Lesson Objectives: How do I use my lessons and knowledge of African Art to create a modern piece of art?

Creating Tingatinga Paintings
http://www.africanart.com/index.aspx 

Take a close look at these paintings.

What is the first thing that grabs your attention?
What do you notice about the colours? 
How are lines and shapes used in this composition?
Can you explain what the theme is, in each work?
Would you describe these paintings as realistic or abstract?

Tingatinga paintings originated in Tanzania by the artist Edward Saidi Tingatinga in 1968. Edward began his work painting under a Baobob tree. His work consisted of bright, bold colours, simplistic designs, inspired by his surroundings.
He taught six painters his techniques for painting, using bicycle paints. He lived a short life, to the age of 35. After his death, those six painters who learned about his painting styles and techniques taught many others and the style spread across the world.
Today Tingatinga Paintings are primarily made in Tanzania and Zanzibar, but are exported to other areas of the world.
In fact in areas such as Kenya, these paintings sell for an extreme amount of money.  

Tingatinga paintings are known for using an impressionist style of work, revealing the beauty of Africa.
Tingatinga expresses the unique, vibrant and eye-catching, bold, colours of Africa, in their compositions. 
Distorted images are used in the creation of the original African animals.

Let'sTingatinga!
Warming Up... Rapid Draw!!!
On an anchor chart in your sketchbooks, copy down the word "AFRICA".
While the song, http://www.youtube.com/watch?v=Qu20STvR1tQ&safe=active, Best Three African Music Ever is playing, begin to draw any of the images, words or descriptions that come into your head, whilst listening to the music.
Sketch ANYTHING you think of when you hear the word Africa. Allow the music to inspire your imagination.
Don't stop sketching or writing until the music stops! Keep your ideas and imaginations going!

Step One:

Have you ever been to the zoo?
1.Which animals are you really drawn too, (zebras, tigers, giraffes, elephants, monkeys, etc..)?
2.Choose your favourite animal from the zoo, as inspiration to begin your work. 
3.Start by thinking about the placement of your animal within the composition.
4.Where do you want your animal to be? Do you want to draw one animal as the central focus of your piece? Would you like to draw the same animal in different perspectives, to consume your composition? 
5. Now begin by sketching out the simple shapes of the animal on a blank sheet in your sketchbook.

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Step Two:

6. Begin adding shape and detail to your animal(s), to make them more realistic. Be creative with your style and techniques, add a little character to your drawing that is unique to you!

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Step Three:

7. Now let's think about your background. Look back at your anchor chart, Rapid Draw.
In your opinion, what can you imagine Africa would look like, if you could see it in person? Describe the colours you imagine. What would the landscape look like?
Use this inspiration to create a composition.
Where will your animal(s) be placed in your African landscape?
What colours will you choose to describe the area?

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Step Four:

8. Create a quick sketch of your background. What images are you choosing to include? Where will you place these elements in your composition to create a balanced piece?

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Step Five:

9. Let's begin painting!! Start by creating a colour palette. Think about the colours that you imagine when you think of Africa, how do you want your composition to stand out?
Will the colours you choose reflect Africa?

Example of Work By Year Seven Student.

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Step Six:

10. Begin adding details to your animals. Make them stand out in your composition to become the central focus of the piece.








Example of Work By Year Seven Student.

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Step Seven:

11. Complete the final details and outlines of your background and animal to create a fluid piece of art work. Submit finalized work.


Example of Work By Year Seven Student.

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Year Seven TINGATINGA!!

No matter how mighty and strong a tree is, it will always dance to the tune of the wind" -African proverb-

Get Inspired! http://www.youtube.com/watch?v=nzuSNJBe3DU

Djembe Drums
Means, "Everyone
Gather Together"

Shaker Gourd Small

Shaker Gourd Large

Talking Drum

Karl Wolfe: Africa
http://www.youtube.com/watch?v=uhvwteLly6E&safe=active

What do you know about music in Africa?

African culture is rich in variety and musical inspirations. Music creates a sense of "together-ment", in many cultures. Music is meant as a way of communication. Traditional African music could be decribed as "functional in nature", pertaining to the ideas of marriage, childbirth and hunting. Language barriers can be brought together connecting communication to culture; example, the talking drum. You could say music, can help define the diversity of African Cutlure, influenced by language, environment and political changes that have occured throughout African History.
 Many to most of the traditional African instruments are hand-made.
Music is also very closely tied with ritual performance and dance, varying from Rumba, Salsa, Samba, Rythym and Blues.

Traditional African Instruments Include: Musical bows, a wide range of drums, many wind instruments, xylophone, talking drums, shakers and rattles, rain sticks, double bells and various types of harps.

Here are some ideas to get you started!

Here are some African patterns to inspire your designs!

Get Creative!! South African House Music: http://www.youtube.com/watch?v=kwClBtjtN0g&safe=active

So Everyone Gather Together!
1. Choose the instrument you would like to construct. What part of the class band would you like to play.
2. Begin gathering the materials you think you will need to construct your instrument.
a) Think about things like:
Will your instrument be a drum? A rattle or shaker? Rain stick? Bells? Harps? 
How will you design your instrument to look and sound like those materials?
What will your instrument sound like?
Can your instrument be able to produce different sounds and tones, or simply one sound or tone?
Can your instrument serve two purposes; be two instruments in one?
b) How about things like:
What will your design look like?
Think about the patterns and colours. Will they be bold colours? Animal Prints? Earthy-Inspirations? Other...?
What inspires you about Africa? Use the images that you thought of during your rapid draw. When you hear the word Africa, what things come to your mind?
3. Which materials or medium is best used to put your work together? Why did you choose those that medium?
4. How will your entire instrument come together?

African Textiles

Adinkra
Adinkra textiles are printed of designs made with black dye. This dye is created from the bark of trees, using stamps carved from sections of calabash.

Francophone
 Mostly blue and white 
striped cotton cloths were created as a Francophone style of textiles. Plain white cloths were dyed with indigo.

Asante Kente
Kente is the most, well- known and appreciated pattern of all African textiles. Many kente cloths use silk as a decorative technique for the  
background on a striped cotton cloth. The finest cloths however, were prepared 
using silk for royalty.

Ewe
Ewe textiles are known as the highest expression of African textiles.  Gently weaving fabrics together, (similar to a basket), in various striped patterns and colours. 

Asafo
Asafo is a type of African flag, which includes brightly coloured figures and decorations relating to the important proverbs of the culture. Companies would use flags to show wealth and progress.

Nigerian Women
Women weavers are said to create distinctive styles of  ornate cloth, including cloth with decorations or art. These fabric bands, look as though the decoration floats. These designs usually represent animals, such as crocodiles, frogs and elephants.

Adira
Adire is essentially tie-dye. The earliest cloths were simply tied designs on locally-woven hand-spun cotton cloth.

Nigerian Men
A deep blue, almost black, indigo dyed cloth was used by Nigerian men. This cloth was so dark that it became a costly
dyeing process, which involved many dying processes in fresh pots of indigo.
 Very thin warp and weft stripes, were often created, by using only a single thread in
width, of lighter blue.

Want more information?....Take a closer look! http://www.adireafricantextiles.com/res03.htm

Look at the textiles above. Think about the textile which draws your attention the most.
- In a 10cm by 10cm box, create a mini sample of the pattern you would like to create. Be sure to present your work neatly in pencil first, then complete your sample work using coloured pencil.

- When your sample is complete, begin with an A4 sheet of loose paper. Divide your page, using a ruler into equal strips for the patterning you have chosen to do from your sample. 
DO NOT CUT OUT YOUR STRIPS YET. 

- On each of the different strips, create your pattern, first in pencil. Draw your pencil lines in lightly in case you need to make adjustments. 
BE CREATIVE WITH YOUR DESIGNS! Choose something that is representative or unique to you, and find a way to incorporate it into your textile.

- Once your designs are complete, begin cutting your strips on the straight and equal lines you have created with your ruler.

- Choose where you want to place the different mixed media, (between tissue paper, coloured pencils and pastels) in the strips you have created.

- Experiment with the placement of your strips. How do you want your strips to interweave?

- When you are happy with your placement and weaving of your strips, use your mixed media to create your patterns and blocks of colour.

- Take a step back from your finished work and add any extra details to finalize your textile.
Ask yourself.
Do my textile resemble the prints made in African culture?
What element did I add to my textile to make it more unique to me?

AfRiCaN mAsKs!
For additional information visit: http://www.artyfactory.com/africanmasks/design/design.htm

Let's Look At The Various Types of African Masks and What They Are Used For:
Many cultures reside in Africa, amongst these cultures are various traditions, rituals and spiritual meaning behind each mask and why they are worn in traditional, African ceremonies.

Baule Mask
Used during tribal dances during harvest festivals to honour visitors. It is also used at the funerals of important figures.

Goma Mask
The Goma people come from around the northern shores of Lake  Kivu, 
in the Democratic  Republic of the Congo, an area which experiences earthquakes and eruptions from the Nyiragongo and Nyamuragira  volcanoes.

Lulua Mask
Masks are typically rare, however, when they are used they are usually created with  geometric pattern and colored with a reddish pigment. The Lulua are famous for decorating their bodies in marks and tattoos. The pointed elements on the top of the head of the masks, represent the Lulua hairstyle.

Senufo Mask 
The artists who design these masks have a high status in their society. These masks are believed to have the power to help communicate between the living and the dead ancestors. 
These masks are used in a male organization to educate young men in the traditions and their responsibilities as they grow older.

Bimbo Mask 
Worn during tribal rituals and ceremonies.

Kota Mask
Kota are sculptural figures carved in wood and covered with sheets of brass or copper, which is said to increase their  power.
Their figures  have very stylized heads and simple shaped bodies.
Their faces are oval. A convex surface represents males and a concave surface represents  females.

Lwalwa Mask
Worn by men, these masks play an  important part in Lwalwa dancing celebrations, especially in the rituals of the ‘bangongo’ 
society, who are responsible for the transition for young men into adulthood. 

Teke Mask
Moon shaped masks that are worn by members of the Kiduma. Kiduma was a secret society in charge of social celebrations and rituals.

BWA Mask
Believed to possess special powers which are controlled by those who
wear them.

Kwele Mask
Kwele mask is said to protect the people against the  power of witchcraft using the 'beete' ritual. Kwele people believe in witchcraft and blame all their personal  and social ills on its' influence.

Pende Mask
A combination of the features of both human and buffalo, these masks would be hung above the door or  window of a chief’s dwelling to
communicate with the spirits during rituals.

Woyo Mask 
Carved for the ritual dances of the 'ndunga', a male society responsible for maintaining social order. The colors used hold symbolic meaning and can sometimes be repainted in order to renew its power.          

Dan Mask
These masks are sacred objects, used for protection and as a channel
for communication with the spirit world. The Dan also carry small 'passport masks' for personal protection when they are living away from home.

Ligbi Mask
Used in the celebration of Islamic holidays, including Ramadan. Dancers who wear these masks are noted for  their elegantly synchronized movements.

Punu Mask
Represent the idealized beauty of Punu women. These masks were only allowed to be carved by the men of Punu.

Yohure Mask
Used in dance rituals to help villagers accept the death of one their ancestors. These masks represent the Yu spirits, which restore social balance.      
Considered very powerful but also dangerous object, which must be
kept out of sight of women, for fear of the effects that  the supernatural powers of the Yu spirits may have on them.

The above African Masks come from many different African cultures across the country; Let's take a closer look!

Waka Waka, This Time For Africa: http://www.youtube.com/watch?v=Ntn1-SocNiY&safe=active

Re-creating Ritual and Tradition

Look at the various masks on the screen.
a) Which mask draws your attention the most?
b) Why do you think that particular mask is the most interesting to you?

Will your two-dimensional mask be a representation of the values and reasonings why this mask was created?

Choose your favourite mask to draw on A3 paper.
Things to consider:
c) Explain why you chose that mask to re-create in your own way?
d) What patterns and colours will you include in your mask, according to the details you have read about?
e) Describe your technique; how are you putting your final work together from beginning to end?

Designing Your Mask:
Create simple facial features on your mask. This will help to communicate your ideas quickly and allow the mask to become more visible from a distance. Simple features will also allow your mask to have a greater expressive impact on the viewer.


Step One: Choose two different pieces of coloured tissue paper and cut them in half. (Be sure to make them large enough to fill the negative space of your page)
Step Two: Create the basic shape and outline of the mask of your choice in pencil and carefully cut it out.
(This shape could be oval, circular, rectangular, elongated, heart-shaped, animal-shaped or human, or any combination of these.)

Step Three: Designing the eyes. Draw in pencil the look of one stylized eye on one sheet of the tissue paper. Cut out the eye carefully and neatly, flip it and trace it over the exact same position on the other side of the face, (second sheet of coloured tissue). Cut that eye out carefully as well.

*Each pair of eyes should be looked at as basic shapes. Use your maths skills to help you decide which shapes you will choose and how you will make your work symmetrical.*

Remember, you want your work to be balanced and consist of symmetry. Be sure everything you do is done neatly and properly to get the right angles and proportions. Where you decide to place your mask's facial features and details is up to you and the mask you are choosing to design.

Step Two:

Step Three:

Step Four: Designing the nose. Think of a design for your nose. Similar to the technique you used to create the eyes of your mask, trace the outline of your stylized nose on one colour of your tissue paper and cut it out. Flip it over, so you create a symmetrical image, and trace the other half of the nose onto the other coloured tissue paper and cut it out.

By now the facial features (eyes and nose) of your masks should be alternating in colours of tissue paper. Begin to glue down the outline of your mask's face and other features to your A3 sheet.

Step Four Part One:

Step Four Part Two:

Step Five: Designing the mouth. Similar to your eyes and nose design, you will use the same technique to complete the stylized mouth of your mask.

* Remember that although the example images show the facial features of a normal position and proportion on the face, you do not have to follow this arrangement.  By creating a different way to arrange your facial features on your mask, you will also be creating different expressions for your mask.

Step Five Part One:

Step Five Part Two:

Step Six: Decorating the face. Think about different markings or tattoos you have witnessed on the example masks above. What do they look like and include? How are they placed on the mask? Are they symmretical?

Use various colours and pieces of tissue to create your patterns and decorations. Be sure to make each piece symmetrical to the parallel piece on the other side of the tissue. Begin with pencil first, trace your markings and tattoos to another piece and glue on accordingly.  

Symmetry allows for unity and dignity in African cultures.

*Remember, these decorative features are used to communicate different meanings, ideas, religions, magic and rituals, as well as social status in these different African communities.

Step Six:

Step Seven: Designing the hair.  Using any colour of tissue paper, create using pencil, a stylized design of hair or braids to place over one half of your work. Carefully cut out your hair/braid and trace the same image to another sheet of tissue paper, remembering to flip it over, so that your work is symmetrical.

Step Seven Part One:

Step Seven Part Two:

Step Eight: Adding your own personal touch. What are some other elements you could add to your mask to make it unique and complete? Think about different mediums, such as paint, pastel or felt-tips. Be creative with your ideas, and present your work neatly. Submit for marks with your name and date written on the back of your A3 sheet.

Examples to Inspire Your Own Ideas:

This Time For Africa, Year Seven!

AFRICAN MASKS IN 3D!
Moving From Paper to Clay

Let's Take A Look At Making Masks Out of Clay!
http://www.youtube.com/watch?v=L4-4QOrAo-k

Oh Africa! http://www.youtube.com/watch?v=YI4sDx6SGwA&safe=active

Start Moulding Your Mask:
Step One: First begin with a mask template. On a blank sheet of paper, draw out what you want your mask to look like. Create a basic design and outline with shapes that are big enough to carve.

Here are some ideas for you to get started, of typically used facial features
 in African Masks:

Typical Eyes:

Typical Lips:

Typical Noses:

Step Two: Once your mask template is complete, collect your slab of clay and lay it onto your protective work space.
Step Three: Gently push the clay and smooth out any inpurities so that your clay will not break or crack at a later time. Place your mask template carefully over your clay, in the position you want to carve it in.
Step Four: Begin carefully and gently cutting around your template to create the outline of your mask, using your carving tool.
Step Five: Once your outline is carved and completed, use a pencil or wooden tool to cut out the details of your mask.
Trace over your template designs on your paper into the clay. Be gentle and careful in your process, as not to break the clay. You are simply tracing lines from your template into the clay. This will leave an impression.
Part Six: Now you must work quickly and efficiently with the clay. Begin using your tools to press into the outlines of your clay and dig out the excess bits you no longer need. Smooth over any bumps or imperfections to create a smooth working space.
Part Seven:  Add light "score marks" to the areas of the mouth, nose, and other areas of your mask that will need added clay. These score marks allow you to add layers of clay onto your mask without the pieces falling off.
Part Eight: Keep a small container of water to dip your fingers into, to allow you to work quickly with the clay. You only need little amounts of water at a time on the area of the mask you are currently working on. From your extra clay, create your next layer for your mask, (i.e. a nose). Add a little water to the back of your next layer as well and place it on top of your mask and press down gently, smoothing out the clay nicely as you go.
Part Nine: Gently, yet firmly, mould the extra clay onto your mask, pressing the layers into one another. Smooth out the clay as you go, creating a fluid edge.
*For each small layer of clay you add, you must add a little water to both the mask and the back of your extra pieces in order for them to stick properly and create an easy technique for you. Continue this process for every layer you add.
Part Ten: Once you have created your layers., begin moulding them with your fingers or tools into the shapes you would like them to look like. Think about the video you watched at the beginning of class* (For instance, if you are creating a nose, you will want to see the shape from top to bottom form into nostrals and look as though it is coming out of your mask)
*Naturally, you may not be able to finish your mask in one sitting. In the event that is happens you must wrap your clay with a damp cloth. Place your mask, covered in cloth inside of a tightly sealed, plastic bag.
Part Eleven: Complete "Part Ten" until your mask has been sculpted to your liking and leave out for the clay to dry. Be sure that all sides and edges are smoothed to create a professional and neatly presented finish.
Step Twelve: Be even more creative!! When your clay mask is completely dry, being adding different coloured paints to make your mask unique to you and stand out!

Year Seven, Making and Moulding, African Masks!