FEATURE 118 BIBLIOGRAPHY Bastin, Marie-Louise, 1961. Art decoratif tshokwe, 2 Vols. Lisbon: Museu do Dundo. ———, 1971. “Y a-t-il des des pour distinguer les styles Tshokwe, Lwena, Songo, Ovimbundu, et Ngangela?” Africa Terveuren 17, 1:5–18. ———, 1978. Statuettes tshokwe du héros civilisateur “tshibinda ilunga.” Arnouville: Arts d’Afrique Noire Publications. ———, 1982. La Sculpture tshokwe. Meudon: Alain et Françoise Chaffin. ———, 1988. Art et mythologie: figures tshokwe. Paris: Editions Dapper. Carvalho, H. A. Dias de, 1890. Ethnographia e história tradicional dos povos da Lunda. Lisboa: Imprensa Nacional. de Areia, Manuel L. Rodrigues, 1985. Les Symboles divinatoires: Analyse socio-culturelle d’une technique de divination des Cokwe de l’Angola. Coimbra: Centro de estudos Africanos. de Sousa, Luís Augusto, 1971. Sobre a mulher Lunda- Quioca (Angola). Lisbon: Junta de Investigações do Ultramar. Félix, Marc L., 1997. Masker - Magt og magi: Dansemasker fra Zaire. Denmark: Kunsthallen. ———, 2009. Congo Mythical Masks. Brussels: Congo Basin Art History Research Center/BRUNEAF. Félix, Marc L. and Manuel Jordán, 1998. Makishi Lya Zambia: Mask Characters of the Upper Zambezi Peoples. Munich: Fred Jahn Publications. Herreman, Frank and Constantijn Petridis, 1993. Face of the Spirits: Masks from the Zaire Basin. Antwerp: Ethnographic Museum. Jordán, Manuel, 1993. “Le masque comme processus ironique: Les makishi du nord-ouest de la Zambie,” in Anthropologie et Sociétés, 17, No. 3: 41–46. ———, 1996. “Tossing Life in a Basket: Art and Divination Among Chokwe, Lunda, Luvale and Related Peoples of Northwestern Zambia.” Unpublished dissertation. Iowa City: University of Iowa. ———, 2000a. “Art and Divination Among Chokwe, Lunda, Luvale, and Other Related Peoples of Northwestern Zambia,” in Insight and Artistry in African Divination. John Pemberton III (ed.), Washington: Smithsonian Institution Press. ———, 2000b. “The Arts of Chokwe and Related Peoples,” in In the Presence of Spirits: African Art from the Museum of Ethnology, Lisbon, pp. 87–121. F. Herreman, (ed.), New York: The Museum for African Art. ———, 2000c. “Revisiting Pwo,” in African Arts, vol. 33, No. 4 (Winter 2000), pp. 16–25; 92–93. ———, 2002. Ngombo: Divination Arts of Central Africa. Munich: Fred Jahn. ———, 2003a. “Tupele: Basket Divination Symbols of the Chokwe,” in Tribal Art. Spring 2003; VIII:1, 30, pp. 96–106. ———, 2003b. “Tupele Divination Materials and Their Relative Symbolic Attributes,” in Material Differences: Art and Identity in Africa, pp. 154–163. F. Herreman (ed.), New York: The Museum for African Art. ———, 2006. Makishi: Mask Characters of Zambia. UCLA: Fowler Museum. Jordán, Manuel (ed.), 1998. CHOKWE! Art and Initiation Among Chokwe and Related Peoples. Munich: Prestel. Redinha, José, 1956. Máscaras de madeira da Lunda e Alto Zambeze. Lisbon: Museu do Dundo. Silva, Sonia, 2011. Along an African Border: Angolan Refugees and Their Divination Baskets. University of Pennsylvania Press. Wastiau, Boris, 2000. Mahamba: The Transforming Arts of Spirit Possession among the Luvale-speaking People of the Upper Zambezi. Switzerland: University Press Fribourg. ———, 2006. Chokwe. Visions of Africa Series, Italy: Five Continents. Chihongo (“male chief”) mask character with large “openings” for eyes and mouth, and another by Cameron (1877) showing Katoyo (“the outsider”) interpreted through a feather crown and cap without a mask or face covering. The other depicted masks support a range of stylistic interpretations at the time. 6. Adding to modes of comparative stylistic analysis, it is also helpful to look at Chokwe masks in relation to those made by other groups in central Africa. See, for example, Herreman and Petridis 1993; and Félix 2009, 1997. 7. Elsewhere I have written about different versions of Pwo representing young (Mwana Pwo), mature, or old women, also ranging in character from female chiefs to immature/vain females (Félix and Jordán 1998; and Jordán 2006). 8. For an article on broader stylistic issues related to Pwo masks, including the influence of colonial institutions, see Jordán 2000. FIG. 21 (above): Pwo mask. Chokwe, Democratic Republic of the Congo. Wood, leather, fiber, beads, brass, aluminum, pigment. Private collection, Brussels. FIG. 22 (right): Pwo mask representative of naturalism (approaching portraiture) in carving style. Chokwe, Mwakahila, southern Kasai region, Democratic Republic of the Congo. 19th century. Collected by T. Fourche, 1933–1942. Wood, fiber, pigment, metal, plastic, animal and plant material. H: 21 cm. Musée Royal d’Afrique Centrale, Tervuren, Belgium, EO.0.0.43143. Photo: Studio R. Asselberghs– F. Dehaen, © MRAC Tervuren.
CoverT71_FR.qxd_CoverF Vuvi
To see the actual publication please follow the link above