Shanghai dans les années 1990 pour se retrouver, via notamment la finance et l'immobilier, à la tête d'un énorme conglomérat aux activités très diversifiées, incluant chimie et pharmacie.

Une tasse à 36 millions de dollars

Le coup de mardi, s'il est le plus spectaculaire, est loin d'être le premier. Liu Yiqian a commencé à se faire connaître sur le marché de l'art en se lançant dans des acquisitions pour les deux musées qu'il a créés à Shanghai, le Long Museum Pudong et le Long Museum West Bund, ce dernier ayant ouvert l'an passé dans la métropole chinoise. Un porte-parole de l'homme d'affaires a d'ailleurs indiqué mercredi à l'AFP que le Nu couché de Modigliani sera exposé en 2017 au Long Museum de Pudong à l'occasion du cinquième anniversaire de son ouverture.
Liu Yiqian avait déjà acquis en 2014 pour un peu plus de 36 millions de dollars une délicate tasse en porcelaine de l'époque Ming, finement décorée de coqs et de poules. Sa photo en train de déguster un thé dans cette coupe un brin onéreuse avait fait un mini-scandale sur les réseaux sociaux chinois. En avril, le milliardaire s'était offert pour 14,7 millions de dollars un vase bleu de l'époque Song, vieux de 800 ans. Le mois précédent, il avait acquis pour 14 millions de dollars un recueil de calligraphies bouddhistes de l'époque Ming. En 2014 aussi, M. Liu a payé un prix record - 45 millions de dollars - pour un tangka tibétain sur toile du XVe siècle.
Il a justifié certaines de ces acquisitions en invoquant une forme de patriotisme : restituer à la Chine des objets qui avaient été pillés. « Comme les Getty, les Guggenheim ou les Whitneys... Il y a une longue histoire des musées en Occident et peut-être que, maintenant, en Chine, des collectionneurs veulent se faire un nom, pour eux-mêmes et pour marquer l'histoire », avait indiqué à l'AFP à son sujet l'an dernier Clare Jacobson, auteur de Nouveaux Musées en Chine. Une ambition qui n'exclut pas certains ratés. Le personnage s'est retrouvé pris dans une controverse autour de son acquisition, pour 8,2 millions de dollars, d'un rouleau censé être daté de la dynastie des Song (960-1279) : un faux, en réalité, ont conclu des experts chinois réputés.

Éclectisme

L'homme se tient à l'écart des médias, notamment depuis une série du New York Times sur le marché chinois de l'art qui le qualifiait de « nouveau collectionneur ».
Porte-parole du Long Museum, Mme Hu Xiaofei a écarté toute crainte que les autorités chinoises voient d'un mauvais œil le nu de Modigliani qui, il y a quelques années, aurait pu être jugé à caractère « pornographique ». « C'est de l'art, et le devoir du musée, c'est de faire partager à tout le monde les œuvres d'art innovatrices », dit-elle. Son acquisition montre en tout cas l'éclectisme de Liu Yiqian, qui déroule une collection allant des temps anciens à l'époque contemporaine, déclinée avec des artistes chinois comme étrangers. Normal, pour Mme Hu, car le public chinois « ne vit plus dans les années 1970 ou 1980. C'est le XXIe siècle, maintenant ».
+Nu-couché, @nucouché @amedeomodigliani

By steve Foreman
sc: +Francetvinfos +Le Point 





IGBO

Nigeria, west Africa
NEIGHBORING PEOPLE: Ibibio, Ijo, Ekoi, Igala, Idoma, Nupe

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Due to the diversity of the Igbo people, it is impossible to generalize about a pure Igbo art style, which has characteristically been representative of numerous geographical regions. It could be said, though, that most Igbo do carve and use masks, but the function of these masks vary from village to village. They are famous for Mbari architecture.
It is believed that the Igbo originated in an area about 100 miles north of their current location at the confluence of the Niger and Benue Rivers. They share linguistic ties with their neighbors the Bini, Igala, Yoruba, and Idoma, with the split between them probably occurring between five and six thousand years ago. The first Igbo in the region may have moved onto the Awka-Orlu plateau between four and five thousand years ago, before the emergence of sedentary agricultural practices. As this early group expanded, so too did the Igbo kingdom. The earliest surviving Igbo art forms are from the 10th century (Igbo Ukwu), and the fine quality of those copper alloy castings suggest that Igbo society had already achieved a level of technology rivaling contemporary Europeans.

The majority of Igbo are farmers. Their staple crop is yam, and its harvesting is a time for great celebration. They are able to produce yam efficiently enough to export it to their neighbors. With the assistance of migrant labor, they also harvest the fruit of the palm tree, which is processed into palm oil, and exported to Europe in large quantities, making it a fairly profitable cash crop.

The Igbo are a politically fragmented group, with numerous divisions resulting from geographic differences. There are also various subgroups delineated in accordance with clan, lineage, and village affiliations. They have no centralized chieftaincy, hereditary aristocracy, or kingship customs, as can be found among their neighbors. Instead, the responsibility of leadership has traditionally been left to the village councils, which include the heads of lineages, elders, titled men, and men who have established themselves economically within the community. It is possible for an Igbo man, through personal success, to become the nominal leader of the council.

As a result of regional and political fragmentation, which is mirrored in the several distinct languages traditionally spoken by the hundreds of different village groups, it would be reductionist to attempt to illustrate the traditional religious practices of the Igbo
as a whole. Before the influence of Europeans and Christian missions, however, most Igbo practiced some form of ancestor worship, which held that in order to gain success in this world, one must appease of the spirits of the deceased. This might be accomplished in any number of ways. One of the primary ways of showing respect for the dead was through participation in the secret men's society, Mmo, which is the name used only in the northern part of Igbo land. In other parts, similar societies exist under different names. The second level of initiates was responsible for carrying out the funeral ceremonies for the deceased and inducting the departed spirits into the ebe mmo, so that they would no longer cause mischief in the village.



By Steve foreman ismael

Mambila

Cameroun, Nigeria 

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Wooden statues are carved to represent the ancestors, and masks that are worn on the top of the head are carved for use in initiation. Most of these are characterized by red ocher paint that is applied with white chalk on a soot blackened background
Linguistic evidence indicates that Mambila ancestors were members of the original Bantu
linguistic split that occurred approximately 2,000 years ago. It is also probable, given the close similarities between languages spoken in the immediate area of northern Cameroon and adjacent Nigeria, that the split occurred in this very region. Descendants of the Bantu have expanded across Africa to the eastern coast and south to the Cape in the years since that split occurred. The Mambila themselves moved slightly southwards as a result of Fulani pressure from the North in the 17th and 18th centuries.
Political authority within individual communities is invested in a hereditary headman, who is assisted in his duties by a council of elders. The Bamilike are matrilineal to a higher degree than most of their neighbors. Children become the property of the woman's family and are often cared for and adopted by the mother's brother. There are al
so secret masking societies, which contribute to community social order through initiation and public education.
Most of the people in this region have been influenced to some degree by the Moslem Fulani, and the Mambila are no exception. They have not forgotten their practice of commemorating and remembering the ancestors through sculpture and prayer. Both Moslem and Mambila religions exist side by side, each one serving its own purpose.

By steve foreman ismael











Art, Culture, Actuality, Tourism: DOGONMali, West africaCel whatsapp +5521981838334...

Art, Culture, Actuality, Tourism: DOGONMali, West africaCel whatsapp +5521981838334
...
: DOGON Mali, West africa Cel whatsapp +5521981838334 Mail: laquintine@gmail.com   The Dogon are best known for their extens...

DOGON

Mali, West africa

Cel whatsapp +5521981838334
Mail: laquintine@gmail.com





 The Dogon are best known for their extensive carving of masks and wooden figurative art. The primary colors used by the Dogon are usually red, black, and white, and popular patterns include spirals and checkerboard motifs, both of which can be traced to their origin stories.
Early history is informed by oral traditions, which claim that the Dogon originated from the west bank of the Niger River (10th to 13th centuries). They emigrated west to northernkibsi. Around 1490, they fled a region now known as the northern Mossi kingdom of Yatenga when it was invaded by Mossi calvary. They ended up in the Bandiagara cliffs region, safe from the approaching horsemen. Carbon-14 dating techniques used on excavated remains found in the cliffs suggest that there were inhabitants in the region before the arrival in the Dogon, dating back to the 10th century. Those Dogon who did not flee were incorporated into Mossi society and were known as the nyonyose, or descendants of the first inhabitants.
Burkina Faso, where local histories describe them as

Social stratification among the Dogon involves a complex ordering of individuals based on their position within various social groups defined either by descent or locality. Groupings include clan, village, patrilineage, and, for men, an age-set or -grade. Each of these groups is hierarchically ordered based on age and the rules of descent, and all of the group levels interact with one another, so that one who is generally well respected within the family will most likely hold an important position within society.



Dogon religion is defined primarily through the worshiping of the ancestors and the spirits whom they encountered as they moved across the Western Sudan. The Awa society is responsible for carrying out the rituals, which allow the deceased to leave the world of the living and enter the world of the dead. Public rites include bago bundo (funerary rites) and the dama ceremony, which marks the end of the mourning period. Awa society members are also responsible for planning the sigui ceremonies, which commence every sixty years to hand on the function of the dead initiates to the new recruits. All of these rites involve masking traditions and are carried out only by initiated males who have learned the techniques needed to impersonate the supernaturals. The leader of the Awa society is the olaburu who is a master of sigi so (the language of the bush). The society is divided in accordance with age-grades, ignoring traditional lineage and hierarchical ordering within the village.

By Steve Forman ismael and thank +BELL CEBALLOS  for all your supportsource Africauima