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Guro


Living among the Baule and Yaure west, the Malinke north and south wé and Bete. The Guro live in an area covered by savannah and forest. They migrated from the north during the XVI and is now number two hundred thousand, they were called but when Kweni were colonized between 1906 and 1912 the French invaders, gave them the name of Guro. Guro villages consist of round houses in the north and rectangular in the south. Each village is governed by a council of elders, representing each family, and secret societies. The Guru mainly grow cotton, rice, coffee and cocoa, men and women involved clearing plantations.

The Guro Art is an art and elegant masks consists mainly of elongated figures with a concave profile and almond eyes.


Masks:


Different types of masks can be noticed. In the western part of the country Guro masks have a pointed chin, a protruding mouth, almond-shaped eyes bulging and a high forehead sometimes decorated with scarification. They have an apotropaic function but are also worn by executioners during executions.

The southern style is influenced by that of the neighboring tribe, the Bete. Their masks are identifiable, thanks to their more naturalistic features, their scars on his forehead, triangular noses and eyes surrounded by incised scarification, they are sometimes called masks Guro-Bete

Another type of mask found in this region, has a bulging forehead, a snub nose

45000 Baga, live along the coast of Guinea Bissau in villages divided into two and four districts, themselves subdivided into 5 and 6 clans. According to tradition each village is headed by the oldest members of each clan were meeting in secret. Nowadays this system has been replaced by a mayor elected from each village.

The Baga worship a single god called Kanu assisted by a male spirit, Somtup, and a female spirit-A bowl. A spirit often represented by a snake, watch over the lower ranks of society to-Lom responsible for initiation rites.

The first sculptures Baga appeared in the West during the 50s, the impact of Islamization, and the abandonment of traditional rites and beliefs, the Western traders allowed to export the masks and headdresses Baga statues. Nowadays Baga trying to restore their culture with the help of their elders, they recreate ceremonies and celebrations that punctuated their traditional life.

Masks:

The mask is the most famous Baga Nimba called, is a mask shoulder supported by four pillars, it has large breasts, a large head with semi-circular ears, a chin and a pointy nose. He appeared at weddings, births, ceremonies related to crops and more generally in the ceremonies connected with joyful events. Two styles of Nimba masks have been identified, the first best known in the West has a concave face, whereas the second has a convex face.

The crest known as: Ziringen Wonde, was worn by dancers during ceremonies marking the end of the periods of initiation of girls,

Lobi

The tribes living in Burkina Faso, Ghana and Togo, live the culture of millet, cotton and occasionally livestock in the northern parts of the region. religious activities are dictated by the seasons. For example, during the dry season, when crops were made for festivals and ceremonies are held.

LOBI:
the two hundred and fifty miles Lobi, inhabit a territory spanning 3 countries, Burkina Faso, Ghana and Ivory Coast, they revere the spirits called Thil who are honored on altars built according to the instructions of the sorcerers. Generally located on the roof or inside houses. These altars are filled with objects such as crockery, iron statues of abstract form, and statues of wood or stone known as the Batebi supposed to incarnate the spirits Thil. Batebi Lobi statues measure between 5 and 60 cm have legs slightly bent and a big head hair smooth or fluted Batebi two categories can be distinguished. the first includes Batebi apotropaic, known as the Batebi dutundora which typically measure 60cm in height, and whose main characteristic is a ferocious expression, showing their ability to chase the evil forces.
The second type of Batebi embodies Thil spirits, and includes statues of wood or clay, in various positions, each corresponding to a specific Thil.
For example, the statue with outstretched arms, or raised arms symbolizes a dangerous Thil, while couples in sexual positions or statues of motherhood are supposed to embody a spirit thil who

The Senufo

scattered between the Ivory Coast and Burkina Faso, Mali, one million five hundred thousand Senufo, live off agriculture and occasional hunting. they live in villages ruled by councils of elders, who elect a leader. cohesion of the tribe is reinforced by the Poro society initiates, and educates the Senufo men from lâge 7 years. Senufo theology based on the presence of a powerful god, Koulotiolo, and a mother goddess Katielo, which through the rites of the Poro society ruled over the world.
The Senufo art is one of the first to have been admired by Westerners, their artistic production is abundant, and their statues and masks are characterized by a mixture of realistic detail, allied to pure geometric forms. playing on the empty and full.

Masks:

the Senufo, use different types of masks, according to the occasion. mask called Kpéliyée used by members of the Poro society has a heart shaped face surrounded by fins. mask helmet représentatnt janiforme a buffalo head is used for funerals and in times of crisis. its main function is to destroy the evil spirits, his power comes from a small cup placed on top of his skull containing magical substances. sometimes for dancing sparks out of his mouth that earned him the name "fire-eater." another type of helmet mask, a buffalo head, under a pair of antelope horns, are used primarily during initiation ceremonies poro.
Senufo artists have created three types of crest, the first

Marius de Zayas

"Mrs Brown-Potter" by Marius de Zayas. Published in Camera Work, No 29 1910Marius de Zayas Enriquez y Calmet (March 13, 1880-January 10, 1961), was an early 20th century Mexican artist, writer and art gallery owner who was influential in the New York arts circles of the 1910s and 1920s.

 Life
De Zayas was born to wealthy and aristocratic parents in Veracruz, Mexico. His father, Rafael de Zayas (1848–1932) was a noted journalist, novelist, dramatist, poet and lawyer. He established two newspapers in Veracruz, and it was there that his sons Marius and George developed their artistic careers by providing illustrations for the papers.

In 1906 the two brothers began providing caricatures for Mexico City's leading newspaper El Diario, which was founded by American-born journalist Benjamin De Casseres. A year later the de Zayas newspapers took a strong editorial stance against Mexican President Porfirio Diaz, and under threat their family left Mexico and settled in New York.

Shortly after arriving in New York, de Zayas took a position drawing caricatures for the New York Evening World, and he quickly established a reputation for his witty parodies of prominent citizens. Through his connections with other artists in the city he became acquainted with Alfred Stieglitz, and in January 1909 Stieglitz exhibited a group of de Zayas's caricatures at his art gallery, "291". A year later Stieglitz gave de Zayas another exhibit in which he brought his caricatures to a three-dimensional level. On a large wooden platform he created more than 100 free-standing cardboard cutouts of some of New York's most prominent people, seen strolling down Fifth Avenue in front of the Plaza Hotel. The show became such a hit that lines were often stretched far outside the doorway to the

Tristan Tzara (born Samuel or Samy Rosenstock, also known as S. Samyro; April 4 or April 16, 1896 – December 25, 1963) was a Romanian and Frenchavant-garde poet, essayist and performance artist. Also active as a journalist, playwright, literary and art critic, composer and film director, he was known best for being one of the founders and central figures of the anti-establishmentDada movement. Under the influence of Adrian Maniu, the adolescent Tzara became interested in Symbolism and co-founded the magazine Simbolulwith Ion Vinea (with whom he also wrote experimental poetry) and painter Marcel Janco. During World War I, after briefly collaborating on Vinea's Chemarea, he joined Janco in Switzerland. There, Tzara's shows at the Cabaret Voltaire and Zunfthaus zur Waag, as well as his poetry and art manifestos, became a main feature of early Dadaism. His work represented Dada's nihilisticside, in contrast with the more moderate approach favored by Hugo Ball.

After moving to Paris in 1919, Tzara, by then one of the "presidents of Dada", joined the staff of Littérature magazine, which marked the first step in the movement's evolution toward Surrealism. He was involved in the major polemics which led to Dada's split, defending his principles against André Breton and Francis Picabia, and, in Romania, against the eclecticmodernism of Vinea and Janco. This personal vision on art defined his Dadaist plays The Gas Heart (1921) and Handkerchief of Clouds (1924). A forerunner of automatist techniques, Tzara eventually rallied with Breton's Surrealism, and, under its influence, wrote his celebrated utopianpoem The Approximate Man.

During the final part of his career, Tzara combined his humanist and anti-fascistperspective with a

André Breton (February 19, 1896 – September 28, 1966) was a French writer, poet, and surrealisttheorist, and is best known as the main founder of surrealism. His writings include the Surrealist Manifesto of 1924, in which he defined surrealism as pure psychic automatism.

Biography

Born to a family of modest means in Tinchebray(Orne) in Normandy, he studied medicineand psychiatry. During World War I he worked in a neurological ward in Nantes, where he met the spiritual son of Alfred Jarry, Jacques Vaché, whose anti-social attitude and disdain for established artistic tradition influenced Breton considerably. Vaché committed suicide at age 24 and his war-time letters to Breton and others were published in a volume entitled Lettres de guerre (1919), for which Breton wrote four introductory essays.

From Dada to Surrealism

In 1919 Breton founded the review Littérature with Louis Aragon and Philippe Soupault. He also connected with DadaistTristan Tzara. In 1924 he was instrumental to the founding of the Bureau of Surrealist Research.

In The Magnetic Fields (Les Champs Magnétiques), a collaboration with Soupault, he put the principle of automatic writing into practice. He published the Surrealist Manifesto in 1924, and