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CMA: African Art

@cmaafrican.bsky.social
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Sharing public domain works from the African Art department of the Cleveland Museum of Art. Automated thanks to @andreitr.bsky.social and @botfrens.bsky.social

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CMA: African Art @cmaafrican.bsky.social · 16h
Serpent Headdress clevelandart.org/art/1960.37
Traditionally, Baga society was ruled by village councils of elders who derived their power from their direct contact with spirit entities through lifelong initiation rituals and the accumulation of secret knowledge. Two different religious orders controlled initiations, providing the context for much Baga art. One was identified as female, the other as male, though only men belonged to both groups. Initiations in each order followed three stages, culminating in the revelation of the highest spirit being. This type of Baga headdress embodied the serpent spirit Ninkinanka, honored for giving rain, bestowing riches, and bringing forth children. The serpent figure would be placed on top of a conical framework of palm branches carried on a male dancer’s head. It appeared at the end of the first level of the initiation for boys and girls or just before the circumcision at the beginning of the boys’ initiation.
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CMA: African Art @cmaafrican.bsky.social · 18h
Male Figure clevelandart.org/art/1985.199
Figures like this would have been used in rituals by the ancestors of the present-day inhabitants of the Inland Niger Delta. Representing the gods and kings or queens associated with the region’s former residents, the figures received prayers and offerings in exchange for their support. The seated position of this male has been interpreted as a harmful pose intended to bring death to an individual.
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CMA: African Art @cmaafrican.bsky.social · 23h
Female Figurine clevelandart.org/art/2010.449
This female figurine may be a fragment of a spoon or spatula, but this claim cannot be confirmed. Although the iconography of the human image is not uncommon in the art of the Yombe and related Kongo-speaking peoples, it does not reveal the object's function or purpose. The position of the arms has been interpreted as that of a bound prisoner while the head, tilted horizontally or at an angle, represents a broken neck or even a severed head, thus identifying the prisoner as a sacrificial victim. Yet, despite the large quantity of Yombe- and Kongo-attributed works in collections, as well as the vast body of literature on the subject, their culture, history, and art, many questions remain unanswered and our knowledge continues to be fragmented and superficial.
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CMA: African Art @cmaafrican.bsky.social · 14/10/2026
Jewelry clevelandart.org/art/1935.308
Shared by different Akan and Akan-related peoples, including the Asante and Baule, gold ornaments indicate status and wealth and are worn at public festivals by titleholders, chiefs, and kings. Most pectoral disks are suspended over the chest by a white, pineapple-fiber cord. They are owned by the okra, a young official who purifies the chief’s soul--hence, the name akrafokonmu, meaning "soul-washer’s badges" or "soul disks."
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CMA: African Art @cmaafrican.bsky.social · 14/10/2026
Figurine clevelandart.org/art/2010.439
The Delenne’s stumbled upon this group of seven anthropomorphic figurines (2010.437-443) in an antiques shop in Nice during a holiday in the south of France in 1961. The carvings carry paperboard labels with inscriptions in French that indicate their ethnic and geographic provenance as well as some other details. Stemming from the Kongo region in West Central Africa, these seven sculptures feature a variety of gestures and poses; the use of mirror or glass for the eyes; and a red-white-black color scheme. They belong to the broad category of <em>minkisi</em> (sing. <em>nkisi</em>), containers for medicines in which an ancestral spirit was believed to reside. Two of the group are <em>minkisi</em> of the <em>nduda</em> type, characterized by the attached "guns" loaded with gunpowder and used to shoot witches.
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CMA: African Art @cmaafrican.bsky.social · 14/10/2026
Snuff Spoon/Comb clevelandart.org/art/2010.233
Often, snuff spoons made from the rib of an ox or cow were subtly carved to suggest a female body. Decorated with incised designs blackened with cattle fat and ash, many are true hybrid objects, combining a spoon with a long-tined comb or hairpin. Such spoons were typically worn as ornaments in the hair or even the beard, thus signaling the social standing of their wearer. [Constantine Petridis Cleveland Museum of Art, (4/16/11-2/26/12); "The Art of Daily Life: Portable Objects from Southeast Africa"]
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CMA: African Art @cmaafrican.bsky.social · 13/10/2026
Male Figure clevelandart.org/art/2010.430
Comparatively speaking, this exceptionally large Teke figure is well preserved: not only does it carry many of its original accouterments and accessories, as well as a crusty and seemingly untouched patina, it also holds a medicine package partly buried in an abdominal cavity. The parcel indicates that the sculpture belonged to the broad and widespread category of power figures labeled by the generic name <em>buti</em>. The figure's size suggests that it stood at the service of a larger group of people and that its powers extended beyond the limits of a village. Its headdress—decorated with coins from the former Belgian Congo under the rule of King Albert I—scarification marks, and beard identify it as representing a chief or another dignitary.
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CMA: African Art @cmaafrican.bsky.social · 13/10/2026
Carved Tooth clevelandart.org/art/1969.137
This is a fine example of art produced for sale to European visitors in the Lower Congo River area.  A long history of cultural and artistic interactions between Africans and Europeans began in 1482, when the Portuguese first established diplomatic ties with the rulers of the Kongo kingdoms.  Note the image of a foreign merchant pouring whiskey from a keg.
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CMA: African Art @cmaafrican.bsky.social · 13/10/2026
Patten-type Shoes with Pegs clevelandart.org/art/1929.566
Patten-type Shoes with Pegs
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CMA: African Art @cmaafrican.bsky.social · 12/10/2026
Crucifix clevelandart.org/art/2010.444
Consisting of a corpus cast in metal alloys and attached to a wooden cross, Kongo crucifixes were augmented with various decorative elements derived from Christian iconography, including small praying figures, like the one here set at Christ's feet. The emaciated body captures the connection between death and regeneration, a concept central to both Christianity and the Kongo religion, while the combination of the crucified Christ and the cross constructs the Kongo cosmogram, a physical manifestation of the two-way passage between the world of the living and the world of the dead. Although Kongo crucifixes had become political regalia when they were acquired in the 1800s and 1900s, they retained their meaning as symbols of the otherworld, which served as the source for a ruler's legitimacy and power.
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CMA: African Art @cmaafrican.bsky.social · 12/10/2026
Mother and Child Figure clevelandart.org/art/1997.149
The Kongo people inhabit a large territory now divided among the nations of Congo, Democratic Republic of Congo, Cabinda, and Angola. The mother and child theme is common in the carving of the Yombe, one of the many Kongo ethnic groups; this example is distinguished by the emotionally powerful expression of the mother's gaunt face. The large size and soft wood of this sculpture indicate a funerary function and placement within a roofed ancestral shrine. The Yombe woman represented was clearly powerful; perhaps her fertility was critical to the survival and prosperity of her clan.
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CMA: African Art @cmaafrican.bsky.social · 12/10/2026
Knife clevelandart.org/art/1916.743
This beautifully-wrought knife served as a symbol of political authority among the Ngala.  Quite literally it signified the power of life and death for its form was derived from that of an executioner's knife.
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CMA: African Art @cmaafrican.bsky.social · 11/10/2026
Male Figure clevelandart.org/art/2003.36
Hungaan figures of this size served as guardians of ritual shrines and functioned in rituals to promote fertility, guarantee well-being, and ensure longevity. The striking crested hairstyle imitates a real coiffure or a wig, indicative of status and prestige. The hands supporting the chin identify the figure as a chief who is immersed in thought and contemplation, pondering over his responsibilities.
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CMA: African Art @cmaafrican.bsky.social · 11/10/2026
Snuff Container clevelandart.org/art/2010.200
Snuff containers made out of a gourd--the hard shell of the fruit of the Oncoba spinosa tree--and decorated with wirework were widespread in southern Africa. The shape and material of gourd snuff containers suggest they would have been made for female users. Like a woman’s womb, the gourd contains and nurtures the seed. Thus, the materials and the forms of snuff containers allude to procreation and fecundity.
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CMA: African Art @cmaafrican.bsky.social · 11/10/2026
Knife clevelandart.org/art/1916.1018
Knife
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CMA: African Art @cmaafrican.bsky.social · 10/10/2026
Head clevelandart.org/art/1990.22
Before they died, Akan royal family members commissioned terracotta portraits, including heads like this one, from female artists. After royal burials, these idealized substitutes were placed in sacred groves outside the village where they were the focus of periodic libations, offerings, and prayers. The knobs on the head imitate a once popular male hairstyle having a tufted pattern.
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CMA: African Art @cmaafrican.bsky.social · 10/10/2026
Janus Figure clevelandart.org/art/2010.458
This Janus figure features opposing faces and symbolizes change and transformation. A cavity in the top of the head served to hold all sorts of ingredients with magical and medicinal qualities. Its brilliant patina reveals its use in repeated ritual applications, as the figure played a pivotal role in cults dedicated to the ancestors; in exchange for prayers, libations, and offerings, the ancestors were asked to safeguard the well-being and fertility of the population.The figure was called upon to remedy illness, pain, and other kinds of misfortune, and when displayed in a funerary house alongside the skulls of deceased chiefs and a number of large, standing ancestor figures, the sculpture was also used to solve female infertility and to protect and enhance the chief 's authority.
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CMA: African Art @cmaafrican.bsky.social · 10/10/2026
Man's Tunic/Robe clevelandart.org/art/2013.6
Man's Tunic/Robe
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CMA: African Art @cmaafrican.bsky.social · 09/10/2026
Figure clevelandart.org/art/1974.205
A master female potter among the Asante created this clay sculpture to commemorate the departed.  While not a naturalistic portrait, this figure depicts features associated with the dead person such as coiffure or facial marks.  The rolls of flesh on the neck are a widespread artistic convention for beauty, prosperity, and well-being.  After placing the memorial in a sacred forest clearing, family members invoked the spirit of the departed and asked it to accept the sculpture and facilitate communications with ancestors.
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CMA: African Art @cmaafrican.bsky.social · 09/10/2026
Oliphant (Side-Blown Trumpet) clevelandart.org/art/2010.448
The elephant tusk used to make this trumpet was either shaved down or originated from a younger animal. The instrument is held horizontally when blown, as its mouthpiece is located in the tusk's inner curve. Trumpets were used as musical instruments on various occasions, and ivory examples seem to have been reserved for more solemn circumstances, such as funerals. However, short trumpets decorated with human figuration may have been made for export to Europe. Whether this assertion applies to the present object cannot be confirmed, though its honey-colored patina testifies to long-term handling. The seated male wearing a shell necklace and a European cloak and hat depicts a Yombe ruler, signifying the acceptance of outsider influence.
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CMA: African Art @cmaafrican.bsky.social · 09/10/2026
Hair Ornament clevelandart.org/art/1915.501
Hair Ornament
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CMA: African Art @cmaafrican.bsky.social · 08/10/2026
Staff clevelandart.org/art/2010.204
Arguably the finest surviving carving of the Baboon Master in a Western collection, this staff features exceptionally sophisticated articulation and detailing. The circular pokerwork motif on one side—which echoes the treatment of the ears on the male heads supporting the baboon—may represent a shield or a leaf. The heads feature the characteristic ornament that signifies maturity and marriage; covered with a mixture of gum, charcoal, and oil, this hairdo, called <em>isicoco,</em> employed a fiber or sinew ring into which the wearer’s hair was woven.
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CMA: African Art @cmaafrican.bsky.social · 08/10/2026
Headrest clevelandart.org/art/2010.198
As pillows, headrests served to protect the elaborate coiffures highly fashionable until the early to mid- 20th century, and their use also enhanced contact with the ancestral realm through dreams. Their remains in Great Zimbabwe, other ancient ruins, and abandoned 12th-century burial caves attest to the region’s longstanding tradition of producing and using headrests. [Constantine Petridis Cleveland Museum of Art, (4/16/11-2/26/12); "The Art of Daily Life: Portable Objects from Southeast Africa"]
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CMA: African Art @cmaafrican.bsky.social · 07/10/2026
Shield clevelandart.org/art/1988.245
Shield
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CMA: African Art @cmaafrican.bsky.social · 07/10/2026
Figurine clevelandart.org/art/2005.3
The life of Lega men and women is structured around their advancement through the different grades of the Bwami association. Fulfilling political, social, religious, and other roles, the members’ ultimate purpose is the pursuit of wisdom and excellence. Ivory figurines were reserved for members of the two highest Bwami grades, in which the core of the Lega’s moral philosophy is revealed.
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CMA: African Art @cmaafrican.bsky.social · 07/10/2026
Male Figure clevelandart.org/art/1974.186
Male Figure
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CMA: African Art @cmaafrican.bsky.social · 06/10/2026
Prestige Staff clevelandart.org/art/2010.205
Prestige Staff
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CMA: African Art @cmaafrican.bsky.social · 06/10/2026
Soul Disk Pendant clevelandart.org/art/1952.84
Shared by different Akan and Akan-related peoples, including the Asante and Baule, gold ornaments indicate status and wealth and are worn at public festivals by titleholders, chiefs, and kings. Most pectoral disks are suspended over the chest by a white, pineapple-fiber cord. They are owned by the okra, a young official who purifies the chief’s soul--hence, the name akrafokonmu, meaning "soul-washer’s badges" or "soul disks."
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CMA: African Art @cmaafrican.bsky.social · 06/10/2026
Jewelry clevelandart.org/art/1935.310
Shared by different Akan and Akan-related peoples, including the Asante and Baule, gold ornaments indicate status and wealth and are worn at public festivals by titleholders, chiefs, and kings. Most pectoral disks are suspended over the chest by a white, pineapple-fiber cord. They are owned by the okra, a young official who purifies the chief’s soul--hence, the name akrafokonmu, meaning "soul-washer’s badges" or "soul disks."
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CMA: African Art @cmaafrican.bsky.social · 05/10/2026
Caryatid Stool clevelandart.org/art/1969.9
Caryatid Stool
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CMA: African Art @cmaafrican.bsky.social · 05/10/2026
Face Mask clevelandart.org/art/1975.155
This kple kple mask belongs to the first of four pairs of masks that entertain as part of a performance sequence in the goli dance. The male in each pair dances first. The masks are worn by young boys in a rapid stamping dance. The masqueraders alternate with each other and watch their partners perform. The head of the male kple kple is painted red, whereas the female, like this example, is colored black.
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CMA: African Art @cmaafrican.bsky.social · 05/10/2026
Helmet Mask clevelandart.org/art/1935.304
Helmet Mask
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CMA: African Art @cmaafrican.bsky.social · 04/10/2026
Dagger clevelandart.org/art/1916.723
Dagger
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CMA: African Art @cmaafrican.bsky.social · 04/10/2026
Pendant clevelandart.org/art/1976.189
Pendants like these were worn as symbols of protection.
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CMA: African Art @cmaafrican.bsky.social · 04/10/2026
Female Figurine or Finial clevelandart.org/art/2010.446
This kneeling female figurine carved in ivory most likely served as the finial of a wooden staff or scepter that was probably owned and used as a status indicator by a high-ranking official or a ritual specialist. The figurine belongs to a group of stylistically related ivory carvings that may be the work of a few artists. Its metal-inlaid eyes, chipped teeth, and elaborate hairstyle imitating a wig, along with its abdominal scarifications and its kneeling posture, appear in other such sculptures, but the combination of these features is quite unusual. Another trait shared by some of these carvings is the oversized hands with elongated fingers. Its deep red color and polished surface suggest long-term use and intense handling.
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CMA: African Art @cmaafrican.bsky.social · 03/10/2026
Knife clevelandart.org/art/1916.1021
Knife
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CMA: African Art @cmaafrican.bsky.social · 03/10/2026
Divination Implement clevelandart.org/art/1969.550
Divination Implement
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CMA: African Art @cmaafrican.bsky.social · 03/10/2026
Male Figure (Ofika) clevelandart.org/art/2016.33
Figures such as this, known as <em>ofika, </em>were central to the initiation practices and the enforcement of laws among the all-male Lilwa association, a hierarchical organization that served educational, judicial, political, economic, and ritual functions among the Mbole. Meant to instill a moral code and to act as a cautionary symbol during initiation for Lilwa novices, ofika figures are believed to represent criminals who were ritually hanged for transgressions against Lilwa laws. The figure’s encrusted surface imitates how members covered their bodies with a substance made of ashes and palm oil during burial rites.
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CMA: African Art @cmaafrican.bsky.social · 02/10/2026
Neck Ornament clevelandart.org/art/2010.207
Typically such an ornament was worn by a woman in conjunction with other beadwork in complementary color schemes. In addition to making her own beadwork, however, a woman would also produce her husband’s beadwork and, before marriage, the beadwork worn by the young man courting her. Before the introduction of glass beads by European traders, southern African communities acquired beads of Indian manufacture from Arab traders.
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CMA: African Art @cmaafrican.bsky.social · 02/10/2026
Pipe clevelandart.org/art/2010.199
Pipe
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CMA: African Art @cmaafrican.bsky.social · 02/10/2026
Equestrian Figure clevelandart.org/art/2007.160
This figure of a horse and rider is related to the Ogboni society, whose responsibilities include the burial of titleholders and leaders and the judgment and punishment of criminals. A counterweight to the authority of the king, it is also responsible for the selection, installation, and removal of rulers. Probably once forming a pair with a female figure, the equestrian symbolized the king’s male ancestors.
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CMA: African Art @cmaafrican.bsky.social · 01/10/2026
Female Figure clevelandart.org/art/1996.266
Female Figure
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CMA: African Art @cmaafrican.bsky.social · 01/10/2026
Soul Disk Pendant clevelandart.org/art/1944.290
Shared by different Akan and Akan-related peoples, including the Asante and Baule, gold ornaments indicate status and wealth and are worn at public festivals by titleholders, chiefs, and kings. Most pectoral disks are suspended over the chest by a white, pineapple-fiber cord. They are owned by the okra, a young official who purifies the chief’s soul--hence, the name akrafokonmu, meaning "soul-washer’s badges" or "soul disks."
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CMA: African Art @cmaafrican.bsky.social · 30/09/2026
Comb clevelandart.org/art/1915.453
Chokwe women inserted finely decorated combs and pins in their hair to signal rank and wealth. Here, as among neighboring peoples, coiffures reveal regional and temporal fashions and trends. Certain styles are exclusive to chiefs and other dignitaries. In addition to being a sign of beauty and good health, a well-groomed hairdo also suggests that the wearer relies on the help of others in its creation.
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CMA: African Art @cmaafrican.bsky.social · 30/09/2026
Clapper clevelandart.org/art/1938.5
This clapper was played by striking the beak of the bird with a metal rod. It is used in a ritual called ugie oro, which commemorates an early 16th-century military victory of King Esigie. This festival illustrates the divine power of the Benin king to protect the kingdom and its inhabitants against natural and supernatural forces. The bird has been identified as a vulture, ibis, hornbill, eagle, or kingfisher.
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CMA: African Art @cmaafrican.bsky.social · 30/09/2026
Pair of Figures clevelandart.org/art/2010.460
The Ubangi region's history of successive migrations and assimilations has resulted in numerous exchanges of religious beliefs and ritual practices. Because little research has been conducted in the region, data regarding the production, use, and meaning of Ubangi sculpture are scant. Despite some stylistic traits, including the heart-shaped faces and the male's crested coiffure, this figure pair is unlike any other in the Ubangian corpus. Based on indirect evidence, the pair has been attributed to the little-known Monzombo and is said to represent the culture's primordial couple. However, no other sculptures have been ascribed to the Monzombo, and we lack further details on their art.
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CMA: African Art @cmaafrican.bsky.social · 29/09/2026
Hair Ornament clevelandart.org/art/1915.500
Hair Ornament
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CMA: African Art @cmaafrican.bsky.social · 29/09/2026
Bracelet clevelandart.org/art/1916.538
This ivory bracelet is simple, yet elegant.  Note how the delicate wire repair by a Kuba artisan adds a counterpoint pattern to the original design.
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CMA: African Art @cmaafrican.bsky.social · 29/09/2026
Bow Stand clevelandart.org/art/2018.27
Bow Stand
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CMA: African Art @cmaafrican.bsky.social · 28/09/2026
Pipe Bowl clevelandart.org/art/2012.42
Pipe Bowl
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