Abstract
In this article I explore the aesthetic value of sub-Saharan African ritual masks in the context of modern African art as part of the global fine art world (Desai, 2005; Kasfir, 1992). This discussion of sub-Saharan African ritual masks examines the role of carver and the dichotomy of past “traditional” art and contemporary “modern” art of sub-Saharan Africa (Hassan, 1999). The challenges of responding to ritual objects of aesthetic merit that are outside of the Western cultural framework are discussed. The dynamic roles of museums that exhibit African art are explored as well. Elizabeth Garber (1995) cautions art educators who are outside of the culture discussed need to be aware of the temptations to “exoticize” these original artifacts when designing curriculum. All these issues of postmodern multicultural art education (Ballengee Morris & Stuhr, 2001; Chin, 2011) are important considerations when designing an art lesson using African ritual masks as a source of inspiration for students’ artwork.
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