Arts of Africa, Grades K-5

Arts of Africa
K–5
Dear Educators,
This learning resource provides six lessons with activities Finally, thank you to everyone who contributed to this
designed to integrate the diverse arts of Africa into your project.
classroom to support skills and concepts you are already
teaching or may be planning to teach. Each lesson Sheila McGuire, Head of Student and Teacher Learning
introduces students to artworks from Africa in Mia’s Division of Learning Innovation
galleries and encourages them to think critically, express
themselves creatively, and make connections between
their own lives and those of people across the African
continent. The following guiding principles inform these
lessons:
African art is diverse. As one of the largest continents

in the world, with over fifty countries, Africa is home to a
wide array of art rich in history, tradition, and relevance.
African art is accessible. These lessons focus on

themes in African art common to all people: shapes,
faces, animals, wonder, community, and history.
African art fits into the curriculum. These lessons are

designed to introduce students to the art of Africa while
simultaneously covering skills and standards taught
in social studies, science, art, and language arts. The
lessons are designed to support grade-level standards,
though the activities can be adapted to meet the needs
of a variety of grade levels.
African art is engaging! Each lesson follows an

inquiry-based model: Engage, Explore, Explain, Extend.
Complete as many or as few segments as classroom
time allows.
The downloadable PDF contains high-resolution images

suitable for projecting during classroom discussions.
Projecting each image is recommended so students
are able to view the details of each artwork and refer-
ence it during discussion. You will also find worksheets,
organizers, maps, and additional resources for the
lesson activities.
We encourage you to follow your classroom lessons

and activities with a visit to the museum for a guided
tour of the Arts of Africa galleries. For information about
booking a tour at Mia for your students and to complete
an online request form, visit Mia’s website.
Bwa artist, Burkina Faso, Plank mask, c. 1960, wood, pigment,
A feedback form is available here. Please take a few 127/8 x 101/4 in. The William Hood Dunwoody Fund 98.2
minutes to let us know what you think. Front: Baga artist, Guinea, Drum (detail), early 20th century, wood,
animal hide, plant fibers, pigments, 531/2 x 261/2 x 24 in. The William Hood
Dunwoody Fund 2011.8
2
Connecting the Arts of Africa
to Your Classroom
Lessons for K–5 Teachers and Students
K Faces of Africa
1 Africa’s Awesome Animals
2 Containers: Art and Community
3 Investigating the Arts of Ancient Egypt
4 Problem Solving: Design Thinking
5 Developing Historical Thinking Skills with Art
K 1 2
4 5
3
Africa
TUNISIA
Setif
Constantine
Sousse
Batna
Biskra
Oujda Djelfa
Fez
Laghouat
Touggourt TUNISIA
Ghardaia
MOROCCO
Safi
Ouargla
Bechar
Ajdabiya
CAPE VERDE
El Golea
Agadir
Ghadamis
Suez
ISLANDS
El Giza
Cairo
El Faiyum
Hun Awjilah Siwa
Goulimine
Adrar
ALGERIA
ALGERIA El Minya
Tindouf
Birak
I-n-Salah Asyut
Laayoune
Reggane Sabha
LIBYA EGYPT
Illizi
LIBYA
Tmassah
Marzuq EGYPT Luxor

Bir El Kharga
Mogrein Arak
Ghat
WEST Al Jawf
Kom Ombo
SAHARA
Aswan
Tamanrasset
Taoudenni
Wadi
Djado
Atar
Tessalit
MAURITANIA
MAURITANIA Tidjikdja MALI
MALI
Araouane Arlit
Nouakchott Faya
Largeau
NIGER
NIGER
Agadez
Fada
Ayoun el
Timbuktu
Kiffa Atrous
ERITREA
Rosso
Gao
Kaedi
Menaka
CHAD
CHAD SUDAN
SUDAN ERITREA
PE Nara
SENEGAL
Tahoua
SENEGAL
Kaolack
Kayes Mopti
Mao
Biltine
Djenne Abeche
Zinder
Banjul
GAMBIA
Maradi
Segou Mekele
Niamey Dosso Sokoto
Koulikoro Gonder
GUINEA-BISSAU
BURKINA
Ouagadougou
FASO
Kano Maiduguri
Bahir
DJIBOUTI
Ndjamena
GUINEA
Dar
Bobo
Labe
Dioulasso
Dese
GUINEA
Zaria Am Timan
GUINEA
Boke
BISSAU Kindia
Kankan
BENIN
BENIN
Kaduna Maroua Debre
Markos
Dire
Jos
Dawa
Minna
NIGERIA
Korhogo Malakal
Parakou
Abuja Sarh Addis Ababa
Yola Garoua Aweil Harar
Freetown TOGO
Ilorin Moundou
Ndele
Nazret
Garoowe
ETHIOPIA
Ogbomosho
ETHIOPIA
Bo
SIERRA
Nzerekore
GHANA
Bouake Atakpame Makurdi Wau Jima
CÔTE GHANA Ibadan

CENTRAL SOUTH SUDAN
LEONE Yamoussoukro Goba
Daloa Sodo
D’IVOIRE
Kumasi Rumbek Gaalkacyo
AFRICAN REPUBLIC
Porto-Novo Benin Bria
City Arba
Enugu Bor Minch
Bamenda
LIBERIA
Bouar Gode
Bambari
Abidjan
TOGO
Obo Nagele
Warri Port
Juba
CAMEROON
Sekondi
Harcourt
Bangui Yambio
Dolo Bay
Douala
Berberati
Bondo
Nimule
Moyale
Yaounde Gemena
Ebolowa
Buta Isiro
Watsa
Gulu
Marsabit
SOMALIA
UGANDA
Bumba
EQUATORIAL
Bata
EQ. Ouesso
Lisala
Lake
Albert UGANDA Marka
GUINEA
GUINEA Oyem
KENYA
Kisangani Kampala
CONGO
CONGO Mbandaka
Butembo
Kasese
Eldoret
Kisumu
Meru
Kismaayo
GABON
GABON Lake Victoria
Nakuru
Nairobi
Franceville
Inongo Kigali
RWANDA
Mwanza
DEMOCRATIC REPUBLIC
Gamba
RWANDA
Kindu
Bandundu Bujumbura
BURUNDI
OF CONGO
Uvira Arusha
Brazzaville
BURUNDI
Kasongo
Kayes Lake
Kinshasa Kikwit Tanganyika Tabora
Matadi
Tshikapa Kananga
Mbuji-Mayi
Kalemie
TANZANIA Dodoma
Morogoro
Dundo Mwene-Ditu Manono
Ambriz Uige
Kamina Mbeya
Mbala
Malanje
Dondo
Lindi
Kolwezi Songea
Mansa Lake
Likasi
Mzuzu Malawi
Luena Lubumbashi
Mpika
Lobito Kuito
ANGOLA MOZAMBIQUE
Mufulira
Huambo
Kitwe Ndola MALAWI Lichinga

Zambezi Luanshya
Lilongwe
Kabwe
ZAMBIA
Menongue
Namibe
Lubango
ZAMBIA Zomba
Nampula
Maroantsetra
Mazabuka
Lusaka Kafue
Blantyre
Xangongo Tete Chiromo
Ongwediva
Rundu
Hwange Kadoma Harare Chitungwiza Quelimane

MALAWI MADAGASCAR
Maintirano
Tsumeb
Grootfontein
ZIMBABWE Gweru
Mutare
Chimoio
Antananarivo
Antsirabe
MADAGASCAR
Bulawayo
Morondava
NAMIBIA Francistown
Fianarantsoa
BOTSWANA
BOTSWANA Serowe
Musina
Windhoek Mahalapye
Thohoyandou Toliara
Polokwane
Molepolole
Gaborone
Maltahöhe
Androka
Rustenburg Pretoria
Mmabatho
Benoni
Mbabane
Lüderitz
Keetmanshoop
Johannesburg Lobamba
Vryburg Vereeniging
Klerksdorp
SWAZILAND
Kroonstad
Vryheid
Welkom
Upington
Kimberley
Maseru
Springbok Bloemfontein
LESOTHO
SOUTH
Mafetang
De Aar
Vanhynsdorp
AFRICA Middelburg Umtata LESOTHO
Graaff
Reinet
Bhisho
Saldanha
Worcester Oudtshoorn
George
4
Arts of Africa Kindergarten Lesson
Faces of Africa
These activities are designed to introduce African Engage
art into your classroom while also reinforcing skills
Making faces
students are learning in other areas. Faces are an
important element in African art and provide an easy Compare the different ways artists in Africa make faces
way to talk about Africa and its art in your classroom. by looking closely at the eyes, noses, and mouths in
works of art from different African countries and cultures.
Objectives
Students will engage in close looking at and thinking You will need:
about African artworks.
• Images of African artworks included in the lesson
Students will understand that studying art is one way (pages 9–12)
people learn about the past.
• Making Faces activity sheets (pages 15–17)
Students will see that people in many countries and
Introduce activity: Many artworks made in Africa show
cultures in Africa make a diverse range of artworks.
human and animal faces. These faces help to communi-
Standards cate messages and tell stories important to communities.
SS 0.4.1.2.1 Describe ways people learn about the past.
Let students know they are going to look at pictures of
For example: learning from elders, photos, artifacts,
faces made in three countries in Africa to see different
buildings, diaries, stories, videos.
ways artists show eyes, noses, and mouths. Explain that
SS 0.3.1.1.2 Describe a map and a globe as representa- art is a great way to learn about people all over the world.
tions of a space.
1. Draw it. Have students draw details of eyes, noses,
S 0.2.1.1.1 Sort objects in terms of color, size, shape, and mouths from the different artworks on their activity
and texture, and communicate reasoning for the sheets. The goal is for students to look closely, not to
sorting system. create great drawings. Encourage them to give it a try!
Art 0.4.1.5.1 Compare and contrast the characteristics 2. Talk about it. What different shapes can be used for
of a variety of works of visual art. eyes? What about noses? How do you know it’s a face
even when some of the details are not very real looking?
What can you learn about people in real life by looking
at their faces? How can you tell when someone is
happy? Sad?
3. Draw a new face using the worksheet. Pick the

eyes, nose, and mouth you like best to create a totally
new face. (Option: cut and glue shapes onto the
worksheet).
Share a fun fact about each of the African faces.

Information about each is included on pages 7 and 8.
Back to Contents page 5

Explore Explain
Sort them this way and that! Tell the stories and discuss the artworks to demonstrate
how information can add to what we learn from looking
Encourage students to think about what they observe in closely. Give students an opportunity to demonstrate
each of the African artworks. their understanding of the artworks.
You will need: 1. Tell stories. As time permits, tell the stories of one
• Groups of two to four students to four faces using the information provided at the end
of the lesson. Post the picture of the face as you tell
• A set of the ten African-artwork face images for each the story. Name the country in Africa from which each
group (print out images included in the lesson on pages comes and point it out on a map (page 22). Explain
18–20) that artworks help us learn about people from all around
the world.
1. Model. Explain that all the African artwork faces show
a human, animal, or a combination (we could call these 2. Discuss. Ask students what clues in the artwork help
“humanimals” for fun!). Discuss one or two examples us know what it is: Why is this an animal or a person?
as a class. Explore the kinds of facial features they Debate which ones are masks: How can you tell it is a
might look for in each to decide if it is a human, animal, mask? If it is possible for them to see details of beads,
or humanimal. feathers, and other materials they recognize, ask: What
does this artwork seem to be made of?
2. Sort. Have students work together to sort the
artworks into different groups according to which are
humans, which are animals, and which are combinations
of these (humanimals!). Extend
3. Share. Review the decisions made by each group. Use these ideas to integrate the African artworks into
Depending on the decision the students made, ask basic skill practice.
them: What do you see that made you say this is an
Where in the world?
animal, human, or combination (humanimal)? Invite
students to explain which faces were most tricky to put Show students a world map. Point out Africa’s location
in a category and why. in relation to the United States. Introduce the idea that
Africa is a continent with many countries.
4. Sort again according to colors or shapes or
another visual element they have been learning Show the map of Africa with country names (page 22).
about. For example: Which ones have one or two Explain that countries (land areas) are often home to
colors? Which ones have two to four colors? Which multiple cultural groups. Point out the countries from
ones have five or more colors? Which ones have circles which the artworks in this lesson come. Introduce or
in them? Which ones do not have any circles? Which reinforce the idea that people all over Africa have their
ones have triangles? Which ones do not have triangles? own unique artworks.
(Option: sorting can be done as a class by taping faces
to a hand-drawn organizer on the board). Math in motion
5. Give each group four additional faces from To wrap up or begin any of the previous activities, look
around the world (included in lesson on page 21). at the three masks and crown together. Invite students
Tell them where they are from to introduce the idea that to divide into three groups based on which of the
people around the world have a common interest in artworks they like best. Count the number of students
making art about faces. Discuss. Ask them to add these in each group. Count the difference between groups to
to the groups they have already sorted. represent subtraction. Count the total among groups to
represent addition. For fun, ask them to imagine moving
while wearing the crown or masks.
6
Artworks Information
Yoruba artist, Nigeria, Crown, c. 1920, glass beads, leather, canvas,
wicker, L. 15 in. (crown), L. 15 in. (fringe). The Ethel Morrison Van Derlip
Fund 76.29
Some kings among the Yoruba (YO-roo-buh) people

wear beaded crowns like this one, with a veil to protect
people from seeing the king’s face. He is that powerful!
The tall part of the crown above the yellow face holds
medicines that help the king connect to ancestors in the
spirit world. Even the king must not look inside his own
crown. This crown is also decorated with birds. The birds
are important messengers between the king, the spirit
world, and the people in the community.
Tabwa artist, Zambia or Democratic Republic of Congo, Mask, second

quarter of the 20th century, glass beads, feathers, raffia, cloth, animal
skin, 16 x 12 x 31/2 in. The William Hood Dunwoody Fund 89.14
In the past, a religious man in a Tabwa (TAH-bwah)

community in Zambia or the Democratic Republic of
Congo wore this mask. During very dark nights when
there was no moon, this man wore the mask to help
protect the people around him. The colorful feathers
and triangles were one way that the artist showed how
the Tabwa people enjoyed the comfort of daylight. The
feathers come from a bird that crows in the morning
when the sun shines. The Tabwa people call the design
made up of triangles at the top of the face “the rising of
the new moon” to celebrate this special time when light
appears after nights of darkness.
7
Yoruba artist, Ife Kingdom, Nigeria, Shrine head, 12th–14th century,
terra-cotta, 121/4 x 53/4 x 71/4 in. The John R. Van Derlip Fund 95.84
This clay sculpture of a royal woman comes from a

kingdom from a long time ago called Ife (EE-fay). Ife
was a very important city to the Yoruba (YO-roo-buh)
people. The royal woman’s face looks calm and peaceful,
qualities valued by the Yoruba. Her headdress shows us
that this is a royal portrait head. This head was probably
part of a larger figure now lost. The lines of fat on her
neck are a sign of wealth and good health in Yoruba art.
The lines covering her face might show scar patterns or
a veil worn by the royal family.
Senufo artist, Burkina Faso or Côte d’Ivoire, Mask, first half of the 20th
century, wood, pigment, metal, 301/2 x 111/4 x 201/2 in. Gift of Walker Art
Center and the T.B. Walker Foundation 2006.36.3
This large mask is called a “firespitter.” Senufo

(seh-NOO-foh) men who wore this type of mask usually
danced in it at night. They placed dried grasses and
burning chips of wood or coals in the mouth and blew on
them to make fire. The wide jaws, big tusks, and many
horns add to its scary appearance. The mask combines
features of many animals, including the warthog, croco-
dile, and antelope. The mask was made to keep danger
away from the Senufo people who use it.
8
Yoruba artist, Nigeria,
Crown, c. 1920, glass beads,
leather, canvas, wicker,
L. 15 in. (crown), L. 15 in. (fringe).
The Ethel Morrison Van Derlip Fund
76.29
9
Tabwa artist, Zambia or Democratic Republic of Congo, Mask, second quarter of the 20th century, glass beads,
feathers, raffia, cloth, animal skin, 16 x 12 x 31/2 in. The William Hood Dunwoody Fund 89.14
10
Yoruba artist, Ife Kingdom, Nigeria, Shrine head, 12th–14th century, terra-cotta, 121/4 x 53/4 x 71/4 in. The John R. Van Derlip Fund
95.84
11
Senufo artist, Burkina Faso or Côte d’Ivoire, Mask, first half of the 20th century, wood, pigment, metal, 301/2 x 111/4 x 201/2 in.
Gift of Walker Art Center and the T.B. Walker Foundation 2006.36.3
12
Additional Artworks Information
Yoruba artist, Nigeria, Crown, c. 1920, Senufo artist, Burkina Faso or
glass beads, leather, canvas, wicker, Côte d’Ivoire, Mask, first half of the
L. 15 in. (crown), L. 15 in. (fringe). 20th century, wood, pigment, metal,
The Ethel Morrison Van Derlip Fund 76.29 301/2 x 111/4 x 201/2 in. Gift of Walker Art
Center and the T.B. Walker Foundation
2006.36.3
Wee artist, Côte d’Ivoire, Mask, 1940s,

wood, metal, hair, fur, pigments, plant
fibers, leopard teeth, 20 × 171/2 × 9 in.
The Mary Ruth Weisel Endowment for
Africa, Oceania, and the Americas and
gift of Kate and Ken Anderson 2014.7
Tabwa artist, Zambia or Democratic

Republic of Congo, Mask, second quarter
of the 20th century, glass beads, feathers,
raffia, cloth, animal skin, 16 x 12 x 31/2 in.
The William Hood Dunwoody Fund 89.14 Egypt, Portrait of Pharaoh Amenhotep III,
1391–1353 bce, granodiorite, 103/8 x 6 x 5 in.
Gift of Ruth and Bruce Dayton 99.84.2
Yoruba artist, Ife Kingdom, Nigeria,

Shrine head, 12th–14th century,
terra-cotta, 121/4 x 53/4 x 71/4 in.
The John R. Van Derlip Fund 95.84
Lumbo artist, Gabon, Mask, 19th century,
wood, pigments, 101/4 × 7 × 5 in.
The Putnam Dana McMillan Fund 2014.5
13
Yoruba artist, Benin, Gelede mask, Indonesia, Ganesha, 10th–11th century,
mid-20th century, wood, pigment, volcanic stone (andesite),
101/4 x 12 x 83/4 in. Funds from an 343/4 x 201/2 x 1515/16 in. Purchase through
anonymous endowment 2011.30.1 Art Quest 2003 and The William Hood
Dunwoody Fund 2003.198
Bwa artist, Burkina Faso, Plank mask,

c. 1960, wood, pigment, 127/8 x 101/4 in.
The William Hood Dunwoody Fund 98.2
Yamaguchi Bidou (Japanese, b. 1970),
Mask of Shichiguchi, 2004, wood,
pigments, lacquer, gofun, gilt metal,
85/16 x 615/16 x 33/4 in. Gift of Target
2004.206.2
Greece, Head of Aphrodite, 3rd century bce,

marble, 93/4 x 61/2 in. The Ethel Morrison
Van Derlip Fund 32.15
Songye artist, Democratic Republic of
Congo, Power figure, 19th century, wood,
horn, brass tacks, metalwork, glass beads,
fiber, 37 x 103/4 x 111/4 in. The John R.
Van Derlip Fund 89.59a–d
China, Funerary Mask of a Young Woman,

916–1125, gilt bronze, 45/8 x 131/2 x 81/4 in.
Gift of Ruth and Bruce Dayton 2002.220.1
14
Draw it!
Eyes
Nose
Mouth
15
Draw it!
Eyes
Nose
Mouth
16
Draw a New Face
17
18
19
20
21
Map It!
TUNISIA
Setif
Constantine
Sousse
Batna
Biskra
Oujda Djelfa
Fez
Laghouat
Touggourt TUNISIA
Ghardaia
MOROCCO
Safi
Ouargla
Bechar
Ajdabiya
CAPE VERDE
El Golea
Agadir
Ghadamis
Suez
ISLANDS
El Giza
Cairo
El Faiyum
Hun Awjilah Siwa
Goulimine
Adrar
ALGERIA
ALGERIA El Minya
Tindouf
Birak
I-n-Salah Asyut
Laayoune
Reggane Sabha
LIBYA EGYPT
Illizi
LIBYA
Tmassah
Marzuq EGYPT Luxor

Bir El Kharga
Mogrein Arak
Ghat
WEST Al Jawf
Kom Ombo
SAHARA
Aswan
Tamanrasset
Taoudenni
Wadi
Djado
Atar
Tessalit
MAURITANIA
MALI
Araouane Arlit
Nouakchott Faya
Largeau
NIGER
NIGER
Agadez
Fada
Ayoun el
Timbuktu
Kiffa Atrous
ERITREA
Rosso
Gao
Kaedi
Nara
Menaka
CHAD
CHAD SUDAN
SUDAN ERITREA
SENEGAL
Tahoua
SENEGAL
Kaolack
Kayes Mopti
Mao
Biltine
Djenne Abeche
Zinder
Banjul
GAMBIA
Maradi
Segou Mekele
Niamey Dosso Sokoto
Koulikoro Gonder
GUINEA-BISSAU
BURKINA
Ouagadougou
FASO
Kano Maiduguri
Bahir
DJIBOUTI
Ndjamena
GUINEA
Dar
Bobo
Labe
Dioulasso
Dese
GUINEA
Zaria Am Timan
GUINEA
Boke
BISSAU Kindia
Kankan
BENIN
BENIN
Kaduna Maroua Debre
Markos
Dire
Jos
Dawa
Minna
NIGERIA
Korhogo Malakal
Parakou
Freetown TOGO
Ilorin Moundou
Ndele
Nazret
Garoowe
ETHIOPIA
Ogbomosho
ETHIOPIA
Bo
SIERRA
Nzerekore Wau
GHANA
Bouake Atakpame Makurdi Jima
CÔTE GHANA Ibadan

CENTRAL SOUTH SUDAN
Daloa Sodo
D’IVOIRE
AFRICAN REPUBLIC
City Arba
Enugu Bor Minch
Bamenda
LIBERIA
Bouar Gode
Bambari
Abidjan
TOGO
Obo Nagele
Warri Port
Juba
CAMEROON
Sekondi
Harcourt
Bangui Yambio
Dolo Bay
Douala
Berberati
Bondo
Nimule
Moyale
Yaounde Gemena
Ebolowa
Buta Isiro
Watsa
Gulu
Marsabit
SOMALIA
UGANDA
Bumba
EQUATORIAL
Bata
EQ. Ouesso
Lisala
Lake
Albert UGANDA Marka
GUINEA
GUINEA Oyem
KENYA
Kisangani Kampala
CONGO
CONGO Mbandaka
Butembo
Kasese
Eldoret
Kisumu
Meru
Kismaayo
GABON
GABON Lake Victoria
Nakuru
Nairobi
Franceville
Inongo Kigali
RWANDA
Mwanza
DEMOCRATIC REPUBLIC
Gamba
RWANDA
Kindu
Bandundu Bujumbura
BURUNDI
OF CONGO
Uvira Arusha
Brazzaville
BURUNDI
Kasongo
Kayes Lake
Matadi
Tshikapa Kananga
Mbuji-Mayi
Kalemie
TANZANIA Dodoma
Morogoro
Ambriz Uige
Kamina Mbeya
Mbala
Malanje
Dondo
Lindi
Kolwezi Songea
Mansa Lake
Likasi
Mzuzu Malawi
Luena Lubumbashi
Mpika
Lobito Kuito
ANGOLA MOZAMBIQUE
Mufulira
Huambo

Zambezi Luanshya
Lilongwe
Kabwe
ZAMBIA
Menongue
Namibe
Lubango
ZAMBIA Zomba
Nampula
Maroantsetra
Mazabuka
Lusaka Kafue
Blantyre
Ongwediva
Rundu

MALAWI MADAGASCAR
Maintirano
Tsumeb
Grootfontein
ZIMBABWE Gweru
Mutare
Chimoio
Antananarivo
Antsirabe
MADAGASCAR
Bulawayo
Morondava
NAMIBIA Francistown
Fianarantsoa
BOTSWANA
BOTSWANA Serowe
Musina
Windhoek Mahalapye
Thohoyandou Toliara
Polokwane
Molepolole
Gaborone
Maltahöhe
Androka
Rustenburg
Pretoria
Mmabatho
Benoni
Mbabane
Lüderitz Keetmanshoop
Vryburg Vereeniging
Klerksdorp
SWAZILAND
Kroonstad
Vryheid
Welkom
Upington
Kimberley
Maseru
LESOTHO
SOUTH
Mafetang
De Aar
Vanhynsdorp
Graaff
Reinet
Bhisho
Saldanha
George
Map: Kindergarten Lesson 22

Arts of Africa First Grade Lesson
Africa’s Awesome Animals
These activities are designed to introduce African Engage
art into your classroom while also reinforcing skills
Figure it out!
students are learning in other areas. Animals are an
important element in African art and provide an easy Warm up your students’ observational skills with a
way to talk about African art in your classroom. hands-on activity.
Objectives Take a close look at the Tyiwara (chee-WAH-rah) head-

crest (an artwork made to be worn on the head) from
Students will understand that studying artworks is one Mali in Africa to unravel the mystery of what kinds of
way people learn about the past. animals the artist combined.
Students will understand that some African artworks You will need:
look very real and others are a mix of real and imaginary.
• Outlined Tyiwara headcrest handout (page 30)
Students will understand that people in many countries
and cultures in Africa make a diverse range of artworks. • Pictures of animals combined in the headcrest and
other animal pictures (pages 33–37)
Standards
Introduce the activity by explaining that you will be
SS 1.3.1.1.2 Use relative location words and absolute loca- looking at a work of art from the country of Mali in Africa
tion words to identify the location of a specific place; to see how an African artist used shapes and imagina-
explain why or when it is important to use absolute tion to create something for the people in his community.
versus relative location. The headcrest was originally attached to a straw cap.
SS 1.4.1.2.2 Describe how people lived in the past, based Begin by having students use their fingers to trace
on information found in historical records and artifacts. shapes drawn on the Tyiwara headcrest handout. Invite
them to describe the different types of shapes they see.
S 1.1.1.1.1 When asked “How do you know?” students
Ask them to describe what else they see.
support their answers with observations.
Ask students to put their hands together and move their
Art 0.1.1.5.1 Identify the elements of visual art including
arms to see what kinds of shapes they can make in the
color, line, shape, texture, and space.
space between their arms. Then, have them put their
Art 0.1.3.5.1.1 Identify the characteristics of visual feet together and bend their legs to see what kinds of
artworks from a variety of cultures including the shapes they can create. Explain that in sculpture, this
contributions of Minnesota American Indian tribes and space in between different parts of the body is called
communities. “negative space.”
Art 0.2.1.5.1 Create original two- and three-dimensional Next, ask them: What parts of this artwork tell you it is an
artworks to express ideas, experiences, or stories. animal? Show them the pictures of African animals the
artist referred to in the artwork, including an antelope,
Art 0.3.1.5.1 Share and describe a personal artwork. aardvark, and pangolin (a mammal that looks like an
anteater covered in scales) (pages 33–35). Ask: Which
parts of these real African animals do you think the artist
combined here? What do you see that makes you say
that? Encourage them to explain their responses based on
what they see. (Information is available on page 26. It’s OK,
however, to accept all responses backed with evidence.)

Explore Explain
Real or imaginary? A looking and thinking activity. Tyiwara’s story
Encourage the students to extend what they learned Introduce the idea that looking at art and talking about
from the Tyiwara headcrest by looking at and thinking it are great ways to learn about how people lived in the
about other artworks from Africa. Introduce the idea past (and today!). Explain that stories help us under-
that many artworks in Africa show animals to help stand artworks in Africa and other parts of the world.
communicate messages and tell stories important to Tell them the story of Tyiwara, which explains why he is
communities. Invite students to share examples of so important to the Bamana people in Mali.
stories or campaigns (e.g., Smokey the Bear) that use
animals to help give messages or explain something 1. Review. Review the animals depicted in the headcrest
important to communities. using the pictures of the aardvark, antelope, and
pangolin on pages 33–35. The artist was creative—he
Let students know they are going to look at pictures of put together the curving horns of an antelope, the
animals in artworks from all over Africa to see different rounded, humped body of an aardvark, and the long
ways artists show animals—some look very real and body of a pangolin.
others do not. Explain that looking at and talking about
art are great ways to learn about people all over the 2. Tell the story. Tell Tyiwara’s story using the informa-
world. tion on page 26.
You will need: 3. Discuss. Ask students, “How might the animals
we talked about honor farmers?” Ask them to imagine
• Groups of two to four students watching the Tyiwara headcrest moving against the
bright blue sky when dancers wore it on their heads.
• A set of twelve African-artwork animal images for each
group (pages 40–41) 4. Conclude. Wrap up the activity by reviewing what
they learned by looking so closely at and talking about
• Worksheet (page 31) the Tyiwara headcrest. Reinforce the idea that looking
1. Model. Explain that some of the animals in the African at art and talking about it are great ways to learn about
artworks look real and some look imaginary. Discuss how people lived in the past (and today!).
one or two examples as a class to explore the kinds of
features they might look for to decide if the animal in the
artwork looks more real or more imaginary. Invite them
to think about how the visual elements of color, line, and
shape in each artwork could influence their decisions.
It is OK for students to have different opinions. What is
important is that they are looking closely at the artworks
to make their decisions. You could show photos of the
actual animals to help students make their decisions.
2. Make decisions. Have students work together to

decide if each of the twelve animals is more real or more
imaginary. Use the worksheet to sort the animals.
3. Share. Review the decisions made by each group.

Ask them, “What do you see that made you put them in
the categories the way you did?” to help them explain
their decisions. Invite students to explain which artworks
were most tricky to put into a single category and why.
It is likely that students will see the artworks differently.
You could invite them to change their minds after
hearing each other, if they would like to.
24
Extend Map it!
Another awesome animal! Show students a world map. Point out Africa’s location
in relation to the United States. Introduce the idea that
Time permitting, introduce the firespitter mask (page 27) Africa is a continent made up of over 50 countries, each
to reinforce and build on what they learned from looking of which is home to multiple cultural groups. The United
at and learning about Tyiwara. States is part of the continent called North America.
Show a map of Africa with country names (page 42)
Invite students to look closely at the firespitter mask
and point out Mali to show where the Tyiwara headcrest
from Burkina Faso. Ask them to come up with as many
was made.
words as possible to describe it. What do you see?
What else? What kinds of animals might be combined in Ask students to describe the location of the country
this mask? of Mali on the map in relation to at least one other
country. Begin by showing an example, such as, “Ghana
Show them pictures of a warthog, crocodile, and
is near Nigeria on the map.” Use the attached worksheet
antelope on pages 33, 36, and 37, and ask them to find
(page 32) to review relative-location words. If you also
something that reminds them of each animal. What
discuss the firespitter, ask students to describe the
shapes do you see? What colors? What kinds of lines?
location of Burkina Faso relative to Mali.
What kinds of patterns?
Using information provided, explain how the object is

used. Ask them to imagine how the firespitter mask Create your own combo animal!
might have looked being worn at night with hot wood
chips burning in its mouth! How successful do you think Have students select pictures of various animals from
this mask was when it was used to protect people in a magazines. Help them cut out different animal parts.
Senufo community? What do you see that makes you Then have them create a collage by combining these
say so? parts into a new animal. Have students try out different
combinations before deciding on a final composite
Compare and contrast the firespitter mask and animal for their collage. Discuss why they combined the
Tyiwara headcrest. animals they chose and what their animals would be
good at.
25
The Tyiwara (chee-WAH-rah) headcrest was worn
attached to a straw cap. It was worn by a Bamana
(BAH-mah-nah) man in a lively performance that
celebrated farmers who worked the land to grow plants
for food. The dance also honored a special being whose
name was Tyiwara. Tyiwara taught the Bamana to farm
long, long ago. Tyi means “work” and wara means “wild
animal.” Tyiwara, who some people believed was half
antelope and half human, came down from the skies
to teach humans how to plant seeds, tend crops, and
harvest. After a few years, however, the people began to
forget about Tyiwara and what he taught them. Tyiwara
died, and humans began to have difficulties with their
crops. The people decided to honor him every year.
Today, in some Bamana communities, performers

continue to wear Tyiwara headcrests. Imagine that you
are looking at this headcrest with the blue sky behind it.
It was the artist’s job to make an artwork that everyone
in a crowd could see on top of the dancer’s head.
To honor farmers the artist creatively put together the

long horns of an antelope, the rounded, humped body
of an aardvark, and the long body of a pangolin. Each
of these animals has features that were also valued in
Bamana farmers. Farmers had to be strong and ener-
getic like antelopes. They had to be able to dig deep
into the earth like the pangolin and aardvark.
The artist who made this headdress had to carve the

animal from a solid piece of wood. He had to have
sharp knives and a cutting tool called an adze, which
is similar to an ax, to cut away the wood to make this
animal appear.
Bamana artist, Mali, Tyiwara headcrest, first half of the 20th century,
wood, cowrie shells, thread, 241/16 x 81/2 x 3 in. (including base).
The Marguertie S. McNally Endowment for Art Acquisition 2012.25
26
This large mask is called a “firespitter.” Firespitter masks
are used by some Senufo (seh-NOO-foh) communities
to keep away danger when people are performing at
night. The Senufo man who wore this placed dried
grasses and glowing (burning) chips of wood in the
mouth and blew on them to create the appearance
of hot fire in the beast’s mouth!
The artist who carved this had to imagine the

“firespitter” in the big piece of wood before he began
carving. He likely used different-sized cutting tools to
carve the mask, including knives and an adze (a tool
similar to an ax).
The wide jaws, big tusks, and many horns add to its
scary appearance. The mask combines features of many
animals, including the warthog, crocodile, and antelope.
Senufo artist, Burkina Faso or Côte d’Ivoire, Mask, first half of the 20th
century, wood, pigment, metal, 301/2 x 111/4 x 201/2 in. Gift of Walker Art
Center and the T.B. Walker Foundation 2006.36.3
27
Bamana artist, Mali, Tyiwara headcrest, first half of the 20th century, wood, cowrie shells, thread,
241/16 x 81/2 x 3 in. (including base). The Marguertie S. McNally Endowment for Art Acquisition 2012.25
28
Senufo artist, Burkina Faso or Côte d’Ivoire, Mask, first half of the 20th century, wood, pigment,
metal, 301/2 x 111/4 x 201/2 in. Gift of Walker Art Center and the T.B. Walker Foundation 2006.36.3
29
30
Real or Imaginary?
These animals look real:
These animals look imaginary:
31
Map It! Use the map to fit the correct location words into each blank.
Word Bank: near next to far away from
1. Mali is _______________________________________________________ Burkina Faso.
2. Zimbabwe is _______________________________________________________ Algeria.
3. Somalia is _______________________________________________________ Sudan.
TUNISIA
Setif
Constantine
Sousse
Batna
Biskra
Oujda Djelfa
Fez
Laghouat
Touggourt TUNISIA
Ghardaia
MOROCCO
Safi
Ouargla
Bechar
Ajdabiya
CAPE VERDE
El Golea
Agadir
Ghadamis
Suez
ISLANDS
El Giza
Cairo
El Faiyum
Hun Awjilah Siwa
Goulimine
Adrar
ALGERIA
ALGERIA El Minya
Tindouf
Birak
I-n-Salah Asyut
Laayoune
Reggane Sabha
LIBYA EGYPT
Illizi
LIBYA
Tmassah
Marzuq EGYPT Luxor

Bir El Kharga
Mogrein Arak
Ghat
WEST Al Jawf
Kom Ombo
SAHARA
Aswan
Tamanrasset
Taoudenni
Wadi
Djado
Atar
Tessalit
MAURITANIA
MALI
Araouane Arlit
Nouakchott Faya
Largeau
NIGER
NIGER
Agadez
Fada
Ayoun el
Timbuktu
Kiffa Atrous
ERITREA
Rosso
Gao
Kaedi
Menaka
CHAD
CHAD SUDAN
SUDAN ERITREA
PE Nara
SENEGAL
Tahoua
SENEGAL
Kaolack
Kayes Mopti
Mao
Biltine
Djenne Abeche
Zinder
Banjul
GAMBIA
Maradi
Segou Mekele
Niamey Dosso Sokoto
Koulikoro Gonder
GUINEA-BISSAU
BURKINA
Ouagadougou
FASO
Kano Maiduguri
Bahir
DJIBOUTI
Ndjamena
GUINEA
Dar
Bobo
Labe
Dioulasso
Dese
GUINEA
Zaria Am Timan
GUINEA
Boke
BISSAU Kindia
Kankan
BENIN
BENIN
Kaduna Maroua Debre
Markos
Dire
Jos
Dawa
Minna
NIGERIA
Korhogo Malakal
Parakou
Freetown TOGO
Ilorin Moundou
Ndele
Nazret
Garoowe
ETHIOPIA
Ogbomosho
ETHIOPIA
Bo
SIERRA
Nzerekore
GHANA
CÔTE GHANA Ibadan

CENTRAL SOUTH SUDAN
Daloa Sodo
D’IVOIRE
AFRICAN REPUBLIC
City Arba
Enugu Bor Minch
Bamenda
LIBERIA
Bouar Gode
Bambari
Abidjan
TOGO
Obo Nagele
Warri Port
Juba
CAMEROON
Sekondi
Harcourt
Bangui Yambio
Dolo Bay
Douala
Berberati
Bondo
Nimule
Moyale
Yaounde Gemena
Ebolowa
Buta Isiro
Watsa
Gulu
Marsabit
SOMALIA
UGANDA
Bumba
EQUATORIAL
Bata
EQ. Ouesso
Lisala
Lake
Albert UGANDA Marka
GUINEA
GUINEA Oyem
KENYA
Kisangani Kampala
CONGO
CONGO Mbandaka
Butembo
Kasese
Eldoret
Kisumu
Meru
Kismaayo
GABON
GABON Lake Victoria
Nakuru
Nairobi
Franceville
Inongo Kigali
RWANDA
Mwanza
DEMOCRATIC REPUBLIC
Gamba
RWANDA
Kindu
Bandundu Bujumbura
BURUNDI
OF CONGO
Uvira Arusha
Brazzaville
BURUNDI
Kasongo
Kayes Lake
Matadi
Tshikapa Kananga
Mbuji-Mayi
Kalemie
TANZANIA Dodoma
Morogoro
Ambriz Uige
Kamina Mbeya
Mbala
Malanje
Dondo
Lindi
Kolwezi Songea
Mansa Lake
Likasi
Mzuzu Malawi
Luena Lubumbashi
Mpika
Lobito Kuito
ANGOLA MOZAMBIQUE
Mufulira
Huambo

Zambezi Luanshya
Lilongwe
Kabwe
ZAMBIA
Menongue
Namibe
Lubango
ZAMBIA Zomba
Nampula
Maroantsetra
Mazabuka
Lusaka Kafue
Blantyre
Ongwediva
Rundu

MALAWI MADAGASCAR
Maintirano
Tsumeb
Grootfontein
ZIMBABWE Gweru
Mutare
Chimoio
Antananarivo
Antsirabe
MADAGASCAR
Bulawayo
Morondava
NAMIBIA Francistown
Fianarantsoa
BOTSWANA
BOTSWANA Serowe
Musina
Windhoek Mahalapye
Thohoyandou Toliara
Polokwane
Molepolole
Gaborone
Maltahöhe
Androka
Rustenburg Pretoria
Mmabatho
Benoni
Mbabane
Vryburg Vereeniging
Klerksdorp
SWAZILAND
Kroonstad
Vryheid
Welkom
Upington
Kimberley
Maseru
LESOTHO
SOUTH
Mafetang
De Aar
Vanhynsdorp
Graaff
Reinet
Bhisho
Saldanha
George
32
Antelope
33
Aardvark
34
Pangolin
35
Crocodile
36
Warthog
37
Sorting Artworks
38
39
Akan artist, Ghana, Goldweight Egyptian artist, Egypt, Figure of god
(caterpillar), 19th–20th century, brass, Anubis, 8th-7th century bce, bronze,
11/16 x 31/4 x 3/4 in. The William Hood 35/8 x 11/8 in.,The William Hood Dunwoody
Dunwoody Fund 98.1.102 Fund 16.35
Senufo artist, Burkina Faso or

Côte d’Ivoire, Mask, first half of the
20th century, wood, pigment, metal,
301/2 x 111/4 x 201/2 in. Gift of Walker Art
Center and the T.B. Walker Foundation
2006.36.3
Bamileke artist, Cameroon, Elephant

mask, 19th–20th century, indigo-dyed
cotton, glass beads, natural fibers,
54 x 81/2 in. The Christina N. and Swan J.
Turnblad Memorial Fund 94.2
Bamana artist, Mali, Tyiwara headcrest,

first half of the 20th century, wood,
cowrie shells, thread, 241/16 x 81/2 x 3 in.
(with base). The Marguerite S. McNally
Endowment for Art Acquisition 2012.25
Dogon artist, Mali, Ram, 20th century,

iron, 51/8 x 93/8 x 19/16 in. The Putnam Dana
Edo artist, Nigeria, Water pitcher, McMillan Fund 99.71
18th century, bronze, 17 x 26 in.
The Miscellaneous Works of Art Purchase
Fund 58.9
Cameroon, Bird headdress,

19th–early 20th century, wood, pigment,
81/2 x 271/4 x 12 in. The Putnam Dana
McMillan Fund 2004.107.6
40
Bamana artist, Mali, Kore Society mask, Grasslands artist, Cameroon, Whistle,
date unknown, wood, 199/16 x 8 x 61/2 in. c. 1940s, wood, leather, beads,
Gift of Julie and Babe Davis 2003.21.10 20 x 103/8 x 2 in. The Rebecca and Ben Field
Endowment for Art Acquisition 2010.74.2
Hausa artist, Nigeria, Writing board,

20th century, wood, pigments,
leather, 261/2 × 131/16 × 1 in. The
Christina N. and Swan J. Turnblad
Sowah Kwei (Ghanaian, 1954–1999), Memorial Fund 2014.44.1
Fantasy coffin, 1993, wood, plaster,
acrylic paint, 46 x 50 x 120 in.
The Robert C. Winton Fund 2010.72
41
Map It!
TUNISIA
Setif
Constantine
Sousse
Batna
Biskra
Oujda Djelfa
Fez
Laghouat
Touggourt TUNISIA
Ghardaia
MOROCCO
Safi
Ouargla
Bechar
Ajdabiya
CAPE VERDE
El Golea
Agadir
Ghadamis
Suez
ISLANDS
El Giza
Cairo
El Faiyum
Hun Awjilah Siwa
Goulimine
Adrar
ALGERIA
ALGERIA El Minya
Tindouf
Birak
I-n-Salah Asyut
Laayoune
Reggane Sabha
LIBYA EGYPT
Illizi
LIBYA
Tmassah
Marzuq EGYPT Luxor

Bir El Kharga
Mogrein Arak
Ghat
WEST Al Jawf
Kom Ombo
SAHARA
Aswan
Tamanrasset
Taoudenni
Wadi
Djado
Atar
Tessalit
MAURITANIA
MALI
Araouane Arlit
Nouakchott Faya
Largeau
NIGER
NIGER
Agadez
Fada
Ayoun el
Timbuktu
Kiffa Atrous
ERITREA
Rosso
Gao
Kaedi
Menaka
CHAD
CHAD SUDAN
SUDAN ERITREA
PE Nara
SENEGAL
Tahoua
SENEGAL
Kaolack
Kayes Mopti
Mao
Biltine
Djenne Abeche
Zinder
Banjul
GAMBIA
Maradi
Segou Mekele
Niamey Dosso Sokoto
Koulikoro Gonder
GUINEA-BISSAU
BURKINA
Ouagadougou
FASO
Kano Maiduguri
Bahir
DJIBOUTI
Ndjamena
GUINEA
Dar
Bobo
Labe
Dioulasso
Dese
GUINEA
Zaria Am Timan
GUINEA
Boke
BISSAU Kindia
Kankan
BENIN
BENIN
Kaduna Maroua Debre
Markos
Dire
Jos
Dawa
Minna
NIGERIA
Korhogo Malakal
Parakou
Freetown TOGO
Ilorin Moundou
Ndele
Nazret
Garoowe
ETHIOPIA
Ogbomosho
ETHIOPIA
Bo
SIERRA
Nzerekore
GHANA
CÔTE GHANA Ibadan

CENTRAL SOUTH SUDAN
Daloa Sodo
D’IVOIRE
AFRICAN REPUBLIC
City Arba
Enugu Bor Minch
Bamenda
LIBERIA
Bouar Gode
Bambari
Abidjan
TOGO
Obo Nagele
Warri Port
Juba
CAMEROON
Sekondi
Harcourt
Bangui Yambio
Dolo Bay
Douala
Berberati
Bondo
Nimule
Moyale
Yaounde Gemena
Ebolowa
Buta Isiro
Watsa
Gulu
Marsabit
SOMALIA
UGANDA
Bumba
EQUATORIAL
Bata
EQ. Ouesso
Lisala
Lake
Albert UGANDA Marka
GUINEA
GUINEA Oyem
KENYA
Kisangani Kampala
CONGO
CONGO Mbandaka
Butembo
Kasese
Eldoret
Kisumu
Meru
Kismaayo
GABON
GABON Lake Victoria
Nakuru
Nairobi
Franceville
Inongo Kigali
RWANDA
Mwanza
DEMOCRATIC REPUBLIC
Gamba
RWANDA
Kindu
Bandundu Bujumbura
BURUNDI
OF CONGO
Uvira Arusha
Brazzaville
BURUNDI
Kasongo
Kayes Lake
Matadi
Tshikapa Kananga
Mbuji-Mayi
Kalemie
TANZANIA Dodoma
Morogoro
Ambriz Uige
Kamina Mbeya
Mbala
Malanje
Dondo
Lindi
Kolwezi Songea
Mansa Lake
Likasi
Mzuzu Malawi
Luena Lubumbashi
Mpika
Lobito Kuito
ANGOLA MOZAMBIQUE
Mufulira
Huambo

Zambezi Luanshya
Lilongwe
Kabwe
ZAMBIA
Menongue
Namibe
Lubango
ZAMBIA Zomba
Nampula
Maroantsetra
Mazabuka
Lusaka Kafue
Blantyre
Ongwediva
Rundu

MALAWI MADAGASCAR
Maintirano
Tsumeb
Grootfontein
ZIMBABWE Gweru
Mutare
Chimoio
Antananarivo
Antsirabe
MADAGASCAR
Bulawayo
Morondava
NAMIBIA Francistown
Fianarantsoa
BOTSWANA
BOTSWANA Serowe
Musina
Windhoek Mahalapye
Thohoyandou Toliara
Polokwane
Molepolole
Gaborone
Maltahöhe
Androka
Rustenburg Pretoria
Mmabatho
Benoni
Mbabane
Vryburg Vereeniging
Klerksdorp
SWAZILAND
Kroonstad
Vryheid
Welkom
Upington
Kimberley
Maseru
LESOTHO
SOUTH
Mafetang
De Aar
Vanhynsdorp
Graaff
Reinet
Bhisho
Saldanha
George
Map: First Grade Lesson 42

Arts of Africa Second Grade Lesson
Containers: Art and Community
These activities are designed to introduce African SS 2.3.1.1.2 Locate key features on a map or globe; use
art into your classroom while also reinforcing skills cardinal directions to describe the relationship between
students are learning in other areas. Containers made two or more features. For example: Key features—city,
state, country, continents, the equator, poles, prime
by African artists across the continent provide a great
meridian, hemisphere, oceans, major rivers, major
way to talk about African art, how design can tell us mountain ranges, other types of landforms in the world.
how something is used, and how art can help us
understand diverse cultures and communities. SS 2.4.1.2.1 Use historical records and artifacts to
describe how people’s lives have changed over time.
Objectives
SS 2.4.2.4.2 Describe how the culture of a community
Students will understand that many African artworks reflects the history, daily life, or beliefs of its people.
are designed for specific uses and made beautiful
through decoration. S 2.2.1.1.1 Describe objects in terms of color, size, shape,
weight, texture, flexibility, strength, and the types of
Students will understand that artworks are part of the materials in the object.
culture of communities.
S 2.1.2.2.3 Explain how designed or engineered items
Students will understand that people study artworks from everyday life benefit people.
to learn about the history, beliefs, and daily activities
of communities. S 2.1.2.2.1 Identify a need or problem; construct objects
that help meet the need or solve the problem.
Standards
S 2.1.2.2.2 Describe why some materials are better than
Art 0.1.1.5.1 Identify the elements of visual art including others for making a particular object and how materials
color, line, shape, texture, and space. that are better in some ways may be worse in other ways.
Art 0.1.2.5.1 Identify the tools, materials, and techniques ELA SL2.1 Participate in collaborative conversations
from a variety of two- and three-dimensional media with diverse partners about grade two topics and texts
such as drawing, printmaking, ceramics, or sculpture. with peers and adults in small or larger groups.
Art 0.1.3.5.1 Identify the characteristics of visual artworks
from a variety of cultures including the contributions of
Minnesota American Indian tribes and communities.
Art 0.2.1.5.1 Create original two- and three-dimensional

artworks to express ideas, experiences, or stories.

Engage Explore
How was it used? Patterns galore!
Take a close look at four African artworks to figure out Discover the power of patterns to decorate useful objects.
how they were used.
You will need:
You will need:
• Patterns worksheet (page 53)
• Groups of three to four students
Introduce the idea that throughout Africa artists deco-
• “How was it used?” activity worksheet (page 52) for rate useful objects like baskets, bottles, and water jars
each group with patterns to make them beautiful. Sometimes these
patterns are closely associated with cultural identity.
Introduce the activity to students by explaining that they
will be looking at containers made in different countries 1. Look and describe. Using the images on pages 48–51,
in Africa to learn about how artworks help us learn about invite students to look at each of the vessels. What
community activities. Introduce the idea that artists words would they use to describe the patterns on each?
in Africa often make artworks for specific purposes.
Careful observation of the artworks often helps us figure 2. Move. Next, ask students to mimic the patterns with
out how artworks were used. their hands or bodies. Discuss what they learned about
the patterns.
1. Observe and describe. Give students time to look
closely at each of the four containers featured in this 3. Draw. Now that they have explored the patterns with
lesson (pages 48–51). With each image, ask students to their eyes and bodies, have students draw the patterns
list words on the board that they would use to describe on the patterns worksheet (page 53) to better under-
the artwork. Discuss as a class. stand how the artists used lines, shapes, and colors
to create patterns or repeating designs and how these
2. Problem solve. In groups, have students use the relate to the different parts of each container.
“How Was it Used?” worksheet (page 52) to match each
of the containers with one of the descriptions of how 4. Discuss. Conclude with a conversation about the
it was used. When done, discuss what visual clues patterns. Explain that the decorations on each container
(evidence) led them to make the choice they made for show us an example of what each artist’s culture
each. Stress that it is fine if they did not pick the “correct” considers beautiful.
match as long as they looked carefully at the artworks
for clues. This kind of work takes time! (See information
on pages 46–47.) Explain
1. Review. Invite students to review what they have
discovered so far about each vessel. Ask them to add
words to the lists they created when they first looked at
each artwork.
2. Ask. Ask students, “What do you wonder about this

artwork?” to encourage critical thinking and curiosity
about the containers.
3. Discuss. Based on students’ observations and inter-

ests, introduce information about the materials used and
the function of each container within its community of
origin. Point out to students how they, like people who
study history and culture, can figure out a lot of informa-
tion about objects through careful observation, and how
they can deepen this knowledge with additional study.
44
Extend Design challenge
Map it! Have students design a container to hold, carry, or serve

their favorite food or drink.
Show students a world map. Point out Africa’s location
in relation to the United States. Review the idea that Use the attached worksheet (page 54) to get students
Africa is a continent. thinking about these questions before designing and
drawing their own containers: What will your container
Show a map of Africa with country names (page 56). hold? Who will use it? How many people will use it? Is
Point out the countries from which the artworks in this your food or drink hot or cold? How will you carry the
lesson come and reinforce the idea that each country is container? What materials (clay, beads, gourds, etc.)
home to multiple cultural groups! Explain that these are will work best for your container? Why? What kinds of
in different regions of Africa—East, West, Central, and designs will you use to make your container beautiful?
South Africa. What else? What did you learn from the African
containers that could help you with your own design?
Ask students to describe the location of each country
in relation to at least one other country using cardinal After students have drawn their containers (page 55),
directions. Begin by showing an example such as ask them to share their ideas in small groups.
“Somalia is to the east of Burkina Faso.”
Remind them how the African artists included beautiful
Timeline designs to honor and please friends and family who
used the containers you studied.
Create a time line on which the students can place these
artworks from oldest to newest.
45
Artworks
Zulu artist, South Africa, Beer pot, mid-20th century, clay, 14 x 16 in.
Anonymous gift of funds 99.115.1
Somali artist, Somalia, Basket, early 20th century, fibers, leather, beads,
cowrie shells, cloth, 13 x 10 x 10 in. The Mary Ruth Weisel Endowment for A Zulu (ZOO-loo) artist in South Africa created this
Africa, Oceania, and the Americas 2010.73 ceramic pot with complex designs to hold beer. Round,
Look closely at the designs of the basket. Invite students shiny black pots like this one are focal points of Zulu
to share what those designs might tell us (example: the family celebrations. They are designed not only to
decoration shows it’s special, might not be used every hold liquid but to help families connect with ancestors
day, etc.). An artist in Somalia designed this basket to (people in the family who have died). Families hope
store personal items, such as jewelry, or valuable foods, that the ancestors can help make sure they can have
such as preserved meats and dates. Complex designs healthy children.
decorate its body, lid, and the straps that hold it shut to The pot’s patterns are mostly on the upper half of the
protect its contents. vessel. Invite students to think about why the designs
In Somalia basket weaving is a highly valued art form. are only on the top. This tells us that it was made to
The women who weave baskets also create mats, fans, be viewed from above. The pot was placed on the
and other household containers. Women in different ground in order to connect the living family members
parts of the country decorate their specialty objects and the ancestors, who exist below ground. The arcs
with unique regional designs. that decorate the top half of the vessel are associated
with the moon and the steady repetition of its phases.
The artist used a variety of different materials to make Together with the arcs, the leaflike forms and triangles
this basket, including colorful beads, leather, fiber, and below the arcs create a visual rhythm that represents
wood. Look closely to see how the artist dyed the fibers the cycle of life.
used to weave colored patterns into the basket itself.
The colorful patterns made of beads add another layer
of beautification to the valuable basket. The design of
interlocked diamonds appears on a variety of artworks
from Somalia.
46
Lobi artist, Burkina Faso, Jar with lid, mid-20th century, clay, 18 x 14 in.
Anonymous gift of funds 99.115.2a,b
This large, round-bodied jar has a lid that rests on two

simple notches. The rows of protruding nubs on the lid
and the body give the surface a vibrant appearance. Borana or Guji artist, Ethiopia or Kenya, Milk vessel, third
quarter of the 20th century, gourd, plant fiber, silver,
141/2 x 77/16 in. The Paul C. Johnson, Jr. Fund 99.162.2
This jar is made with a low-fired clay. When filled with
water, the nubs, which increase the amount of surface Bands of twisted silver wire woven into fibers enliven
area on the exterior, speed the evaporation process. This the surface of this milk container. Underneath its woven
special surface cools the water inside the vessel to a few cover, the container itself is created from a round-bodied
degrees below air temperature. Imagine how welcome gourd with a long neck. Gourds are preferred over clay
and refreshing this cool water would be on a hot day! jars because they are lighter. The stopper-like lid attached
The lid protected the water from harmful contaminants. to the neck shows how important it was to protect the
The Lobi people value jars of this type because they help milk inside. Notice the vessel’s round bottom. What might
maintain the health of families and communities. you deduce about its shape? It is not made to stand
upright. The container would have had a leather strap so
Although the bumps on the pot’s surface serve a very
that it could be easily carried, perhaps even by a rider on
practical function, they also beautify the object. The
a camel. When not on the move the vessel could be hung
bumps circle the curves of the pot and make the surface
on a hook inside the home.
lively. They also add interesting texture to the pot. Imagine
how the appearance of the surface of the pot would Within the pastoralist (livestock-raising) Borana
change constantly depending on the light and shadows (BOR-ah-nah) culture, in Ethiopia and to a smaller extent
created by the position and intensity of the sun. in northern Kenya, the art of creating milk containers
like this one is passed on from mothers to daughters.
The design on the woven covers relates to the women’s
woven (plaited) hairstyles. Milk containers are important
objects because milk nurtures life. In the larger sense,
milk and these containers are associated with the health
of a community.
47
Somali artist, Somalia, Basket, early 20th century, fibers, leather, beads, cowrie shells, cloth, 13 x 10 x 10 in. The Mary Ruth Weisel
Endowment for Africa, Oceania, and the Americas 2010.73
48
Zulu artist, South Africa, Beer pot, mid-20th century, clay, 14 x 16 in. Anonymous gift of funds 99.115.1
49
Lobi artist, Burkina Faso, Jar with lid, mid-20th century, clay, 18 x 14 in. Anonymous gift of funds 99.115.2a,b
50
Borana or Guji artist, Ethiopia or Kenya, Milk vessel, third quarter of the 20th century, gourd, plant fiber, silver,
141/2 x 77/16 in. The Paul C. Johnson, Jr. Fund 99.162.2
51
How Was It Used?
Look closely at each container to figure out how it was used. Draw a line to match the container to its use.
By a family to celebrate their ancestors
By a community to store and cool water
By one person to store, preserve, and carry milk
By a person to keep jewelry, preserved meats,

and other precious items
52
Draw the Patterns
Draw four different patterns that the artists used on the containers.
53
Design Challenge!
Answer the following questions to help you design a container.
1. What food or drink will your container hold?
_____________________________________________________________________________________________________________
2. Will your container need to keep it hot or cold?
_____________________________________________________________________________________________________________
3. Who will use your container?
_____________________________________________________________________________________________________________
4. What materials will you use to make your container?
_____________________________________________________________________________________________________________
5. How will you carry your container?
_____________________________________________________________________________________________________________
6. What kinds of patterns will you use to make your container beautiful?
Draw your pattern ideas in the boxes.
54
Draw It!
Draw a container for your favorite food or drink. Decorate your container with patterns.
My container for ____________________________________________________________________________________________ .
55
Map It!
TUNISIA
Setif
Constantine
Sousse
Batna
Biskra
Oujda Djelfa
Fez
Laghouat
Touggourt TUNISIA
Ghardaia
MOROCCO
Safi
Ouargla
Bechar
Ajdabiya
CAPE VERDE
El Golea
Agadir
Ghadamis
Suez
ISLANDS
El Giza
Cairo
El Faiyum
Hun Awjilah Siwa
Goulimine
Adrar
ALGERIA
ALGERIA El Minya
Tindouf
Birak
I-n-Salah Asyut
Laayoune
Reggane Sabha
LIBYA EGYPT
Illizi
LIBYA
Tmassah
Marzuq EGYPT Luxor

Bir El Kharga
Mogrein Arak
Ghat
WEST Al Jawf
Kom Ombo
SAHARA
Aswan
Tamanrasset
Taoudenni
Wadi
Djado
Atar
Tessalit
MAURITANIA
MALI
Araouane Arlit
Nouakchott Faya
Largeau
NIGER
NIGER
Agadez
Fada
Ayoun el
Timbuktu
Kiffa Atrous
ERITREA
Rosso
Gao
Kaedi
Menaka
CHAD
CHAD SUDAN
SUDAN ERITREA
PE Nara
SENEGAL
Tahoua
SENEGAL
Kaolack
Kayes Mopti
Mao
Biltine
Djenne Abeche
Zinder
Banjul
GAMBIA
Maradi
Segou Mekele
Niamey Dosso Sokoto
Koulikoro Gonder
GUINEA-BISSAU
BURKINA
Ouagadougou
FASO
Kano Maiduguri
Bahir
DJIBOUTI
Ndjamena
GUINEA
Dar
Bobo
Labe
Dioulasso
Dese
GUINEA
Zaria Am Timan
GUINEA
Boke
BISSAU Kindia
Kankan
BENIN
BENIN
Kaduna Maroua Debre
Markos
Dire
Jos
Dawa
Minna
NIGERIA
Korhogo Malakal
Parakou
Freetown TOGO
Ilorin Moundou
Ndele
Nazret
Garoowe
ETHIOPIA
Ogbomosho
ETHIOPIA
Bo
SIERRA
Nzerekore
GHANA
CÔTE GHANA Ibadan

CENTRAL SOUTH SUDAN
Daloa Sodo
D’IVOIRE
AFRICAN REPUBLIC
City Arba
Enugu Bor Minch
Bamenda
LIBERIA
Bouar Gode
Bambari
Abidjan
TOGO
Obo Nagele
Warri Port
Juba
CAMEROON
Sekondi
Harcourt
Bangui Yambio
Dolo Bay
Douala
Berberati
Bondo
Nimule
Moyale
Yaounde Gemena
Ebolowa
Buta Isiro
Watsa
Gulu
Marsabit
SOMALIA
UGANDA
Bumba
EQUATORIAL
Bata
EQ. Ouesso
Lisala
Lake
Albert UGANDA Marka
GUINEA
GUINEA Oyem
KENYA
Kisangani Kampala
CONGO
CONGO Mbandaka
Butembo
Kasese
Eldoret
Kisumu
Meru
Kismaayo
GABON
GABON Lake Victoria
Nakuru
Nairobi
Franceville
Inongo Kigali
RWANDA
Mwanza
DEMOCRATIC REPUBLIC
Gamba
RWANDA
Kindu
Bandundu Bujumbura
BURUNDI
OF CONGO
Uvira Arusha
Brazzaville
BURUNDI
Kasongo
Kayes Lake
Matadi
Tshikapa Kananga
Mbuji-Mayi
Kalemie
TANZANIA Dodoma
Morogoro
Ambriz Uige
Kamina Mbeya
Mbala
Malanje
Dondo
Lindi
Kolwezi Songea
Mansa Lake
Likasi
Mzuzu Malawi
Luena Lubumbashi
Mpika
Lobito Kuito
ANGOLA MOZAMBIQUE
Mufulira
Huambo

Zambezi Luanshya
Lilongwe
Kabwe
ZAMBIA
Menongue
Namibe
Lubango
ZAMBIA Zomba
Nampula
Maroantsetra
Mazabuka
Lusaka Kafue
Blantyre
Ongwediva
Rundu

MALAWI MADAGASCAR
Maintirano
Tsumeb
Grootfontein
ZIMBABWE Gweru
Mutare
Chimoio
Antananarivo
Antsirabe
MADAGASCAR
Bulawayo
Morondava
NAMIBIA Francistown
Fianarantsoa
BOTSWANA
BOTSWANA Serowe
Musina
Windhoek Mahalapye
Thohoyandou Toliara
Polokwane
Molepolole
Gaborone
Maltahöhe
Androka
Rustenburg Pretoria
Mmabatho
Benoni
Mbabane
Lüderitz
Keetmanshoop
Vryburg Vereeniging
Klerksdorp
SWAZILAND
Kroonstad
Vryheid
Welkom
Upington
Kimberley
Maseru
LESOTHO
SOUTH
Mafetang
De Aar
Vanhynsdorp
Graaff
Reinet
Bhisho
Saldanha
George
Map: Second Grade Lesson 56

Arts of Africa Third Grade Lesson
Investigating the Arts of Ancient
Egypt
These activities are designed to introduce the arts SS 3.4.3.8.1 Identify methods of communication used by
of Egypt into your classroom while also reinforcing peoples living in ancient times in three different regions
skills students are learning in other areas. The search of the world. (Classical Traditions, Belief Systems, and
Giant Empires: 2000 bce–600 ce)
for visual clues provides an easy way to talk about
Egyptian and other African art in your classroom. S 3.1.1.2.3 Maintain a record of observations, procedures,
and explanations, being careful to distinguish between
Objectives actual observations and ideas about what was observed.
Students will understand that observing and studying
artworks help them to answer basic questions about
times and events in history. Engage
Students will understand that close observation, What is it?
discussion, asking questions, and identifying sources of
information are all ways to learn about artworks and the You will need:
world around them.
• Image of Cartonnage of Lady Tashat (Ta-shat) on
Students will be able to identify and use different page 69
sources to find answers to their own questions about
Let students know they will be studying an ancient
four ancient Egyptian artworks.
Egyptian artwork to see what they can figure out
Standards about how it was used, and what they can learn about
Egyptian art through close looking and asking questions.
Art 0.1.1.5.1 Identify the elements of visual art including
color, line, shape, texture, and space. Project the picture of the cartonnage (mummy case) and
coffin provided (or print it to make a study sheet). Do
Art 0.4.1.5.1 Compare and contrast the characteristics of not tell students what it is right away. Begin by asking
a variety of works of visual art. them to describe what they see. Make a list of all the
words they come up with. It is likely that someone will
Art 0.1.3.5.1 Identify the characteristics of visual artworks
identify it as a mummy. Discuss: What visual clues in the
from a variety of cultures including the contributions of
Egyptian artwork led you to identify this as a mummy?
Minnesota Native Americans.
Make a list of all the clues they used to figure it out. If
SS 3.3.1.1.1 Use maps and concepts of location students do not identify the artwork as a mummy right
(relative-location words and cardinal and immediate away, challenge them to guess how the Egyptian artwork
directions) to describe places in one’s community, the was used based on what they can see.
state of Minnesota, the United States, or the world.
Ask students how they might go about learning more
SS 3.4.1.2.1 Examine historical records, maps, and about this mummy, which is at the Minneapolis Institute
artifacts to answer basic questions about times and of Art. Share information about the mummy provided on
events in history, both ancient and more recent. page 64.

Explore Explain
“What is it?” quiz game How do we know?
You will need: Demonstrate how studying art helps us understand more
about Egyptian life and culture.
• Four groups of students
1. Explain. Begin the activity by explaining that much
• Reading selections on the Egyptian artworks (pages of what scientists, historians, and art historians (people
60–63) who study art) know about ancient Egypt comes from
• Quiz sheet (page 71) the many artworks, large and small, created by Egyptian
engineers and artists.
Divide students into four groups. Give each group one of
the write-ups on an Egyptian artwork. Have them read 2. Read. Read the write-ups out loud to the students or
about their object. Then ask them to use the worksheet have them read them to each other. As you are reading
(page 71) to create quiz questions for their classmates to and looking at the artworks, make a list of the various
solve. Each quiz question should include a correct answer ways we know about life in ancient Egypt. Consider
and two decoy answers. Encourage students to write materials, writing, symbols, and other pictures.
questions that can be answered by looking closely at the 3. Review. Look at the list and look at the picture on
artwork. page 70 that shows all the artworks including the mummy.
For example, for the mummy, the group might ask the What are some artistic characteristics that are visible in
question: What is this object? The three answers might many of the works of art? (Look for balance, symmetry,
be: a mummy to protect a body, a doll with a bed, and a animal images, symbols, etc.) These characteristics help
statue for a temple. us know something is from ancient Egypt when we see it.
Project the images with no identifying captions (pages Because the Egyptians developed a written language
65–68). Have students share their questions with the called hieroglyphics, it is possible to more fully under-
other groups. For each response students provide, ask, stand the meaning of the Egyptian artworks than it
“What do you see that makes you say that?” to encourage is for many ancient cultures that did not have writing.
them to share their thought process. When they have What kinds of things can we learn from written records?
figured out the answer to the question, review the clues in (Possible answers may include stories, family relation-
the artwork that helped them figure it out. ships or histories, journeys, daily life, public/population
records, etc.)
58
Extend
Map it! Sketch
Before or after the lesson, look at a map of the world. Long ago, when people began studying ancient Egypt,
First review where the continent of Africa is relative to they took notes and made sketches of the artworks
the United States. Then locate Minnesota to see where it they saw. Ask each student to sketch one or two of the
is in relation to Africa, and, specifically, Egypt. ancient Egyptian artworks (page 72). Discuss what they
learned about the artworks by observing them closely
Ask students to describe Egypt’s location relative to and sketching. What did they notice that they didn’t
Somalia, Nigeria, Morocco, and South Africa, using see before?
cardinal directions.
At the museum
Timeline
Extend your learning about how art teaches us about
Ancient Egypt had a very long history. Place images of cultures. Use the Arts of Egypt scavenger hunt
these artworks on a timeline to show them from oldest designed for third graders available on Mia’s website to
to newest. Be sure to show how long ago ancient Egypt encourage students to look closely at and think about
was! How many years apart were the artworks made? Egyptian artworks in the galleries. Different kinds of
If possible, make copies of images of other artworks clues will enhance their learning about Egyptian culture.
from ancient Egypt, such as the pyramids, Great Sphinx,
or Temple of Hatshepsut (available on many websites
and in books on ancient Egypt) to add to your timeline
so students can connect what they already know about
ancient Egypt to the artworks at Mia.
59
Artworks
Egypt, False door, c. 2400 bce, limestone, 61 x 453/5 x 41/2 in. The Christina
N. and Swan J. Turnblad Memorial Fund 52.22
False doors, which are doors that do not open, were very The door didn’t have to be real, since it was the soul, not
popular in ancient Egyptian tombs. Ancient Egyptians the body, that traveled through the door.
believed that when a person died, he or she went to an
afterlife. Even after dying, a person still had all the joys This tomb was made for a priest named Iryenakhet. His
of living on earth. Really important and wealthy people name is carved in hieroglyphics on the door seven times.
had the largest, most decorated tombs, and the false The images on the door are nearly symmetrical, which
doors were one way to fool tomb robbers. means they are almost the same on both sides. But if
you look really closely, the pictures of Iryenakhet at the
People would visit the door to say prayers and leave bottom show him from different sides. For example, in
food and drink for the person who had died. Ancient one drawing his stick is in front of his skirt; in another,
Egyptians believed the soul of the departed would pass it is behind. When the tomb was first built, the artist
through the plain niche in the middle of the door and painted it in bright colors, but today we can only see
would get to enjoy the food and drink that was left there. small bits of paint.
60
Egypt, Clappers, c. 1550–1292 bce, hippopotamus ivory,
99/16 x 3 x 7/16 in. (each, approx.). The Ethel Morrison
Van Derlip Fund 2012.64a,b
These ivory objects look a lot like human arms and

hands. Imagine banging them together just like we clap
our hands. They are percussive instruments called
clappers, used a lot like cymbals. Ancient Egyptian
dancers would play the clappers along with other
musical instruments during a show. They could hold
one in each hand and clap them like they were their real
hands. Or they could hold them in one hand and play
them that way. Historians learned all of this by studying
ancient hieroglyphs and wall paintings.
A carver made the clappers from a hippopotamus tusk.

Hippos were very important to the ancient Egyptians.
They were so special that the Egyptians worshipped
four different hippopotamus goddesses. All four
goddesses were in charge of protecting Egyptian homes.
The clappers helped to scare mean spirits away from
happy celebrations.
61
Egypt, Broad collar, 2040–1783 bce, Egyptian faience, 61/8 x 25 in.
Gift of Edward S. Harkness 27.42.4
Ancient Egyptians often placed personal items inside The ancient Egyptians created a lot of faience jewelry for
tombs. They believed that the deceased (dead people), funerals. The greenish blue color reminded them of a
could be reborn and go on to enjoy an afterlife. The new plant beginning to grow. It was a symbol of growth
deceased would want their personal items with them in and progress.
the afterlife to help them feel the comforts of home. For
example, a woman’s tomb might have a bronze mirror, Falcons were very popular and symbolic decorations. A
makeup pots, perfume, and jewelry inside. falcon reminded the Egyptians of the soul. Horus is the
sky god who has a man's body and a falcon's head. He
This broad, meaning wide, collar is decorated with a protected the Earth beneath his wings.
falcon head on each end. It is made of Egyptian faience
(fey-AHNS), which is a glazed ceramic. Usually when we
think of a ceramic we think of clay or a piece of pottery.
But this is made of silica, an ingredient in glass.
62
Egypt, Headrest, c. 2635–2155 bce, hardwood, traces of gesso,
81/4 x 73/4 x 31/4 in. The Dr. Mary Weisel Purchase Fund 2000.70.2
What do you sleep on at night? Is it something soft like

a cotton ball or something hard like a rock? Do you ever
wonder what the ancient Egyptians slept on? This is an
ancient headrest, sometimes called a neck rest. It was
the ancient Egyptian version of a pillow.
Like the one you see here, Egyptian headrests usually

had a flat bottom that you could lay on the bed. The
curved top was where you would rest your head and
neck while you were sleeping. This helped keep your
hairstyle neat and allowed a breeze to blow around your
head, keeping you cool. Headrests have been used all
over Africa, and the oldest ones were found in graves
with other pieces of furniture in ancient Egypt and Nubia,
to the south.
63
Egypt, Cartonnage of Lady Tashat, 945–712 bce, painted and varnished
linen, L. 67 in. The William Hood Dunwoody Fund 16.414
Ancient Egyptians believed that people went to another

life when they died. At death, many peoples’ bodies
were preserved and made into mummies to make sure
their souls went safely to the next life. Making a mummy
was a complex process. The body was covered in a case
made of plaster and linen. This case was molded to the
body and painted with images of Egyptian gods and
symbols to protect the body and soul.
The mummy was then placed in a wooden coffin. The

hieroglyphs on this wooden coffin state that this mummy,
Tashat, was the daughter of the treasurer of the Temple of
Amon at Thebes. She died when she was a teenager.
The coffin and cartonnage (the painted case around the

mummy itself) show Tashat’s face. These images do
not show us what she actually looked like. Instead, they
show an ancient Egyptian ideal of beauty.
64
65
66
67
68
69
70
Egyptian Art Quiz Game
After reading about your artwork, write two questions for your classmates that they could answer by
looking closely at the art. One question might be: What is this artwork used for?
1. ___________________________________________________________________________________________________________?
a. _________________________________________________________________________________________________
b. _________________________________________________________________________________________________
c. _________________________________________________________________________________________________
What clues helped you figure this out?
2. ___________________________________________________________________________________________________________?
a. _________________________________________________________________________________________________
b. _________________________________________________________________________________________________
c. _________________________________________________________________________________________________
What clues helped you figure this out?
71
Your Egyptian Art Sketchbook
72
Map It!
TUNISIA
Setif
Constantine
Sousse
Batna
Biskra
Oujda Djelfa
Fez
Laghouat
Touggourt TUNISIA
Ghardaia
MOROCCO
Safi
Ouargla
Bechar
Ajdabiya
CAPE VERDE
El Golea
Agadir
Ghadamis
Suez
ISLANDS
El Giza
Cairo
El Faiyum
Hun Awjilah Siwa
Goulimine
Adrar
ALGERIA
ALGERIA El Minya
Tindouf Birak
I-n-Salah Asyut
Laayoune
Reggane Sabha
LIBYA EGYPT
Illizi
LIBYA
Tmassah
Marzuq EGYPT Luxor

Bir El Kharga
Mogrein Arak
Ghat
WEST Al Jawf
Kom Ombo
SAHARA
Aswan
Tamanrasset
Taoudenni
Wadi
Djado
Atar
Tessalit
MAURITANIA
MALI
Araouane Arlit
Nouakchott Faya
Largeau
NIGER
NIGER
Agadez
Fada
Ayoun el
Timbuktu
Kiffa Atrous
ERITREA
Rosso
Gao
Kaedi
Menaka
CHAD
CHAD SUDAN
SUDAN ERITREA
E Nara
SENEGAL
Tahoua
SENEGAL
Kaolack
Kayes Mopti
Mao
Biltine
Djenne Abeche
Zinder
Banjul
GAMBIA
Maradi
Segou Mekele
Niamey Dosso Sokoto
Koulikoro Gonder
GUINEA-BISSAU
BURKINA
Ouagadougou
FASO
Kano Maiduguri
Bahir DJIBOUTI
Ndjamena
GUINEA
Dar
Bobo
Labe
Dioulasso
Dese
GUINEA
Zaria Am Timan
GUINEA
Boke
BISSAU Kindia
Kankan
BENIN
BENIN
Kaduna Maroua Debre
Markos
Dire
Jos
Dawa
Minna
NIGERIA
Korhogo Malakal
Parakou
Freetown TOGO
Ilorin Moundou
Ndele
Nazret
Garoowe
ETHIOPIA
Ogbomosho
ETHIOPIA
Bo
SIERRA
Nzerekore
GHANA
CÔTE GHANA Ibadan

CENTRAL SOUTH SUDAN
Daloa Sodo
D’IVOIRE
AFRICAN REPUBLIC
City Arba
Enugu Bor Minch
Bamenda
LIBERIA
Bouar Gode
Bambari
Abidjan
TOGO
Obo Nagele
Warri Port
Juba
CAMEROON
Sekondi
Harcourt
Bangui Yambio
Dolo Bay
Douala
Berberati
Bondo
Nimule
Moyale
Yaounde Gemena
Ebolowa
Buta Isiro
Watsa
Gulu
Marsabit
SOMALIA
UGANDA
Bumba
EQUATORIAL
Bata
EQ. Ouesso
Lisala
Lake
Albert UGANDA Marka
GUINEA
GUINEA Oyem
KENYA
Kisangani Kampala
CONGO
CONGO Mbandaka
Butembo
Kasese
Eldoret
Kisumu
Meru
Kismaayo
GABON
GABON Lake Victoria
Nakuru
Nairobi
Franceville
Inongo Kigali
RWANDA
Mwanza
DEMOCRATIC REPUBLIC
Gamba
RWANDA
Kindu
Bandundu Bujumbura
BURUNDI
OF CONGO
Uvira Arusha
Brazzaville
BURUNDI
Kasongo
Kayes Lake
Matadi
Tshikapa Kananga
Mbuji-Mayi
Kalemie
TANZANIA Dodoma
Morogoro
Ambriz Uige
Kamina Mbeya
Mbala
Malanje
Dondo
Lindi
Kolwezi Songea
Mansa Lake
Likasi
Mzuzu Malawi
Luena Lubumbashi
Mpika
Lobito Kuito
ANGOLA MOZAMBIQUE
Mufulira
Huambo

Zambezi Luanshya
Lilongwe
Kabwe
ZAMBIA
Menongue
Namibe
Lubango
ZAMBIA Zomba
Nampula
Maroantsetra
Mazabuka
Lusaka Kafue
Blantyre
Ongwediva
Rundu

MALAWI MADAGASCAR
Maintirano
Tsumeb
Grootfontein
ZIMBABWE Gweru
Mutare
Chimoio
Antananarivo
Antsirabe
MADAGASCAR
Bulawayo
Morondava
NAMIBIA Francistown
Fianarantsoa
BOTSWANA
BOTSWANA Serowe
Musina
Windhoek Mahalapye
Thohoyandou Toliara
Polokwane
Molepolole
Gaborone
Maltahöhe
Androka
Rustenburg Pretoria
Mmabatho
Benoni
Mbabane
Lüderitz
Keetmanshoop
Vryburg Vereeniging
Klerksdorp
SWAZILAND
Kroonstad
Vryheid
Welkom
Upington
Kimberley
Maseru
LESOTHO
SOUTH
Mafetang
De Aar
Vanhynsdorp
Graaff
Reinet
Bhisho
Saldanha
George
Map: Third Grade Lesson 73

Arts of Africa Fourth Grade Lesson
Problem Solving: Design Thinking
These activities are designed to introduce African Art 4.2.1.5.1 Create original two- and-three-dimensional
artworks into your classroom while also reinforcing artworks to express specific artistic ideas.
learning about the engineering-design process. Art 4.2.1.5.2 Revise artworks based on the feedback of
Artworks are often the end result of a process called others and self-reflection.
design thinking. Students will study examples of art-
works designed by artists in Africa to learn how artists, S 4.1.2.2.2 Engineering design is the process of identi-
fying problems, developing multiple solutions, selecting
like scientists, use the engineering-design process:
the best possible solution, and building the product.
ask, imagine, plan, create, and improve. Students Identify and investigate a design solution; describe how
will study two examples of African art to explore this it solves a problem.
process. They will apply what they learn to create a
S 4.1.2.2.3 Engineering design is the process of identi-
unique solution to a design challenge.
fying problems, developing multiple solutions, selecting
Objectives the best possible solution, and building the product.
Benchmark: Test and evaluate solutions, considering
Students will understand the basic steps of the advantages and disadvantages for the engineering
design process. solution, and communicate the results effectively.
Students will understand how African artists use the
design process for creative problem solving.
Engage
Students will be able to describe the design process as
it relates to real situations. Personal Style and Design
Standards 1. Pick a piece of clothing. Have students pick one

piece of clothing they have on. It could be a shirt, pants,
Art 4.1.1.5.1 Describe the characteristics of the elements
skirt, pair of socks—anything.
of visual art including color, line, shape, value, form,
texture, and space. 2. Describe it. Using the attached worksheet on
page 84, ask the students to write down words to
Art 4.1.1.5.2 Describe how the principles of visual art such
describe the piece of clothing. What words describe
as repetition, pattern, emphasis, contrast, and balance
how it looks? What words describe how it feels?
are used in the creation, presentation, or response to
visual artworks. 3. Tell its story. What makes this piece of clothing
special? How and where did you get it?
Art 4.1.1.5.3 Identify characteristics of Western and
non-Western styles, movements, and genres in art. 4. Draw it! Have students draw their pieces of clothing,
including as many of the details they wrote down as
Art 4.1.3.5.1 Describe the personal, social, cultural, or
they can.
historical contexts that influence the creation of visual
artworks including the contributions of Minnesota 5. Share. Encourage students to share their drawings
American Indian tribes and communities. with the class. Discuss what is special (or not) about the
way the clothing items are designed or made.
Art 4.1.3.5.2 Describe how visual art communicates
meaning.

Explore Explain
Think about your piece of clothing before it was yours. What do you think?
Invite students to think about the fact that a person or
people designed the clothing they are wearing. What Have students read the selection about the Baga
kinds of things did that person or people have to think drum. Discuss: what additional information in this
about? Ask students to write their ideas on the back of reading might have informed the design process? How?
the worksheet. (E.g., Who is going to wear this? What Together make a list of factors the artist had to consider
kinds of designs appeal to people this age? What would in the design process. Divide these into three categories
make this item special?) Create a list of the students’ using the activity sheet provided: environment, function,
ideas and use them to introduce the steps of the design decoration. As a class discuss how form follows function
process, the key guidelines artists and designers follow in this artwork (the form of the drum, i.e., what it actually
when creating products or making artworks. looks like / how it’s decorated, is considered only after
the artist thinks about its function).
Introduce the design process
Time permitting, invite students to repeat the activity in
Ask: Consider what the end user needs. small groups, this time with the Egungun (ee-gun-GUN)
costume made over time by artists in a Yoruba
Imagine: Use your imagination to think of many ways community in Nigeria or Benin. Ask students to begin by
to meet that need. observing the Egungun costume closely. Ask: What do
Plan: Do research, make sketches, try techniques. you notice about it? What do you wonder? Then have
students read about the costume and how it was used in
Create: Make it and test it out on people. a Yoruba celebration. They can also watch short videos
of how this type of costume looks when being used in a
Improve: Make changes to make it even better.
performance.
Using the image of the Baga (BAH-gah) drum (page 79)
Again, make lists of the many factors the artists had to
and the design process worksheet on page 83, have
consider in the design process.
students imagine the design process as the artist of the
drum might have experienced it. As a class, share ideas and create a list of all the factors
the artist needed to think about when designing the
On the worksheet, have students match the possible
costume.
thoughts and actions of the African artist to the appro-
priate stage of the design process. Begin by explaining
that the artist was probably asked by an elder in the
community to make the drum.
How will the drum be used?
Different leather will make the sound better.
The small knife doesn’t cut as deeply as the

large one.
I will need to get fiber before I can make this drum.
I need to make the drum big enough for a tall

drummer.
I am excited to hear this drum.
75
Extend It’s a wrap
Map it! After students have gone through the design process,
have another discussion about each of the African
Show students a world map. Point out Africa’s location artworks you discussed. Ask: What do you think is
in relation to the United States. Reiterate that Africa is a particularly remarkable or successful with this creative
continent. Point out the countries in which the artworks solution? Reinforce the idea that looking at art and
in this lesson were made. talking about it are great ways to learn about how people
lived in the past (and today).
Design a pencil
1. Discuss. Why is it useful to think about creative
Give the students a challenge to design a new and better
problem solving when observing and analyzing
pencil. Using the worksheets provided (pages 88–89),
artworks?
have them write down at least three questions they
will need to answer before they can design their pencil.
Invite them to compare their questions with others. Give
them a chance to write down additional questions they
think would help them design a new and better pencil.
Then, have the students make sketches of at least three
different ideas for a new pencil design, including notes
about what materials and colors they might choose.
Then ask them to pick their best design and work it into
a more finished drawing, study it and think about ways
to make it even better, and add these improvements to
the drawing.
Time permitting, students could create prototypes of

their pencils using paper, tape, pipe cleaners, clay, or
other materials in your classroom.
76
Artworks
A Baga artist who lived on the marshland coast of
Guinea carved this very large drum. This type of drum is
called a timba. It was the property of male elders (older,
wise people) in the community. A timba’s main purpose
is to be played during initiation (coming-of-age) ceremo-
nies for both young men and young women.
An adult male would stand on a stool or other support

in order to beat the timba. In all likelihood, this drum
was also played at weddings, funerals of male elders,
and during harvesttime. In many African cultures, as in
cultures throughout the world, music is an important
part of performances and communication.
The horse was brought to the Baga by the French during

colonial rule in the late 1800s. Even though horses were
not very useful in the marshland environment, they were
symbols of power. Artists decorated stools, as well as
drums, with horses, since these were items only elders
could own.
The artist created this drum from a single piece of wood. To

do so, he had to imagine or visualize the drum itself and the
horse figure below it before he began carving. The side of
the drum is decorated with flowers and abstract patterns.
The top of the drum is covered with cowhide.
Baga artist, Guinea, Drum, early 20th century, wood, animal hide, plant
fibers, pigments, 531/2 x 261/2 x 24 in. The William Hood Dunwoody Fund
2011.8
77
Yoruba artist, Nigeria or Benin, Egungun costume, 1930–50, cotton,
velvet, silk, felt, synthetic fibers, wool, aluminum, wood, buttons, yarn,
plastic, string, 671/2 x 651/2 x 5 in. The Simmons Family Endowment
for Textiles and gift of funds from Jim Harris 2011.31
At first glance it might be hard to tell that these colorful The many layers of expensive fabric, including cotton,
and decorated strips of cloth are a costume. The Yoruba velvet, silk, and wool, show the power of the ancestors.
performer who wore it looked out through a panel of They also show the wealth of the family who paid to have
knotted cloth near the top. He danced and spun around it made. A community of makers including the family of
in this very large costume during a yearly festival called the ancestors, priests, a tailor, and a medicine specialist
Egungun (ee-gun-GUN). It was used in a performance to created the Egungun costume. They decorated the cloth
celebrate the ancestors, important people who had died. with aluminum, plastic, wood, string, and other materials.
Community members repaired and took care of it so it
In this performance the masked dancer becomes the could be used year after year.
ancestor. When he spins the panels fly out in all direc-
tions as a visual way to symbolize the ancestor sending
“breezes of blessings” to the audience. The dominant
color of these masks is red, because it is associated with
healing. Protective medicines hang in small bags from
parts of the costume.
78
Baga artist, Guinea, Drum, early 20th century, wood, animal hide, plant fibers, pigments, 531/2 x 261/2 x 24 in. The William Hood Dunwoody Fund 2011.8
79
Yoruba artist, Nigeria or Benin, Egungun costume, 1930–50, cotton, velvet, silk, felt, synthetic fibers, wool, aluminum, wood, buttons, yarn, plastic,
string, 671/2 x 651/2 x 5 in. The Simmons Family Endowment for Textiles and gift of funds from Jim Harris 2011.31
80
Clothing Design Worksheet
Describe It! Tell Its Story!

How does it look? How does it feel? What makes this piece of clothing special? How and
where did you get it?
Draw It!
Include as many details as you can from what you wrote.
81
There was a person/people who designed your item of clothing before it ever
reached you! What kinds of things did that person/people have to think about?
The Design Process

Ask
→
→
Improve Imagine
→
→
Create → Plan
82
Design Process and the Baga Drum
The artist who made the Baga drum was probably asked
to make the drum by an elder in the community. Draw
a line from the African artist's possible thoughts and
actions to the appropriate stage of the design process.
I am excited to
hear this drum.
How will the drum

be used?
Ask
→
→
Improve Imagine
→
→
Create → Plan
I will need to get
The small knife fiber before I can
doesn't cut as deeply make this drum.
as the large one.
Different leather
will make it
I need to make a sound better.
drum big enough
for a tall drummer.
83
Organize Your Thoughts
After reading or hearing more about the Baga drum, make some notes about what you found out.
Baga drum
Environment
Function
Decoration
How might some of these factors contribute to design decisions?
84
Design a Pencil Name: _____________________________________________
Challenge yourself to design a new and better pencil!
What do you need to ask yourself before drawing your pencil designs?
1. ______________________________________________________________________________________________________________
2. ______________________________________________________________________________________________________________
3. ______________________________________________________________________________________________________________
What else do you need to think about now that you’ve talked with your peers?
4. ______________________________________________________________________________________________________________
5. ______________________________________________________________________________________________________________
What materials might you use to create the pencil?
6. ______________________________________________________________________________________________________________
7. ______________________________________________________________________________________________________________
8. ______________________________________________________________________________________________________________
85
Sketch three ideas for a pencil:
Pick your favorite. Before you draw it, consider what could be improved.
Draw the new version in the box.
86
Map It!
TUNISIA
Setif
Constantine
Sousse
Batna
Biskra
Oujda Djelfa
Fez
Laghouat
Touggourt TUNISIA
Ghardaia
MOROCCO
Safi
Ouargla
Bechar
Ajdabiya
CAPE VERDE
El Golea
Agadir
Ghadamis
Suez
ISLANDS
El Giza
Cairo
El Faiyum
Hun Awjilah Siwa
Goulimine
Adrar
ALGERIA
ALGERIA El Minya
Tindouf Birak
I-n-Salah Asyut
Laayoune
Reggane Sabha
LIBYA EGYPT
Illizi
LIBYA
Tmassah
Marzuq EGYPT Luxor

Bir El Kharga
Mogrein Arak
Ghat
WEST Al Jawf
Kom Ombo
SAHARA
Aswan
Tamanrasset
Taoudenni
Wadi
Djado
Atar
Tessalit
MAURITANIA
MALI
Araouane Arlit
Nouakchott Faya
Largeau
NIGER
NIGER
Agadez
Fada
Ayoun el
Timbuktu
Kiffa Atrous
ERITREA
Rosso
Gao
Kaedi
Menaka
CHAD
CHAD SUDAN
SUDAN ERITREA
E Nara
SENEGAL
Tahoua
SENEGAL
Kaolack
Kayes Mopti
Mao
Biltine
Djenne Abeche
Zinder
Banjul
GAMBIA
Maradi
Segou Mekele
Niamey Dosso Sokoto
Koulikoro Gonder
GUINEA-BISSAU
BURKINA
Ouagadougou
FASO
Kano Maiduguri
Bahir
DJIBOUTI
Ndjamena
GUINEA
Dar
Bobo
Labe
Dioulasso
Dese
GUINEA
Zaria Am Timan
GUINEA
Boke
BISSAU Kindia
Kankan
BENIN
BENIN
Kaduna Maroua Debre
Markos
Dire
Jos
Dawa
Minna
NIGERIA
Korhogo Malakal
Parakou
Freetown TOGO
Ilorin Moundou
Ndele
Nazret
Garoowe
ETHIOPIA
Ogbomosho
ETHIOPIA
Bo
SIERRA
Nzerekore
GHANA
CÔTE GHANA Ibadan

CENTRAL SOUTH SUDAN
Daloa Sodo
D’IVOIRE
AFRICAN REPUBLIC
City Arba
Enugu Bor Minch
Bamenda
LIBERIA
Bouar Gode
Bambari
Abidjan
TOGO
Obo Nagele
Warri Port
Juba
CAMEROON
Sekondi
Harcourt
Bangui Yambio
Dolo Bay
Douala
Berberati
Bondo
Nimule
Moyale
Yaounde Gemena
Ebolowa
Buta Isiro
Watsa
Gulu
Marsabit
SOMALIA
UGANDA
Bumba
EQUATORIAL
Bata
EQ. Ouesso
Lisala
Lake
Albert UGANDA Marka
GUINEA
GUINEA Oyem
KENYA
Kisangani Kampala
CONGO
CONGO Mbandaka
Butembo
Kasese
Eldoret
Kisumu
Meru
Kismaayo
GABON
GABON Lake Victoria
Nakuru
Nairobi
Franceville
Inongo Kigali
RWANDA
Mwanza
DEMOCRATIC REPUBLIC
Gamba
RWANDA
Kindu
Bandundu Bujumbura
BURUNDI
OF CONGO
Uvira Arusha
Brazzaville
BURUNDI
Kasongo
Kayes Lake
Matadi
Tshikapa Kananga
Mbuji-Mayi
Kalemie
TANZANIA Dodoma
Morogoro
Ambriz Uige
Kamina Mbeya
Mbala
Malanje
Dondo
Lindi
Kolwezi Songea
Mansa Lake
Likasi
Mzuzu Malawi
Luena Lubumbashi
Mpika
Lobito Kuito
ANGOLA MOZAMBIQUE
Mufulira
Huambo

Zambezi Luanshya
Lilongwe
Kabwe
ZAMBIA
Menongue
Namibe
Lubango
ZAMBIA Zomba
Nampula
Maroantsetra
Mazabuka
Lusaka Kafue
Blantyre
Ongwediva
Rundu

MALAWI MADAGASCAR
Maintirano
Tsumeb
Grootfontein
ZIMBABWE Gweru
Mutare
Chimoio
Antananarivo
Antsirabe
MADAGASCAR
Bulawayo
Morondava
NAMIBIA Francistown
Fianarantsoa
BOTSWANA
BOTSWANA Serowe
Musina
Windhoek Mahalapye
Thohoyandou Toliara
Polokwane
Molepolole
Gaborone
Maltahöhe
Androka
Rustenburg Pretoria
Mmabatho
Benoni
Mbabane
Lüderitz
Keetmanshoop
Vryburg Vereeniging
Klerksdorp
SWAZILAND
Kroonstad
Vryheid
Welkom
Upington
Kimberley
Maseru
LESOTHO
SOUTH
Mafetang
De Aar
Vanhynsdorp
Graaff
Reinet
Bhisho
Saldanha
George
Map: Fourth Grade Lesson 87

Arts of Africa Fifth Grade Lesson
Developing Historical Thinking
Skills with Art
These activities are designed to introduce African art Art 5.1.1.5.3 Identify characteristics
into your classroom while also reinforcing historical of Western and non-Western styles,
thinking skills. This rare wooden sculpture of a horse movements, and genres in art.
and rider made over five hundred years ago in West Art 5.1.3.5.1 Describe the personal,
Africa, during an age of great kingdoms, raises a lot social, cultural, or historical contexts
of questions that require a wide range of inquiry and that influence the creation of visual
thinking skills to answer. artworks including the contributions of
Minnesota American Indian tribes and
communities.
This lesson explores a few questions about the
sculpture and some of the ways people have gone Art 5.1.3.5.2 Describe how visual art
about trying to answer them. Even if we don’t always communicates meaning.
come up with absolute or so-called "right answers," it SS 5.4.1.2.1 Pose questions about a
is important for everyone to ask questions and seek topic in history, examine a variety
answers using many tools and techniques. Students, of sources related to the questions,
historians, artists, teachers, and scientists have a interpret findings, and use evidence
lot to learn from one another. Sharing our ideas with to draw conclusions that address
the questions.
others is a good place to start when seeking answers
or solutions to problems. S 5.1.1.1.3 Understand that different explanations for the
same observations usually lead to making more obser-
Objectives
vations and trying to resolve the differences.
Students will understand how artworks can support
ELA 5.2.2.2 Determine two or more main ideas of a
learning about history.
text and explain how they are supported by key details;
Students will understand how history influences art. summarize the text.
Students will learn to apply inquiry skills to problem

solving by studying how people have answered key
questions about this five-hundred-year-old-plus sculp-
Engage
ture from West Africa. Project image on page 6 or provide students with a copy.
Ask them to imagine this artwork was recently acquired
Standards
by a museum, but it hasn’t been given a name. Ask:
Art 5.1.1.5.1 Describe the characteristics of the elements What would you name it? Have students write down
of visual art including color, line, shape, value, form, their answers, and then share as a class. As they share
texture, and space. their ideas, have students explain what they noticed
about the artwork to support their name choice. (E.g., “I
Art 5.1.1.5.2 Describe how the principles of visual art such titled it Warrior because I saw he was holding a bow and
as repetition, pattern, emphasis, contrast, and balance had a knife strapped to his arm.”)
are used in the creation, presentation, or response to
visual artworks.

Explore Extend
After sharing possible names and supporting evidence, Apply the insights gained about inquiry skills and histor-
reveal that the museum title of the artwork is Equestrian ical thinking to another artwork, the Bamana Kono altar
figure. Now ask students to look closely at the artwork (boli/zoomorphic altar) sculpture from Mali.
again. What else do you notice? What do you wonder
about? Why do you think it is called Equestrian figure? 1. Engage. Post a picture of the boli without the text
(page 95). Have students, individually or in groups,
Students probably noticed that the horse is very small— consider the following questions:
so small, in fact, that the man has to bend his legs to
ride it. (If students are not noticing the size difference, • What do you think this might be? What do you see that
ask, “What do you specifically notice about the size of makes you say so?
the rider compared to the horse?”) Think about whether • What do you think it might have been used for? What
the rider and his horse could get very far with his feet evidence makes you think so?
dragging on the ground. No! So why might the artist who
made this sculpture show it this way? • What do you think it is made from? What do you see
that makes you say that?
Explain
• What do you wonder about this artwork?
People who study the art and history of Africa have not
come up with a single “correct” answer to this question 2. Explore. Building on the inquiry skills from earlier
of “Why is the horse so small?” but have suggested in the lesson, have students complete the worksheet,
at least three explanations by using historical-inquiry exploring how they would go about answering these
skills, including drawing on historical knowledge, closely questions from historical, art historical, and scientific
observing the sculpture itself, using scientific tools, perspectives. Share ideas as a class.
and applying an understanding of how artists communi-
You could also have students post their methods and
cate ideas.
questions on the wall using different color post-it-notes
Have students, in small groups, read “Creative to indicate which ideas represent the position of art
Connections: Equestrian Figure” beginning with page 96. historian, scientist, or historian.
Ask them to read sections: Why is the horse so small?; 3. Explain. Have students explore the ArtStories pages
Horses were smaller; Using emphasis to communicate about the boli (zoomorphic altar), found here.
meaning; Did the size of the piece of wood matter?, to
learn more about the three possible explanations.
Use the attached graphic organizer (page 90) to

write down the main ideas and key details for each
explanation.
Discuss the three explanations as a class. (Note:

Given the text complexity, students may require teacher
support to aid comprehension.)
If time permits, continue further with: Historical Inquiry;

Who made this?; What is it?; Background; Conclusion,
as a class, in groups, or individually. Discuss and share
ideas about what the artwork was originally used for.
89
Historical Thinking:
Why Is the Horse So Small?
The “Creative Connections” article gives three possible explanations for the size of the horse in the
sculpture. Fill in the graphic organizer with information about each explanation.
Three Possible Main Ideas Key Details

Explanations
Horses
were
smaller
Using
emphasis to
communicate
meaning
Did the
size of the
piece of wood
matter?
90
Extend Your Thinking: What Is It?
Consider each perspective listed, and fill in the chart with the questions you would ask or methods you
would use to find out more information about the artwork.
As an art historian (a person who studies art), I would use these methods/ask these questions to learn more
about the artwork:
• Compare it to other artworks I know about, looking for similarities or differences
As a scientist, I would use these methods/ask these questions to learn more about the artwork:
As a historian, I would use these methods/ask these questions to learn more about the artwork:
91
92
Djenne (possibly Soninke) artist, Mali, Equestrian figure, c. 1450, wood, 281/4 x 63/4 x 101/4 in. (overall). Gift of Aimée Mott Butler Charitable Trust,
Anne S. Dayton, Mr. and Mrs. Donald C. Dayton, Mr. and Mrs. William N. Driscoll, Clarence G. Frame, and Mr. and Mrs. Clinton Morrison 83.168
93
Bamana artist, Mali, Kono altar, second quarter of the 20th century, wood, cloth, soil, beeswax, animal blood, unidentified materials,
163/4 x 211/2 x 75/8 in. The John R. Van Derlip Fund 2012.65
94
95
Creative Connections: Equestrian Figure
Djenne (possibly Soninke) artist, Mali, Equestrian figure, c. 1450, wood, 281/4 x 63/4 x 101/4 in. (overall). Gift of Aimée Mott Butler
Charitable Trust, Anne S. Dayton, Mr. and Mrs. Donald C. Dayton, Mr. and Mrs. William N. Driscoll, Clarence G. Frame, and
Mr. and Mrs. Clinton Morrison 83.168
Introduction
This rare wooden sculpture of a horse and rider made What do you notice?
over five hundred years ago in West Africa, during an
age of great kingdoms, raises a lot of questions that This wooden sculpture of a horse and rider from Mali, in
require a wide range of inquiry and thinking skills to Africa, raises a lot of questions! What do you notice first?
figure out. What else do you see? What do you wonder about? You
probably noticed that the horse is very small—so small,
This feature explores a few questions about the sculp- in fact, that the man has to bend his legs to ride it. Think
ture and some of the ways people have gone about about whether the rider and his horse could get very far
trying to answer them. Even if we don’t always come up with his feet dragging on the ground. No! So why might
with absolute or so-called right answers, it is important the artist who made this sculpture show it this way?
for everyone to ask questions and seek answers using
many tools and techniques. Students, historians, artists,
teachers, and scientists have a lot to learn from one
another. Sharing our ideas with others is a good place to
start when seeking answers or solutions to problems.
96
Why is the horse so small? have been especially well suited for long-distance
travel and, later, battle; it is nimble, responsive to
People who study the art and history of Africa have not riders’ touch of the reins, and willing to obey commands
come up with a single “correct” answer to this question without hesitation.
but have suggested at least three explanations by using
historical-inquiry skills, including drawing on historical The small scale of the horse in this sculpture might be
knowledge, closely observing the sculpture itself, using a realistic representation of these small, sturdy horses
scientific tools, and applying an understanding of how and their importance to the expansion of trade, wealth,
artists communicate ideas. and territory during the age of Africa’s great West
African empires.
Horses were smaller
Using emphasis to communicate meaning
Early Arabic documents written by travelers to the great
kingdoms of West Africa emphasize the importance of the Another explanation for the small scale of the horse
court’s cavalry, describing riders dressed just like this one. is artistic emphasis: the artist might have wanted to
Some writers also describe the horses as being small. show the rider as the sculpture’s most important aspect.
Emphasis is a principle of art used by artists to draw
Horses were likely introduced to West Africa by northern attention to a particular aspect of an artwork.
travelers from Carthage and Libya. Ancient rock art
in Africa shows that some horses existed south of Horses in this region required a great deal of care and
the Sahara Desert before the arrival of horses from maintenance; as a result, only people associated with
the North; nonetheless, their presence in West Africa the king, his court, and his cavalry owned them. In many
during the period under discussion can be attributed parts of Africa a mounted horseman symbolizes great
to Islamicized Berbers traversing the Sahara Desert to power, a potent fusion of human intelligence with animal
establish trade routes and convert native populations strength. Though the identity of this particular rider is
to Islam around 800 ce. Their success in establishing unknown, his body language, fancy dress, and stock of
a powerful presence in West Africa owed much to weapons indicate his wealth and command as a leader,
their mastery of small, native horses, known as Barb or much like the men described by Arab visitors to the Mali
Berber horses. kingdom. The artist has focused the most naturalistic
detail on the rider’s emblems of rank—his weapons,
costume, and jewelry.
The artist skillfully rendered the rider's weapons as well;

he sports a dagger on his left arm and holds a bow in
his left hand, and a cylindrical quiver, supported by
straps fastened between his shoulder blades, hangs on
his back. These symbols reinforce his status within the
court system. The horse could be another emblem of his
prestige. The artist might have emphasized the man by
enlarging him relative to the horse as a way to communi-
cate the man’s status.
Emphasis is a principle of art that assigns one element

of an artwork dominance over another. An artist can
emphasize one feature of the artwork, often to focus the
Barb (Berber) horse. By Alexander Kastler, via Wikimedia Commons viewer's eye and add visual impact. As in this sculpture,
emphasis is frequently achieved by means of contrast.
Here, in addition to the contrast in size, the artist made
The Berber horse, a native of North Africa, is seldom
the horse relatively plain and its limbs and head tube-
taller than 14 hands (most horses range from 15 to 16
like, compared to the rich, expressive details of the man.
hands, representing the physical length of a typical
human hand). The breed, in spite of its small size, is
strong. Centuries ago its ability to perform even in harsh
environments must have been highly valued. It might
97
Did the size of the piece of wood matter?
Another explanation for the small size of the horse is

materials: perhaps the artist was limited by the size or
dimensions of the wood from which he carved the figure.
To answer this question, one must verify that the object

is, in fact, carved from a single piece of wood. This
knowledge is also useful for curators, the people who
collect, take care of, and display artworks at a museum; it
helps them confirm the authenticity of an object. Curators
at the Minneapolis Institute of Art have had the sculpture
imaged using X-ray and CT technology to confirm that the
sculpture derives from a single piece of wood.
Knowing the sculpture comes from a single piece of

wood might help us understand the artist’s decision to
make the horse so small—if the goal was to carve both
figures from one piece. However, research into clay
(ceramic) sculptures of the same subject reveals that
these objects also depict the man much larger than the
horse. Thus, one suspects the discrepancy in size of
horse and rider was a deliberate choice by the artist, not
a decision determined by the wood’s size.
Yet, another artistic decision—lowering the horse’s face Djenne artist, Mali, Equestrian figure, 12th–16th century,
rather than raising it—appears to have been influenced earthenware and pigment. The Nelson-Atkins Museum of Art,
William Rockhill Nelson Trust through the George H. and
by the size of the wood. In ceramic sculptures made Elizabeth O. Davis Fund and the generosity of Shirley and
around the same time and place as this one, the horses’ Barnett Helzberg 2000.31 Photo: Jamison Miller
heads tilt up or jut straight out. The size of the wood
used to make this sculpture may well have limited the
artist’s ability to carve the horse’s posture similarly. Historical inquiry
Looking at this artwork and studying clues in an attempt

to figure out why the horse is so small compared to the
rider teaches us the importance of observation, asking
questions, and doing research (even scientific research)
to the process of historical inquiry.
Additional questions about this artwork, including who

made it and why, also remain largely unanswered. This
might seem surprising, given the ample research histo-
rians have done on the geography, migration patterns of
different populations, and comparisons to other artworks.
Who made this?
This wooden sculpture shares many features with a

group of clay (ceramic) sculptures from the Inland Niger
Delta and, more specifically, the Bandiagara plateau. In
these sculptures, the riders all wear similar embroidered
pants (note the flower design on the rider’s pants),
necklaces with hexagonal beads, and bracelets and
anklets. They all wear daggers on the left forearm and a
98
quiver (to hold arrows) strapped on their backs. They all A third empire, the kingdom of Songhai, rose simultane-
have the same lines around the eyes and rows of small ously with the Mali empire. Dating from roughly 1350 to
dots on their temples. 1600, it extended farther eastward.
Historian Bernard de Grunne examined these facial These empires developed into intricate political, social, and
scar patterns to determine a possible common clan; economic societies. Intense commerce along the caravan
he arrived at the Kagoro, of the Soninke people, who routes gave rise to important trading cities. Records left
migrated to the plateau during this time period. The by Arabic travelers and a few archaeological excavations
rows of small bumps on the figures’ temples refer to around the inner Niger delta region reveal the magnifi-
a particular nut that the Kagoro Soninke specialized cence and wealth of cities such as Timbuktu to the north,
in cultivating. Ancestors of the people who made this and Djenne (jen-nay) to the south. An eleventh-century
sculpture were powerful rulers, hunters, and religious chronicler wrote about the glory of Ghana, and a visitor
leaders who supported the courts prior to moving to the to Mali in 1352 described the incredible use of gold in
inland Niger delta and Bandiagara plateau. the capital city of Djenne. These large cities supported
elaborate cultural centers and extravagant courts.
What is it?
Djenne was home to community settlements for centu-
The purpose or use of this sculpture remains unclear. ries before attaining prominence as a hub of commercial
Scholars have suggested that perhaps the object, with routes, which extended to North Africa. The delta, where
its unusual-shaped base, served as a stopper for a large the Niger and Bani rivers intertwine, served as rich
clay pot or a container made from a big gourd. It also fishing grounds and fertile lands for crops thanks to the
might have been used in ceremonies, as a staff to top annual flooding.
a very large pole. Future research may lead to a better
understanding of its use. Conclusion
Background This sculpture of a horse and rider made in West Africa

over five hundred years ago gives us many ideas to
Africa, an immense continent more than three times the explore and patterns to discover. Following in the
size of the United States, has an amazingly rich history footsteps of historians, art historians, scientists, art
of fabulous kingdoms. Knowledge of Africa's great educators, and others, we soon realize the value of
empires (loose feudal confederations of related groups closely observing, asking questions, sharing impres-
of people) comes primarily from Arabic chronicles sions, and seeking answers using many tools and
and from oral tradition. The first great empire was the techniques. We all stand to learn a lot by sharing our
kingdom of Ghana, which occupied much of the western ideas with others!
region of the Sudan. This empire prospered from about
800 to 1050 ce, drawing its strength in part from lucra- Activities
tive trans-Saharan trade routes transporting gold, ivory,
and other materials to Europe. 1. What other questions do you have about this sculp-
ture? How might you go about answering them? Who
An illustrious general, Sundiata, established the next might you talk to to help you answer them? What might
great empire, Mali, around 1235. By taking over parts you read?
of Ghana, he gained the prime position for trade on
the Niger River delta. Between 1312 and 1360, the Mali 2. Pick an object in your home or classroom that you
empire reached its height of power under the leadership would like to know more about. Write down your
of two great leaders, Mansa Musa and Mansa Sulayman. questions. Who might help you answer them? What
These rulers steadily expanded Mali by conquering materials might you read? What related objects would
people over vast territories, including land that is today you consider? What other problem-solving approaches
part of the modern nation of Mali—a distinct country of might you take?
the same name. The stability of the great empire, which
extended 1,500 miles across Africa, depended largely on
the strength and achievements of its armies.
99
Map It!
TUNISIA
Setif
Constantine
Sousse
Batna
Biskra
Oujda Djelfa
Fez
Laghouat
Touggourt TUNISIA
Ghardaia
MOROCCO
Safi
Ouargla
Bechar
Ajdabiya
CAPE VERDE
El Golea
Agadir
Ghadamis
Suez
ISLANDS
El Giza
Cairo
El Faiyum
Hun Awjilah Siwa
Goulimine
Adrar
ALGERIA
ALGERIA El Minya
Tindouf Birak
I-n-Salah Asyut
Laayoune
Reggane Sabha
LIBYA EGYPT
Illizi
LIBYA
Tmassah
Marzuq EGYPT Luxor

Bir El Kharga
Mogrein Arak
Ghat
WEST Al Jawf
Kom Ombo
SAHARA
Aswan
Tamanrasset
Taoudenni
Wadi
Djado
Atar
Tessalit
MAURITANIA
MALI
Araouane Arlit
Nouakchott Faya
Largeau
NIGER
NIGER
Agadez
Fada
Ayoun el
Timbuktu
Kiffa Atrous
ERITREA
Rosso
Gao
Kaedi
Menaka
CHAD
CHAD SUDAN
SUDAN ERITREA
PE Nara
SENEGAL
Tahoua
SENEGAL
Kaolack
Kayes Mopti
Mao
Biltine
Djenne Abeche
Zinder
Banjul
GAMBIA
Maradi
Segou Mekele
Niamey Dosso Sokoto
Koulikoro Gonder
GUINEA-BISSAU
BURKINA
Ouagadougou
FASO
Kano Maiduguri
Bahir
DJIBOUTI
Ndjamena
GUINEA
Dar
Bobo
Labe
Dioulasso
Dese
GUINEA
Zaria Am Timan
GUINEA
Boke
BISSAU Kindia
Kankan
BENIN
BENIN
Kaduna Maroua Debre
Markos
Dire
Jos
Dawa
Minna
NIGERIA
Korhogo Malakal
Parakou
Freetown TOGO
Ilorin Moundou
Ndele
Nazret
Garoowe
ETHIOPIA
Ogbomosho
ETHIOPIA
Bo
SIERRA
Nzerekore
GHANA
CÔTE GHANA Ibadan

CENTRAL SOUTH SUDAN
Daloa Sodo
D’IVOIRE
AFRICAN REPUBLIC
City Arba
Enugu Bor Minch
Bamenda
LIBERIA
Bouar Gode
Bambari
Abidjan
TOGO
Obo Nagele
Warri Port
Juba
CAMEROON
Sekondi
Harcourt
Bangui Yambio
Dolo Bay
Douala
Berberati
Bondo
Nimule
Moyale
Yaounde Gemena
Ebolowa
Buta Isiro
Watsa
Gulu
Marsabit
SOMALIA
UGANDA
Bumba
EQUATORIAL
Bata
EQ. Ouesso
Lisala
Lake
Albert UGANDA Marka
GUINEA
GUINEA Oyem
KENYA
Kisangani Kampala
CONGO
CONGO Mbandaka
Butembo
Kasese
Eldoret
Kisumu
Meru
Kismaayo
GABON
GABON Lake Victoria
Nakuru
Nairobi
Franceville
Inongo Kigali
RWANDA
Mwanza
DEMOCRATIC REPUBLIC
Gamba
RWANDA
Kindu
Bandundu Bujumbura
BURUNDI
OF CONGO
Uvira Arusha
Brazzaville
BURUNDI
Kasongo
Kayes Lake
Matadi
Tshikapa Kananga
Mbuji-Mayi
Kalemie
TANZANIA Dodoma
Morogoro
Ambriz Uige
Kamina Mbeya
Mbala
Malanje
Dondo
Lindi
Kolwezi Songea
Mansa Lake
Likasi
Mzuzu Malawi
Luena Lubumbashi
Mpika
Lobito Kuito
ANGOLA MOZAMBIQUE
Mufulira
Huambo

Zambezi Luanshya
Lilongwe
Kabwe
ZAMBIA
Menongue
Namibe
Lubango
ZAMBIA Zomba
Nampula
Maroantsetra
Mazabuka
Lusaka Kafue
Blantyre
Ongwediva
Rundu

MALAWI MADAGASCAR
Maintirano
Tsumeb
Grootfontein
ZIMBABWE Gweru
Mutare
Chimoio
Antananarivo
Antsirabe
MADAGASCAR
Bulawayo
Morondava
NAMIBIA Francistown
Fianarantsoa
BOTSWANA
BOTSWANA Serowe
Musina
Windhoek Mahalapye
Thohoyandou Toliara
Polokwane
Molepolole
Gaborone
Maltahöhe
Androka
Rustenburg Pretoria
Mmabatho
Benoni
Mbabane
Lüderitz
Keetmanshoop
Vryburg Vereeniging
Klerksdorp
SWAZILAND
Kroonstad
Vryheid
Welkom
Upington
Kimberley
Maseru
LESOTHO
SOUTH
Mafetang
De Aar
Vanhynsdorp
Graaff
Reinet
Bhisho
Saldanha
George
Map: Fifth Grade Lesson 100

Arts of Africa, Grades K-5

Uploaded by

Copyright:

Available Formats

Arts of Africa, Grades K-5

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Arts of Africa, Grades K-5

Uploaded by

Copyright:

Available Formats

Arts of Africa

African art is diverse. As one of the largest continents

African art is accessible. These lessons focus on

African art fits into the curriculum. These lessons are

African art is engaging! Each lesson follows an

The downloadable PDF contains high-resolution images

We encourage you to follow your classroom lessons

Marzuq EGYPT Luxor

CÔTE GHANA Ibadan

Dundo Mwene-Ditu Manono

Kitwe Ndola MALAWI Lichinga

Xangongo Tete Chiromo

Hwange Kadoma Harare Chitungwiza Quelimane

3. Draw a new face using the worksheet. Pick the

Share a fun fact about each of the African faces.

Back to Contents page 5

Some kings among the Yoruba (YO-roo-buh) people

Tabwa artist, Zambia or Democratic Republic of Congo, Mask, second

In the past, a religious man in a Tabwa (TAH-bwah)

This clay sculpture of a royal woman comes from a

This large mask is called a “firespitter.” Senufo

Wee artist, Côte d’Ivoire, Mask, 1940s,

Tabwa artist, Zambia or Democratic

Yoruba artist, Ife Kingdom, Nigeria,

Bwa artist, Burkina Faso, Plank mask,

Greece, Head of Aphrodite, 3rd century bce,

China, Funerary Mask of a Young Woman,

Marzuq EGYPT Luxor

CÔTE GHANA Ibadan

Dundo Mwene-Ditu Manono

Kitwe Ndola MALAWI Lichinga

Xangongo Tete Chiromo

Hwange Kadoma Harare Chitungwiza Quelimane

Map: Kindergarten Lesson 22

Objectives Take a close look at the Tyiwara (chee-WAH-rah) head-

Back to Contents page 23

2. Make decisions. Have students work together to

3. Share. Review the decisions made by each group.

Using information provided, explain how the object is

Today, in some Bamana communities, performers

To honor farmers the artist creatively put together the

The artist who made this headdress had to carve the

The artist who carved this had to imagine the

These animals look imaginary:

Word Bank: near next to far away from

1. Mali is _______________________________________________________ Burkina Faso.

2. Zimbabwe is _______________________________________________________ Algeria.

3. Somalia is _______________________________________________________ Sudan.

Marzuq EGYPT Luxor

CÔTE GHANA Ibadan

Dundo Mwene-Ditu Manono

Kitwe Ndola MALAWI Lichinga

Xangongo Tete Chiromo

Hwange Kadoma Harare Chitungwiza Quelimane

Senufo artist, Burkina Faso or

Bamileke artist, Cameroon, Elephant

Bamana artist, Mali, Tyiwara headcrest,

Dogon artist, Mali, Ram, 20th century,

Cameroon, Bird headdress,

Hausa artist, Nigeria, Writing board,