Tribal art, also known as non-Western art or ethnographic art, or, controversially, primitive art, is the visual arts and material culture of indigenous peoples. Tribal art frequently has a ceremonial or religious purpose. Tribal art is the theme and craftsmanship of items from tribal civilizations, usually with rural origins. Tribal artworks have historically been gathered by Western anthropologists, private collectors, ethnographic and natural history museums.
Non-Western art was not considered to be art at all by prominent Western art professionals in the 19th century. These items were instead perceived as artifacts and cultural products of "exotic" or "primitive" cultures. But the way that tribal arts are viewed has changed in the second half of the 20th century. Prior to the development of postmodernism in the 1960s, art critics saw tribal arts from a strictly formalist perspective, paying little attention to the work's symbolic meaning, historical or cultural context, or artist's aim. Since then, worldwide collections, exhibitions, and the art market have all begun to place a high value on tribal art, such as African art in Western collections.
The word "tribal" could create a perception of a lower type of art that is connected to primitivism and implies a lack of sophistication in terms of ability, design, intent, or concept. However, as museums reevaluate and re-curate their collections in recognition of the fact that tribal art is far from being crude and primitive and frequently demonstrates a skill of execution that is far beyond what we expect, it is attracting an increasing amount of attention from the general public. It also has the capacity to touch our souls. Perhaps as a result of their compelling presence and emotional energy, our inner instincts are awakened, and we connect with their veracity, fueling our sense of spiritual depth.
Tribal art has three primary categories in museum collections: African art, in particular Sub-Saharan African art, Art of the Americas and Oceanic art, particularly those from Australia, Melanesia, New Zealand, and Polynesia.
African tribal art includes stone carvings, wood carvings (masks and sculptures), jewelry, basketry, fabrics, pipes, musical instruments, weapons, beadwork, and the creation of architectural elements like doors and wall ornamentation.
Not all tribes practiced these art forms; the development of these crafts was influenced by the availability of tools, resources, and know-how. The most common material was wood, which was frequently adorned with clay, paints, shells, beads, ivory, metal, feathers, animal hair, raffia, and occasionally even semi-precious jewels.
An all-encompassing religion included African art as an essential component. Individual images served as embodiments or representatives of the vital forces said to be present in all living things. These representations of the dead spoke for them frequently, preserving the essence of tribe ancestry and allowing people to identify with the ancestral spirits. Although many of the forms employed include secular elements, and some works of art are just decorative and ornamental, African tribal artefacts were generally produced as religious art - for a specific ritual or ceremonial use.
Many tribal rituals are based on initiation into age-groups, such as the young men's or old men's "societies," each of which has its own distinct emblems and cult motifs. Many carved figures and masks are associated with such "societies," and frequently symbolize patron Gods or deities like the God of Thunder or the God of Fire. Although certain cultures produced carvings nearly as a luxury item, they are as common and popular as masks and had a ritualistic connection. The Yoruba tribe in Nigeria were expert round figure carvers and frequently crowned their typically huge masks with throngs of intensely alive mannequins, giving the impression that a party was in process. The standard and reputation of African sculpture were so high among other tribes, including the Yoruba, that sculptors might attain a stature and reputation somewhat akin to that of a well-known artist in the West.
Polynesia, Micronesia, Melanesia, and Australasia are the four distinct ethnogeographic regions that make up the Oceania subregion. The creative heritage and customs of the native people who are native to these four locations are referred to as Oceanian tribal art. The majority of Polynesia, Micronesia, and Melanesia were ultimately affected by this Lapita culture. Another factor was the Vietnamese Dong-Son civilisation (c. 600 on), which was a significant trader in the western Pacific region and left behind bronze artifacts that have been discovered all over Oceania.
Oceanic tribal art was bound up with pagan ceremonies involving the supernatural, spirit-worship, fertility, although each region and each island group had its own artistic traditions, which influenced its arts and crafts. The majority of the materials used by artists and craftsmen were perishable, a fairly wide spectrum of art was produced, including body painting, tattooing, painting, sculpting, wood carving, and textile art. Thus, relatively few examples, aside from stone structures and sculpture, have survived.
Famous examples of Polynesian art that have survived include the stone temples of the Society Islands, Easter Island, and the Marquesas; the monumental stone sculptures (moai) on Rapa Nui/Easter Island and the Marquesas, exemplifying the use of designs incorporating anthropomorphic figures with protruding tongues and bulging eyes, common to many eastern and remote areas of Polynesia; and highly ornamented bark cloth in western Polynesia.
Masks were a major theme in indigenous art throughout Melanesia because they were employed in intricate pagan rituals and cult practices. In addition to body painting and tattooing, Micronesian tribal artifacts include styled wooden masks, painted canoes, and carved wooden bowls. The diverse forms and media of Australian Aboriginal art include body painting, rock painting, bark painting, rock engravings, standing stones, carving, sculpture, and ornamental adornments on implements and weapons.
The nomadic, hunter lifestyle of the former and the slightly more static but nonetheless destitute environment of the latter have greatly influenced American Indian art. Resources availability, including wood, wicker, metal, animal bone, clay, and cotton were another important factor in how locally specific creative traditions emerged.
Tribes in the southwest were masters of weaving, pottery production, and fresco painting. These tribes included the Hohokam of southern Arizona, the Ansazi of northern Arizona and New Mexico, the Mimbres of south-west New Mexico, as well as the Zuni, Navaho, and Hopi peoples. Southwest Native Americans developed sandpainting, commonly referred to as dry painting (notably the Navajo).
In the Midwest, culture was created completely by tribe, and it was renowned for both its elaborate textile art and its well-known earthworks, known as "effigy mounds," that were shaped like various animals. In addition to carved wood bowls and polished stone and copper ornaments, tribal art also included sculptured stone pipes with motifs ranging from the ultra-realistic to the abstract.
Finely carved shells, ornately painted clothing accessories, and pipes shaped like birds and animals were also created in the South-East region. However, despite using poor-quality clay, it was best known for its beautiful pottery. For ceremonial, religious, and personal usage, pottery works were made and decorated in a variety of floral and geometric patterns.
Basketry was a prime example of Native American art on the West Coast, specifically in California. The Northeastern Indians, especially the Iroquois, were renowned for their hardwood bowls, woven wampum belts, porcupine quillwork, and False Face Society masks. The Northwest's greatest tribal art was sculpture, especially wood carving. One of the most prevalent types of hand-carved sculptures were totems, little wooden figures, and masks that were meticulously painted and frequently inlaid with stones and abalone shells.
From the middle of the 19th century onward, as more and more expeditions brought back tribal artifacts, European collectors and artists began to show an interest in what was then known as primitivism/primitive art, which was typically the art of black Africa. The late 19th and early 20th centuries witnessed significant tribal art exhibitions that introduced non-Western art to the Western art world. The Museum of Modern Art featured important exhibitions such the 1941 Indian Art of the United States and the 1935 Africa Negro Art. Many contemporary artists, including Expressionists, Cubists, and Surrealists, have found inspiration from exposure to tribal arts.
Major artists like Vincent Van Gogh and Henri Matisse had been profoundly impacted by tribal art, while Paul Gauguin had firsthand contact with it in French Polynesia. They were followed by Pablo Picasso in the middle of the 20th century, whose famous early Cubist masterpiece Les Demoiselles d'Avignon prominently featured African masks. Cubism was greatly influenced by tribal art. Drawing primarily on the formal implications of tribal art, the artist quickly damaged the Western paradigm by fracturing the image and sacrificing perspective. One of the main outcomes of this was abstract painting.
Around this time, the German collective Die Brücke started concentrating more on the intuitive, primitive, and ritualistic aspects of non-Western art, launching the important modern art style known as Expressionism. By drawing influence from tribal art, Cubism, and Expressionism in Zürich, New York, and finally Paris, the Dadaists contributed to the dismantling of the Western paradigm. The three-dimensional counterpart of collage and assemblage was largely used in Dada's pictorial or sculptural work. This piece made from recycled materials proves that art can be made out of anything and isn't limited to being painted, carved, or modeled. Its imagery was provocative on a political, social, or aesthetic level and frequently combined elements of tribal art. Dada introduced the ideas that eventually gave rise to conceptual art. Conceptual art's influence merged with those of the other streams of modern art to form the large, broad, extraordinarily rich, varied, and internationally diversified river of contemporary art that the world presently enjoys.
Original contemporary Tribal Art is a captivating form of artwork that has historical and cultural significance. This type of artwork is created by indigenous artists, who are inspired by their traditional art forms and cultural practices. The main types of supports and materials used in creating Tribal Art include canvas, wood, clay, and natural pigments. What makes this form of artwork unique is the way it reflects the interconnectedness of indigenous communities with nature and their surroundings. It is a celebration of their culture and their way of life, conveyed through intricate patterns, symbols, and colors that have been passed down through generations. Tribal Art is a window into a world that is both ancient and modern, and it allows us to appreciate the beauty and diversity of indigenous cultures.
The origins of Tribal Art can be traced back to ancient times, where indigenous tribes created intricate and meaningful artworks that were used in rituals and ceremonies. Over the years, Tribal Art has continued to flourish, with Contemporary Artists creating pieces that incorporate traditional elements with modern techniques.
Original contemporary Tribal Art has undergone a significant evolution in recent years. This art form is characterized by bold colors, intricate patterns, and powerful symbolism that reflects the cultural heritage of indigenous communities. These artworks have gained immense popularity in the contemporary art market, with collectors and enthusiasts alike recognizing their unique beauty and cultural significance.
Contemporary artists who have made a name for themselves through their original contemporary Tribal Art artworks include:
Kent Monkman: A Canadian artist who is best known for his paintings, Monkman combines elements from traditional Indigenous art with contemporary styles to create unique and thought-provoking pieces. His work often explores themes of gender, sexuality, and colonialism.
Jeffrey Gibson: An American artist of Choctaw and Cherokee descent, Gibson’s work combines traditional Native American art forms with contemporary materials and techniques. His pieces often feature bright colors, geometric patterns, and intricate beadwork.
Wendy Red Star: A member of the Crow Nation, Red Star’s work uses photography, sculpture, and performance art to explore issues related to Native American identity and representation. Her pieces often challenge stereotypes and highlight the diversity of Indigenous cultures.
Edgar Heap of Birds: A Cheyenne and Arapaho artist, Heap of Birds’ work often features text-based pieces that explore issues related to Indigenous rights and histories. He uses a variety of materials and techniques, including painting, printmaking, and installation art.
Jaune Quick-to-See Smith: A member of the Confederated Salish and Kootenai Tribes, Quick-to-See Smith’s work incorporates a range of media, including painting, printmaking, and collage. Her pieces often address issues related to social justice, politics, and the environment.
These artists have all made significant contributions to the world of contemporary Tribal Art, using their unique perspectives and techniques to create powerful and thought-provoking works that challenge viewers to think critically about issues related to Indigenous cultures and histories. Their art serves as a reminder of the richness and diversity of Indigenous art forms, and the importance of continuing to support and celebrate these traditions in the modern world.
"Red Man" by Jaune Quick-to-See Smith is a contemporary Tribal Art masterpiece created in 1990. The painting is a powerful critique of the way Native Americans have been misrepresented and stereotyped in American culture. Smith’s use of bold colors and dynamic brushstrokes captures the strength and resilience of Native American people in the face of centuries of oppression and marginalization.
"Love" by Norval Morrisseau is another iconic work of contemporary Tribal Art. Created in 1979, this painting is a celebration of the transformative power of love and its ability to heal even the deepest wounds. Morrisseau’s use of vibrant colors and sweeping lines imbues the painting with a sense of joy and hope, making it a favorite among art lovers around the world.
"Guardian Spirits" by Bill Reid is a stunning example of contemporary Tribal Artistry. Created in 1980, the sculpture depicts two Haida figures standing guard over a small village. Reid’s incredible attention to detail and his masterful use of traditional Haida techniques make this sculpture a true masterpiece of Indigenous art.
Another significant work of Tribal Art is "The Storyteller" by Roxanne Swentzell. Created in 1991, this sculpture captures the spirit of Indigenous storytelling traditions, with a figure sitting cross-legged and holding a small child in her lap. Swentzell’s use of clay and other natural materials gives the sculpture a powerful sense of connection to the earth and the natural world.
Finally, "The Dance" by Jaune Quick-to-See Smith is a vibrant and dynamic painting that captures the energy and spirit of Native American dance traditions. Created in 1992, the painting features bold colors and sweeping lines that convey a sense of movement and rhythm. Smith’s use of traditional Native American symbols and motifs adds depth and meaning to the painting, making it a true masterpiece of contemporary Tribal Art.
