VNRP, NPJN, and Per Plurima Plura

Of  all the varied Cultural  Grails of  American Capitalism, none is more poignant, and consistently heartbreaking, than watching the elusive quest of “e pluribus, unum” morph into “per plurima, plura”.

Many African tribes have used initiation through “secret” societies as a cultural tool in developing a Value, Norm, Ritual, and Punishment system. This system however runs into differences due to scale, environment, wealth, and religious differences. In a nutshell therefore, after some analysis, one can only surmise that “e pluribus, unum” can only really succeed on a psychological level where the following (somewhat adjusted), popular quote holds,

“We hold this truth to be self-evident, that all men are created equal”…

Beyond this simple phrase one may easily disenfranchise atheists, homosexuals, and /or agnostics.  We may be reaching for too much, and it never worked in the fable titled “the dog and the bone”. In this story a dog with a bone in his mouth, caught a glimpse of his reflection in the water. In an attempt to get what he perceived to be the bigger bone he lost the very bone he possessed!!

But I digress…. I came across the amazing procession of the Filipino religious procession of the Black Nazarene ….. an extreme example of a culture dialed in to a VNRP system.

E1 The Black Nazarene

The Black Nazarene, known to devotees in Spanish as Nuestro Padre Jesús Nazareno (abbreviated as NPJN, Filipino: Mahal na Itim na Nazareno, English: Our Father Jesus Nazarene) is a life-sized, dark-coloured, wooden sculpture of Jesus Christ carrying the cross, believed to be miraculous by many Filipino Catholics. Originally fair or light-complexioned, it turned dark after it was exposed to fire on its arrival from Mexico. The image is currently in the Minor Basilica of the Black Nazarene in Quiapo, Manila, Philippines, where it is venerated with the weekly Friday Novena Masses and several annual processions. The most famous of these is on January 9, celebrating its transfer (Traslación) and enshrinement in the Basilica, and is attended by several million devotees.^[1]

E2 The Black Nazarene Procession 2012

 

 

[1] http://en.wikipedia.org/wiki/Black_Nazarene

E1 http://en.wikipedia.org/wiki/Black_Nazarene

E2 (AP Photo/Aaron Favila) 010912

Collector’s Log : Star Date 12/07/11 3:00am

I purchased a BandSaw in the summer of 2011; actually I purchased a couple (both used), just a day apart. The first was a neat little Delta 1/5 HP piece of delicate machinery, a woodworking dilettante as it were, which I quickly figured was simply a life-lesson in bad spend. The second (at half the price of the first) is a Sears 1HP pugilist which has proven it can go the distance, while at the same time not requiring a PHD thesis to understand. The more astute craigslist reader would recognize the implication of referring to one saw using ‘was’ versus ‘is’.

The first eureka moment was being jolted awake with the realization that I could possibly create the mounting bases which I absolutely admire, (say eight degree bevel), by using the tilt head capability on the band saw. Now, while this leap of architectural creativity may seem miniscule to some, one should keep in mind that my workaround was to have a straight edge base with a beveled top edge, (yes, I had purchased a router with attendant tips). This is where the Mangbetu came in.

Mangbetu : Off-center beveled,mount

Having received several pieces of African Tribal Art and Statuary the prior week, it seemed strange that two pieces were (disconcertingly) not centered. My first idea of course was to cut (surgical gene, using the newly “discovered” technique) the offending side of the mount, sand, repaint, and gloss. Unfortunately the piece would then lose some character. The base itself showed some age, and wear, which I preferred to retain. The next option was to move the mounting pin a half-inch to the right, a simple but effective alternative. Truth be told I would have cut the base, but there are rules when living in an apartment building, and revving up the band saw at 3:30 am is never a good idea.

Mangbetu Statue : Female

Fortunately I did spend some time looking over, and cleaning the Mangbetu. I discovered a couple filled-in spots, which were fine, not detracting from the general appearance. What was surprising was that I began to tick off a couple “art appreciation” points. To be brief, the feet, calves, and legs are thick in the cubist style, nice mature figure and stomach, broadening of the upper arms and shoulders, thick neck, contoured chin, proud uplifted heaven directed stance. The other main observation was that most of the extensive Mangbetu scarification was cut or “grooved” versus keloid “raised”, (see Dengese). From the following description this is a painful process.

In the Bamileke country, in southern Cameroun, the artist uses three instruments: a long iron needle, a knife with a wooden handle and a curved blade, and a triangularly shaped native razor. The design is first traced lightly with the knife, then touched up with the razor or needle; the needle is inserted into the marked area of the skin to raise it, and the necessary amount of flesh is then cut away with the razor.

6:45am time to get moving.

Ethnologists, Exasperation, and Epa

While Collecting African Tribal Art one comes across the herculean exploits of the Epa masqueraders. The substructure of the mask is a grotesque form consisting of bulging eyes, and features. The superstructure conveys different motifs and can be in stark contrast to the janus type support.

In the late 1970s J. Oyo indicated that there was substantial variation in the form and function of various Yoruba masquerades. The main ones identified were as follows,

• Egungun, which could be ancestral, or entertainment based, and found among Oyo Yoruba groups.
• Agemo, Agbo, and Ekine which are found among the Ijebu,
• Gelede, found in the Egbado,
• and Epa, found mostly in the Ekiti region.[1]

During the week ending 120311 we added the first EPA mask (shown below), to the collection. The mask is approximately 50″ high, over 60lbs, and displays a dog with pup, grasping a goat, while having a hen on his back. The mask conveys fertility, and caring, while at the same time covering all the sacrificial bases normally associated with Epa related deities.

Epa Mask

The names of the headpieces, as well as the names of individual masquerades, are based on the sculptural motifs on the superstructures of the headpieces. These motifs include mothers with children which are connected with the Yoruba’s desire for plentiful issue; warrior motifs which reflect the wars waged against the Ekiti and Igbomina in the past; and motifs based on Qsanyin, the god of medicine; these emphasise another attribute of this group of masquerades as giver of physical and spiritual health, (J. Ojo 1978)

 

E1 - Epa Mother_Child motif

According to J. D. Clarke, the celebrations of the Ora people are somewhat different. In this instance of the celebration, Epa is believed to have been a great craver, who is a principal Orisha of the Ora people, and who watched over the fortunes of the community. This to some extent explains the arrav of carved and painted masks which are put on display during the festival.

E2 - Epa Oloko mask, Bamgboye, 1930

Some of the masks are four feet high and two feet broad. The principal mask is called Oloko (lit. “he who has the farm”) and represents Ekun, the Leopard, shown as an animal jumping upon the back of another animal. The mask next in importance is Agbo, the Ram, followed by Aja, the Dog. Olomoyeye, the Mother of Children, a mask representing a woman seated, surrounded by many children, and Ologun, the Warrior, a man on horseback also surrounded by children, are two other important masks. The majority of the smaller masks depict rams with long horns, or dogs with long tails.[2]

 

One distinct difference was that the festival witnessed by Clarke (1944), involved tests of manhood and strength, demonstrated by wearers of the Epa masks jumping on a mound approximately three feet high. Ojo (1978) also disputed the weights of the mask as not exceeding sixty pounds.

E3 - Epa Jagunjagun mask, Warrior motif

Yet another perspective is provided from the Opada people in Egbe, where the Epa festival is celebrated to commune with their deity.

The Epa day is preceded by a seventeen day notice to the entire community, the notice affording time to re-establish the legitimacy, and legality of the Epa festival for that year. An announcer, who is also a clan member goes about with his agogo (local bell) every evening to remind people about the great festival on the way.

    The worshippers build a statue to symbolize the Epa deity. On the day of the celebration, the image is carried by a designated member to Irele (Shrine) of the Epa. The Shrine is at the forest of Epa situated at the outskirt of the town. The Opada clan, (the custodian) of Epa is comprised of four sub-groups, each of which possesses its own statue for Epa. At the Epa forest, each presents its image to appease the deity with different animal sacrifices.

S/N	Sub-Clan Name	Name of Epa Statue	Animal Sacrifice
1	Idare	Ajigbopon	Cock
2	Abude	Somlao	Goat
3	Irokoo	Awojagbinrin	Dog
4	Oke Oba for Oba Opada	Olomoyeye	Goat

 

The author concludes that the festival provides more ample opportunities of appreciating the culture, since the value judgement of the participants for their culture is rekindled, re-orientated, and re-solidified. This is important in the face of the gradual erosion of the cultural values by westernization, actualized through education, technology, and religion (Christianity, and Islam).[3]

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[1] http://www.jstor.org/stable/2801941 The Symbolism and Significance of Epa-Type Masquerade, 1978, J.R.O. Oyo, pg.456.

[2] http://www.jstor.org/stable/2844297  Three Yoruba Fertility Ceremonies, 1944, J. D. Clarke.Three

[3] http://www.unilorin.edu.ng/publications/balogun/Doc1.pdf  Okun Orature: The Socio-Cultural relevance of ‘Agiri’ and Epa Festivals, 2007, Jide Balogun.

E1 http://www.jstor.org/stable/40793609  A Yoruba Epa Mask, 1997, Fasiku Alaye

E2 Yoruba, Sculpture of West Africa, W. Fagg et al, pg. 21

E3 Yoruba, Sculpture of West Africa, W. Fagg et al, pg. 21

Five things one should know about the Mangbetu

The statuary of the Mangbetu tribe is outstanding if only from the questions they generate, and their unique looks, incorporating full body scarification, and aspects of head elongation. On a personal note Collecting African Tribal Art goes beyond simply hoarding, and trading, In this case, the piece below led to research which introduced me to the music of Nina Simone, her life story, her contribution to the civil rights movement, and her commitment to developing her musical ability.

Mangbetu Statuary (AplusAfricanArt.com)

Location

The Mangbetu are located in the northeast area of the Democratic Republic of the Congo.

Head Elongation

The Mangbetu had a distinctive look and this was partly due to their elongated heads. At birth the heads of  babies’  were tightly wrapped with cloth in order to give their heads the streamlined look. The practice began dying out in the 1950s with the arrival of more Europeans and westernization. Because of this distinctive look, it is easy to recognize Mangbetu figures in African art. [1] Cranial deformation may have played a key role in Egyptian and Mayan societies. Queen Nefertiti is often depicted with what may be an elongated skull, as is King Tutankhamen.

Nina Simone Rocked the Mangbetu Hairstyle [3]

Mangbetu Hairstyle 

“]

Mangbetu Hairstyle [E1

 Language 

The Mangbetu language is phonetically distinct from other languages in that it possesses both a voiced and a voiceless bilabial trill. [4]

Music

The Mangbetu have a good reputation for the quality of their art, and music (see for example the Mangbetu harp).

[1] http://en.wikipedia.org/Mangbetu_people

[2] http://en.wikipedia.org/wiki/Artificial_cranial_deformation

[3] http://en.wikipedia.org/wiki/Nina_Simone

[E1] http://lamutamu.com/?s=mangbetu

[4] http://en.wikipedia.org/wiki/Mangbetu_people

Hating on Yombe

I  have a disturbing love/hate thing going on with Yombe maternity figures, and to a lesser extent Songye fetish figures.  This probably started in 2010 when I photographed a “phemba” at the Brooklyn Museum, and in a flash I was hooked.

Yombe Maternity Figure : Brooklyn Museum, NY

Tribal African Art doesn’t get more beautiful than these pieces, and collecting really has it’s own rewards. I guess at first glance it might be hard to relate to the filed teeth and all, but there is a deep spirituality associated with the concepts of birth and death that is uniquely handled by the Yombe!

Yombe maternity groups, called phemba, were used in association with women’s cults. While little is known about the meaning of different phemba iconographies, two main variants can be identified: a cross-legged woman with a “lifeless” infant on her lap and a cross-legged, kneeling or crouching woman with a living infant.[1]

Yombe Maternity Figure: Sotheby's 05/11

The phemba shown above was in the collection of Robert Rubin (acquired in 1984), and sold at a Sotheby’s auction (05/11), in NY for $US1.87 mil.

The frustration of trying to find one (read as cheap), pretty much covers the “hate” side of the equation. Maybe it was the Red Bull, followed by a cappuccino mix, but at auction time week ending 11/11/11, I was pretty much as primed to shed some cheese as Imelda Marcos in a Louboutin sale. The phemba which I could not afford, but which I purchased anyway is shown below.

Yombe Maternity Figure

One of the fascinating aspects of the sculpture is the facial expression, and the impression of restraint, and strength, shown alongside the gentle cradling of the infant’s head. These figures possibly are connected with mpemba, a women’s cult said to have been founded by a famous midwife (circa 1770), and concerned with fertility and the treatment of infertility. They are popular among the Kongo peoples of western DRC (formerly  Zaire), especially among the Yombe.

The figure shown, illustrates a person of high rank in society, as testified by her cross-legged pose on a pedestal and her many body adornments. The chiseled teeth, the corded-firm breasts, the close fitting “mpu” hat, and especially the raised scarification marks indicate ideals of beauty and perfection. The double bracelets around her upper arms imitate protective charms called “nsunga”; made of plaited or braided raffia fibers, they are worn by religious experts and by ill people as a cure.[2]

Yombe Scarification/Cicatrisation

Meant to stimulate sexual pleasure, the scars were considered both beautiful and erotic, but they show the strength, nature, and character of the women as well.

During their ritual use, the surfaces of the figures were rubbed with a reddish mixture of oil and camwood powder, both a cosmetic and a sign of mediation. In Yombe thought the color red indicates transitional conditions such as death and birth. The fact that some mother-and-child figures hold or carry what appears to be a dead baby alludes to the close interrelationship in Kongo beliefs between the spirit world and the world of the living.[3]

Another perspective is as follows,

Mother and child figure represents the female ancestor taking care of her descendants.This commemorative figure would have been used to honor the maternal spirit who brings prosperity and fertility. Among the Kongo people, the woman is considered as the chief of the family. Thus, the female ancestor is the guarantor of the fecundity and continuity of the clan or family. Such sculptures would be kept on a family or local shrine where she would be receive sacrifices and offerings.[4]

[1] http://m.sothebys.com/en/notes.html/2010/the-robert-rubin-collection-of-african-art-n08779/catalogue/lot_159663830

[2] http://www.randafricanart.com/Yombe_maternity_figure.html

[3] http://www.randafricanart.com/Yombe_maternity_figure.html

[4] http://www.africadirect.com/productsdesc.php?ID=51182

Saving Face, Losing Grace

On November  9^th 2011 Penn State fired the University President, and Joe Paterno  (football coach). The sins of omission[1] (not doing what we should have), must be a dreadful cross to bear, when a rampaging pedophile is allowed to continue his predatory behavior unabated. These men placed the “public image” of an organization ahead of the safety of potential victims, and ironically have served to forever associate the reputation of the institution with a backdrop of incredible bad judgment, and selfish self-preservation. Happy Valley will never be the same.

As a young man I heard stories about a priest who abused young boys in a remote Caribbean village. My first question was, “Why didn’t the villagers raze the church?”.  The priest himself fled to another parish, a move that later became understood as the norm, or modus operandi for the Catholic Church.  Thinking as a parent, my second response would have been to call the police!

As a young teenager, a teacher targeted several of my classmates.  At the time the daring escapes made for wild speculation.  The teacher was reported but while he was removed from teaching our particular class, he was transferred to a younger class. In hindsight the lack of a zero tolerance policy inevitably led to tragic consequences.

What does it say when the leaders of schools, and church, arguably the bastions of our value systems, possess little or no ability to sift through seemingly clear deviations from legal, or humane behavior.  These episodes hit hard at the core of our societies, reflecting degenerate behaviors, but predators of children don’t get free passes. Silence isn’t always golden, and sometimes simply signifies complicity.

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[1] http://www.aconqueringfaith.net/2007/01/sins-of-omission-and-commission.html

Legacy of American Slavery, and Deleveraging

The second sentence of the Declaration of Independence provides the backbone for the social fabric that is the enduring American dream.

“We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.”[1]

I would argue that the Legacy of American Slavery provides its working conscience, (a twist would be that in “the age of reason”, technically Americans enslaved Americans).

The enablers of slavery leveraged all manner of physical, religious, legal, monetary, and scientific means to justify, differentiate, promote, and build a slave machine that prospered on the blood, terror, and human fear of Africans, and African Americans.

The institution of slavery has cast a long shadow, and the dream of Americans is to be a part of the larger dream,

Martin Luther King Jr. (E1)

“I say to you today, my friends, so even though we face the difficulties of today and tomorrow, I still have a dream. It is a dream deeply rooted in the American dream.
I have a dream that one day this nation will rise up and live out the true meaning of its creed: “We hold these truths to be self-evident: that all men are created equal.”[2]

To voice such a hope in the Mecca of capitalism is akin to finding a planet called earth in the vastness of the universe. …. but that’s the whole point.  It is that seed of hope, on an unambiguous path that sustains us better than bread, and carries us through the machinations and gerrymandering of profit-mongers.

In the 2007-2008 recession, brought about by the leveraging of “easy credit” throughout the financial markets (the housing industry in particular), one can more easily understand what a deleveraging process looks like. The legal, monetary, and restrictive results have been felt worldwide. This is the easy fix.

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[1] http://en.wikipedia.org/wiki/United_States_Declaration_of_Independence

[2] http://www.huffingtonpost.com/2011/01/17/i-have-a-dream-speech-text_n_809993.html

[E1] Photo Credit – N. Mullings

Finding Dengese

 

The crazy thing about collecting African art, (or anything for that matter), is the inexhaustible thrill of both the hunt and the acquisition. The week ending 102211 was a good week simply because I finally managed to purchase a Baule monkey statue. “In Baule culture, cupbearing monkey statues, commonly known as “gbekre” since their first mention in 1900 by Maurice Delafosse, belong to the category of amwin, or “objects of power”. They were used by men-only initiation societies for a number of purposes, both functional – as a basis for prophylactic practices, linked to agrarian rites or to a form of divination known as mbra (Bouloré in RMN, 2000: 107 et Vogel, 1997: 221-230) – and iconographic, each type being designated by a specific term (aboya, mbotumbo, ndyadan, gbekre…) ” Sotheby’s[1].  I can only say that I’ve been looking for a decent one for a long time.  Typically the “Mbra” has elongated lower jaws and a very aggressive appearance, but  as I’ve found in collecting African tribal art, the 80/20 adage holds quite well. “The Mbotumbo (Ape god of the Baule), is the person’s special protector, but cannot be purchased in the market (like the Ibo do with their Ikenga), since certain conditions (eg. supernatural signs), must be observed.”[2] This piece is a real twist on the more familiar Baule masks which typically promote harmony, and happiness, (Mblo, Goli masks).

Baule Monkey Statue : Mbra, Gbekre

As luck would have it, I purchased a couple other items in the lot as well. One item shown below was new to me. What I did recognize however was the shape of the “coiffure” or hair-cut, which seemed very similar to those of the Kuba masks, used in Kuba creation masquerades. The Kuba live in the Democratic Republic of the Congo. Using this information I was able to finally “track”, and identify the piece using the reference The Tribal Arts of Africa.

Dengese : King Figure (Isikimanji)

 

The Dengese figure is attractive for two reasons,

1) the fact that they have no legs, and

2) the scarification on the figure is very extensive.

“The headdress, a distorted cone, represents the one placed on the king’s head during his installation and symbolizes understanding, intelligence, distinction, respect, and unity among chiefs. The placement of the hands on the belly refers to the common origins of the king’s subjects, from which he anticipates cooperation. Numerous symbols are carved on the neck and on the elongated torso and arms in imitation of scarification patterns. The patterns allude to aphorisms and praise phrases that encode the mysteries of Dengese chiefly authority.”[3]

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[1] http://www.randafricanart.com/Baule_monkey_figure2.html

[2] The Gods as we Shape them, Taylor & Francis, pg.170

[3] http://www.zyama.com/dengese/pics..htm

Minority Education… doesn’t start with Government !!

“Nurturing the will to succeed,” and “neutering the passion for success” may sound similar but are diametrically opposite phrases. There is no doubt however that parents are the proximate dispensers of the guiding philosophies which propel their offspring to thrive in adverse environments.  Parents are the “first-responders”  to the call for a better educated minority, and it’s a message that can’t be emphasized enough.

African American Education Breakout by Gender

Young children know they are different from an early age. They develop survival techniques, and are “quiet” at the right times, not challenging adult thinking, and can easily adopt a “being led syndrome” versus developing patterns of critical logic and analysis. This is what a well-timed slap can do; shut the door to a burgeoning spring of intellectual curiosity, and defer the development of positive communication techniques. Loud shouting, (not subtly masking the impatience of a silverback), while instilling a conveniently quick conditioned response, simply reinforces the need for children to adequately spend relatively enormous amounts of time, and resources in dealing with an environment better suited to the Pre-Emancipation eras.

 

Smoking, drinking, and using drugs are diversions, not responsibilities.  Setting an example of tolerance, discipline, and commitment on the part of both parents may go a long way in instilling similar values in one’s offspring. Seeing the benefits in other adult couples and making the associative “value-goal attainment” link serves to support the quiet environment necessary for the child to assimilate, develop, hope, dream, and be inspired. These are critical components in developing a framework where intellectual curiosity, and creativity building feedback are both encouraged, and rewarded.

Median Household Income by Race : (WSJ 9/14/2011)

 

Difficulties during infancy.[1] Depression and withdrawal symptoms were common among children as young as 3 who experienced emotional, physical, or environmental neglect. (Dubowitz, Papas, Black, & Starr, 2002).

Cognitive difficulties. NSCAW found that children placed in out-of-home care due to abuse or neglect tended to score lower than the general population on measures of cognitive capacity, language development, and academic achievement (U.S. Department of Health and Human Services, 2003). A 1999 LONGSCAN study also found a relationship between substantiated child maltreatment and poor academic performance and classroom functioning for school-age children (Zolotor, Kotch, Dufort, Winsor, & Catellier, 1999).

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[1] http://www.childwelfare.gov/pubs/factsheets/long_term_consequences.cfm

A Dream Denied

Dear MLK Jr.,

This may come as a surprise, but almost one hundred and fifty years after the signing of the Emancipation Proclamation, the Negro still is not free. One hundred and fifty years later, the life of the Negro is still sadly crippled by the manacles of segregation and the chains of discrimination. One hundred and fifty years later, African Americans wander lost on a lonely island of poverty in the midst of a vast ocean of intangible futures, and commodity derivatives. One hundred and fifty years later, the Negro still languishes in the corners of American society and finds himself a second class exile in his own land. [1]
On 10/16/2011 there will be a formal commemoration of the Martin Luther King Jr. National Memorial in Washington DC , with a keynote address by President Barack  Obama…. (ok so the Dream isn’t totally lost!)

The Quote : “I have a dream that one day this nation will rise up and live out the true meaning of its creed: ‘We hold these truths to be self-evident: that all men are created equal,’”[2] seems less than accurate considering the Annual Unemployment Rates between whites and blacks from 2001 to 2010.

“]

Bureau of Labor Statistics [E1

What is particularly ironic, actually bordering on the ridiculous, is the hue and cry raised throughout the majority when faced with the same level of unemployment that Blacks have faced from the start of the 21st century.

A year into the recession, the Black unemployment rate increased by almost 4 percentage points while the rate for Whites increased by just over 2 percentage points.

In 2009 the Annual Unemployment rate for Blacks was 14.5% versus 8.5% for Whites, a difference of 7 percentage points.

In 2010 the Annual Unemployment rate for Blacks was 16.0% versus 8.7% for Whites, a difference of 7.3 percentage points.

In September 2011 the Black Unemployment Rate was 15.9% while the White rate was 7.6%, a difference of 8.3 percentage points.

What is clear is that in the bad times the Black unemployment rate increases faster than the White rate, and as the economy improves the Black unemployment rate decreases slower than the White rate. What may not be as clear is the lower standard of living, the lower standard of education, and health care represented by  each percentage point on the Unemployment charts.

[1] adapted from the “I have a Dream Speech” http://www.americanrhetoric.com/speeches/mlkihaveadream.htm

[2] http://www.infoplease.com/ipa/A0874987.html

[E1] http://www.bls.gov/webapps/legacy/cpsatab2.htm