African ArtFrom the Independence Period Booklet

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THE COLLECTION OF DR. GREGORY LEHNE DR. GREGORY LEHNE IS A PSYCHOLOGIST, SPECIALIZING IN HUMAN DEVELOPMENT

and sexual and gender issues. He has been on the faculty of the Johns Hopkins University School of Medicine, since he completed a post-doctoral fellowship in 1981 with Dr. John Money. He is now retired.

Dr. Lehne’s collecting interests focused on African masks and sculptures, items associated with initiation, ancestor veneration, divination and healing, particularly from the Democratic Republic of Congo (formerly Zaire), Mali, Liberia, Burkina Faso (formerly Upper Volta), and Nigeria during the independence period (1950 to 1980). Ethnic pride became a driving force throughout independence movements which ended colonial rule and led to new nation-states.

Dr. Lehne first became interested in African Art in high school during visits at the Field Museum and the Art Institute of Chicago. His knowledge of African cultural history and art increased through his friendship in Baltimore with one of his colleagues, a seasoned African art collector. Passionate for cultural competence, education and exchange, they developed relationships with some African families. In order to help them raise money for tuition in the US

“The appeal of African Art for me is the stories it embodies about the people and their beliefs and customs. I see African aesthetics as emotionally powerful manifestations of psychological realities.”

“The items in my collection are functional rather than decorative, in that they served a purpose for individuals, families, or a society or ethnic group.”

“There is a tradition going back to Freud of psychiatrists, psychologists and humanists/ intellectuals collecting African art. This is in addition to the well-known practice of modern artists and collectors of modern art also collecting African Art.” —Dr. Gregory Lehne

and projects in Africa, both friends acquired and sold African art to other collectors from the mid1970s to the end of the 1980s.

PENDE: BODY MASK (33” X 10.2” X 7.5”)”

Reserved for the chief, and probably made for display at his ritual house (kibulu), this prestigious figure is known as Pumba.

Symbol of power, fertility and high aesthetics (filed teeth and elaborate coiffure), the figure exudes peace and serenity.

In doing so, they helped build collections such as that of the African Art Museum of Maryland, where Dr. Lehne was a founding Board member in 1980. Dr. Lehne also facilitated the collection of African Art which Dr. Money gave in 1999 to the Eastern Southland Gallery museum in his native New Zealand; they built a new wing to house The John Money Collection.

From 2002 to 2004, Dr. Lehne operated the Traditional-Arts Gallery at the Savage Mill Antiques Center in Maryland. He served as President of the Friends of the Arts of Africa, the Pacific and the Americas (FAPA) group at the Baltimore Museum of Art from 2008 to 2015. He was a significant donor for the reinstallation of the BMA African Art collection in 2014, commemorated on a plaque in the gallery.

All dimensions are approximate size: Height x Width x Depth in inches.

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PENDE: KIPOKO MASK (11.4” X 9” X 12.2”)

Owned by the chief and used at the conclusion of boys’ initiation rituals and important healing rituals, this mask was displayed at the chief’s investiture.

PENDE: DUMBU MASK (22” X 11” X 10.2”)

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Worn during masquerades on the occasion of serious problems and social unrest, illness or death of the chief, this mask’s function was to repel evil and negative forces.

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PENDE: MUYOMBO MASK

(13” X 8” X 4” + HEADDRESS)

Vigorously danced calling forth the spirits of ancestors, and the audience, this mask, like many other Pende masks, was worn almost orizontally on the head.

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PENDE: PUMBU MASK

(8” X 8” X 4.7”+ HEADDRESS)

This chief’s mask embodies both male and female physiognomy which complement each other. The 4-horned headdress resembles headpieces worn by older men.

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PENDE: GALUKOJI DIVINER’S TOOL (12” X 2.7” X 4.7”)

Used by diviners to ascertain the best course of action in a troubling situation, this instrument is composed of a masklike wooden head, feathers, and bamboo extenders. In the hands of the diviner, the head of the galukoji would spring up when the name of the malefactor was spoken or truth was uttered.

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YAKA: SLIT DRUM

(17.7” X 3.5” X 3.5”)

In this matrilineal society, the female diviner would strike the drum (mukoku ngoombu) and chant in a trance state to develop insight into a troubling situation, and might mix healing potions in the drum opening. The diviner’s chant would invoke the lineage.

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SUKU: PAIR OF NKANDA INITIATION MASKS SUKU: KAKUNGU MASK, MALE

SUKU: KAZEBA MASK, FEMALE

Used to ward off evil, and inspire obedience and respect for the tribal elders, these masks appeared at the day of circumcision, at the end of initiation, and at other important occasions. Kept in a special shelter to prevent witches from entering the initiation

camp, they are considered to be the oldest and most powerful types of Suku masks. Vigorously danced, these masks would look menacing. While always presented as a pair, a matched male/ female pair of masks is a rare find.

(26” X 13” X 8”)

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(20.8” X 10.5” X 4”)

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KUBA: PWOOM ITOK MASK

(12.2” X 7.5” X 4” WITH HEADRESS)

Funerals are very elaborate and extensive events among the Kuba, and would involve initiated men dancing this mask. These masks were stored and reused; this mask shows evidence of use and native repair.

KUBA: PWOOM ITOK MASK

(10” X 7.3” X X 4”)

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This classic mask (also called ishyeen imaalu) represents the wise, older man and is used in initiation and other masquerades of the men’s society.

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KUBA: COSMETIC LIDDED BOX (3” X 8” X 2.4”)

This crescent box displays the ancestral Woot knot pattern on the front side, and an abstract representation of a face on the lid. The box was used to hold tukula powder, made from red camwood bark. Tukula is mixed with palm oil for body decoration, for certain rituals, and for medicinal use.

KUBA: COSMETIC LIDDED BOX (7.7” X 5.5” X 3”)

The carved geometric patterns on the sides of these boxes are derived from Kuba textile designs. The textiles are made by women, while the boxes are made by male wood carvers. The lid on this box depicts a Kuba mask, and the box has residual tukula powder.

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KUBA: ITOOM RUBBING ORACLE (2.7” X 11.6” X 2.4”)

KUBA: PALM WINE CUP (11.5” X 4.7” X 4”)

This anthropomorphic carved cup was produced by a specialist carver. Similar cups are prized possessions to display prestige when Kuba men gather to drink palm wine.

KUBA: ITOOM RUBBING ORACLE (2.7” X 10” X 1.5”)

KUBA: ITOOM RUBBING ORACLE

(2.5” X 11.8” X 1.5”)

These wooden rubbing oracles were used by Kuba diviners (ngwoom), who could be male or female. They would determine the cause of illness, misfortune or social malevolence or the best course of action when an important decision had to be made.

A small knob would be rubbed across the top of the instrument while the complaint was discussed or a ritual was invoked. The knob would stop on the surface to indicate the ascertained truth.

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1938 KUBA: IKUL KNIFE (17.7” X 6.7” X 2.4”)

Reserved for higher ranking men, this splendid knife symbolized status and power in Kuba traditional society.

Men tied similar knives to their waist in ceremonial attire.

KUBA: ADZE

(15” X 5.5” X .8”)

This adze is a tool for cutting, and symbolizes an emblem of leadership for male and female titleholders. The Kuba decorate even functional objects.

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CHOKWE: MAKISHI MASK

BINJI: MASK (10” X 7.5” X 10.2”)

The Binji are a small ethnic group related to the Kuba. Their society is divided into castes.

Similar masks were used in men’s initiation rituals which celebrate young men’s new status in society.

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(22” X 13.4” X 15”)

Created in the 1960s

by Lishimu Samuhala, a Chokwe man from the Barotseland area in Zambia, this bark and fiber mask was danced at elaborate masquerades following the circumcision and initiation of young men. The mask represents a royal ancestor that supports valued aspects of manhood.

Created in the initiation camps, similar masks were discarded at the conclusion of the initiation ceremonies.

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CHOKWE: CHIHONGO MASK

(9.8” X 6.7” X 4.3”)

Representing Chihongo, the primordial Chokwe male ancestor, this royal mask characterizes power, wisdom, wealth and leadership status.

High-ranking members of the men’s society wore similar masks, especially during initiation celebrations.

CHOKWE: CHIHONGO MASK (9” X 5” X 3.9”)

This dramatic mask is another representation of Chihongo.

The chin on this male ancestor mask represents the beard of the chief. While primarily danced at male initiation, it would also be danced at other important occasions.

The cruciform design on the forehead represents the four cardinal points of the universe.

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CHOKWE: HUNTING WHISTLE

(4” X 1.7” X 1.6” + STAND)

This exquisitely carved whistle with an anthropomorphic figure is used by the leader of the hunt to alert other hunters or call the hunting dogs. This whistle can produce three distinct sounds. It is pierced for hanging on the neck. It protects the hunters from harm and brings luck to the hunt.

CHOKWE: MWANA PWO MASK (8.3” X 6.7” X 3.5” + HEADDRESS)

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This mask represents Mwana Pwo, the Chokwe female ancestor and partner of Chihongo. Representing idealized female beauty, refinement, serenity and grace, it would be danced at entertainment festivities by a male dressed likea female.

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DAN: MASK

(10.2” X 5.9” X 3.5” + STAND)

MBALA: FIGURATIVE BOTTLE STOPPER (4.3” X 1” X 1” + STAND)

The Mbala people have important ancestor cults limited to a few generations.

Named Pindi as a reference to the original inhabitants of the area, this miniature masterpiece surmounted by a carved figurehead was used as a bottle stopper.

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The Dan produce many different masks which deal with aspects of Dan society and are danced during masquerades. Masquerades deliver messages about harmony, cooperation, peace, justice, and other important values shared by the community. An agrarian society, the Dan carved similar masks which functioned in warding off fires that threatened the crops.

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DOGON: TINTAM FIGURE (20” X 3.5” X 4”)

The Dogon have a complex cosmogony and metaphysical system. All aspects of life must be aligned with the structure of the universe. Dogon mythology is at the core of the society. The Dogon worship ancestor figures like this, which they make offerings to and pour libations over for the benefit of the community.

DAN: MASK

(9.8” X 5.9” X 3.5”)

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This highly unusual Dan We mask displays a coiffure topped by horns. The encrusted grey brown texture results from libations, believed to “empower” the mask by spiritually “charging it” before masquerades. Unlike other masks discarded after performances, these masks are passed down from generation to generation.

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LOBI: BATEBA SPIRIT FIGURE (19.7” X 3.5” X 3.5”+ STAND)

These figures (bateba) are placed in shrines for protection from malevolence. They are thought of as living beings, and are believed to communicate with supernatural spirits (thila) which have a controlling influence in the village. This solemn guardian figure’s expression could either be associated with mourning or meditation.

LOBI: BATEBA HERMAPHRODITIC FIGURE (26.4” X 5.9” X 5.9” + STAND

The significance of this spirit figure (bateba) with both female and male characteristics is unknown.

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YORUBA: FLYWHISK HANDLE WITH ANTHROPOMORPHIC FIGURE (11.8” X 2” X 2.4”)

The Yoruba have numerous deities known as orisha, part of an elaborate mythology. Used as a ritual or prestige item as part of ceremonial dress, this flywhisk once had horse tail-hair attached. This figure depicts a dignitary whose smile reveals filed teeth, a sign of high status and aesthetics.

MOSSI: MALE FIGURE (21.2” X 8.7” X 3.7”)

This empowering and protective male figure represented a village chief, who would own it along with other figures of his royal ancestors. Upon the chief’s death, the figure would become his memorial. Displayed during annual ceremonies, similar figures protected the men’s society.

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IGBO: ALUSI SHRINE FIGURE (50.4” X 7.9” X 5.9” + STAND)

Located in Southeastern Nigeria, the Igbo are now a majority Christians. Their shrine houses kept multiple large figures like this one. An important part of Igbo village life and under the care of a priest, such figures honored deities called Alusi and were dressed and paraded through the village during annual celebrations.

IGBO: MAMI WATA FIGURE (19.2” X 11” X 6”)

This mermaid figure and water spirit has become a classic symbol of the African diaspora, especially in the Caribbean, and in Haitian voodoo. Gifts including food, drink, perfume or jewelry might be offered to the figure. The Igbo were one of the main ethnic groups in the Atlantic slave trade, which may account for their traditional objects becoming part of diaspora traditions in the Western hemisphere.

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BAMUM: HELMET MASK (10” X 7.5” X 8.7”)

The Bamum have a hierarchical structure headed by a king (Fon), and great reverence for their ancestral lineage. The spirits of the ancestors are believed to reside in skulls, which are venerated, or wooden heads such as this helmet mask, which were stored in a special dwelling of the eldest living male of the lineage. Anthropomorphic helmet masks with naturalistic features like this one were highly valued and used in private commemorative funeral ceremonies.

HELMET MASK

(14.2” X 11.4” X 13.4”)

Used in commemorative ceremonies and public festivals, helmet masks from the Grasslands of Cameroon embodied the authority of the Fon (king) and oversaw social functions including situations of wrongdoing.

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NDEBELE: JOCOLO BRIDE’S APRON

References:

Among the Ndebele ethnic group in South Africa, a bride might be given a leather panel by her husband’s family, on which she would embroider a geometric pattern with beads. Known as Jocolo, this apron is worn as part of a woman’s wedding costume, and on ceremonial occasions to indicate her marital status. The five flaps may represent future children.

Bourgeois, A.P. (2014). Yaka. Milan: 5 Continents.

(25.2” X 18.9”)

Felix, M. (1987). 100 Peoples of Zaïre and their Sculptures.

Brussels: Tribal Arts Press.

Haskins, J. & Biondi, J. (1995). From Afar to Zulu. New York: Walker and Company.

Jordan, M. (2006). Makishi: Masked Characters of Zambia. Los Angeles: Fowler Museum at UCLA. Roy, C. (1992). Art and Life in Africa. University of Iowa Museum of Art distributed

by University of Washington Press.

Strother, Z.S. (2008). Pende. Milan: 5 Continents.

Contact: greg.lehne@gmail.com

diala.toure@gmail.com

Copyright © 2020 Text: Gregory Lehne & Diala Touré Photography: Joseph Hyde Design: www.KTDCreative.com Printing: Peabody Press

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