Harn Diversity Project Analysis

Understanding Diversity and Its Significance

Diversity refers to the presence of differences and variety within a group, often encompassing race, religion, and cultural backgrounds. For individuals of Hispanic heritage, like myself, diversity is especially meaningful because it offers opportunities to learn from both Hispanic and non-American cultures. This personal value influenced my decision to seek out a university where diversity is a core principle.

The University of Florida in Gainesville stands out for its multicultural student body, welcoming individuals from around the globe each term. This rich blend of cultures strengthens the university’s diversity, with significant representation from Asian, African American, and Hispanic communities. In this essay, I will explore the African Art collection at the Samuel P. Harn Museum of Art and discuss how it reflects and connects with the diverse community of Gainesville, Florida.

The History and Influence of African Art

As someone of Puerto Rican descent, my heritage is rooted in Spanish, Taino, and African ancestry, making African culture particularly significant to me. African art encompasses a vast range of traditions from across the continent, including Egyptian, South African, and Nigerian influences. The Harn Museum’s African Art collection primarily focuses on Western and Sub-Saharan Africa, with pieces dating from the fifth to the twenty-first centuries. The collection aims to educate visitors about cultural diversity and promote understanding and acceptance of different traditions.

A notable piece is the Ritual Axe from the Yoruba people of eastern Africa, created for ceremonial purposes. The Yoruba, known for their numerous deities, used the axe to honor Ogun, the god of metalwork. The axe’s carved wooden handle features prominent human figures and symmetrical design, highlighting common themes in African art.

Balance, Symmetry, and Contemporary African Art

Balance and symmetry are recurring elements in many cultures, including ancient Egyptian and Greek art. The Harn’s Contemporary Collection features an untitled work by Ethiopian artist Elias Sime (2002), which exemplifies these principles. Sime combines traditional crafts, modernist techniques, and global influences, assembling found objects—such as hundreds of multi-colored buttons—into concentric circles. This arrangement symbolizes the interconnectedness of people worldwide and the universal need for sustenance.

Continuity in African Art: Masks, Costumes, and Jewelry

African art’s enduring legacy is evident in the continuity of its forms and motifs, even among modern African American artists. For example, Lois Mailou Jones’s painting “Moon Masque” (1971) features faces juxtaposed with a mask, symbolizing tradition and the contemporary struggles of African peoples. While this painting is not currently exhibited at the Harn, it resonates with the museum’s collection of African masks and headdresses.

Masks have played a vital role in African culture since the Paleolithic era, used in rituals, ceremonies, and as symbols of status. The Harn’s exhibition “Symbolism and Ceremony in African Masquerades” showcases 30 masks from the 20th and 21st centuries, demonstrating both continuity and innovation in masquerade traditions. Music, dance, and costumes are integral to these performances.

Notable Artifacts

• Masquerade (deangle), Mano People, Liberia (1940): This mask, still used in initiation rituals, features cotton, fibers, and metal. Although it represents a female spirit, it is worn by men who mimic feminine movements, highlighting the ritual’s significance.
• Headdress (Chi wara), Bamana People, Mali (Late 19th–20th Century): Used in ceremonies honoring farmers, this headdress represents Chi Wara, a mythical figure who taught agriculture. The mask combines animal features and is worn with raffia fiber costumes to symbolize elemental forces like earth and water.
• Qur’anic Amulet (xirsi), Somali People, Somalia (18th Century): Made from amber and red stones believed to have healing properties, this amulet is traditionally gifted to brides and symbolizes wealth and independence.
• Bracelet, Edo People, Nigeria (Mid-19th Century): Crafted from precious materials like ivory and brass, this bracelet represents the wealth and power of Benin royalty, with motifs referencing historical events and foreign influences.

The Role of the Harn Museum in Promoting Diversity

The Harn Museum provides a platform for appreciating the cultural significance of African art. While there is a risk that museum displays may reduce artifacts to mere objects of beauty, educational efforts help visitors understand their deeper meanings.

In a city like Gainesville, where African Americans are a significant demographic, such exhibitions foster cross-cultural understanding and appreciation, especially in the context of ongoing social challenges.

African Culture and the University of Florida

The University of Florida actively promotes diversity by welcoming students from varied backgrounds and hosting exhibitions like those at the Harn Museum of Art. Connections between African traditions and Gainesville’s culture are evident—for example, the symbolic use of animals and ceremonial attire in both communities. Just as African rituals involve masks and costumes, Gainesville residents display unity by wearing university colors during events, reinforcing a sense of belonging.

Conclusion

This essay highlights the importance of costumes, masks, jewelry, and figures in African culture and their parallels with Gainesville’s diverse community. The Harn Museum’s exhibitions showcase this diversity, making the University of Florida an inclusive environment. Various student organisations, such as the Black Student Union, African Students Union, and others, contribute to spreading diversity across campus and the city, ensuring everyone feels represented and valued.

References

• African American Art: Harlem Renaissance, Civil Rights Era, and Beyond, 2012. Smithsonian American Art Museum. https://americanart.si.edu/artwork/moon-masque-76334. December 2018.
• Activities and Involvement, Division of Student Affairs, www.studentinvolvement.ufl.edu/student- organizations.
• African Jewelry information. https://africa-facts.org/african-jewelry-2/. December 2018
• Cooksey, Susan Ph. D. Symbolism & Ceremony in African Masquerades.
• Harn Museum of Art Educator Resource. harn.ufl.edu/linkedfiles/educatorresource-africanmasquerades.pdf. December 2018.
• “Harn Collections.” Collections, Harn Museum of Art, University of Florida, www.harn.ufl.edu/collections.
• Samuel P. Harn Museum of Art label for Bamana people, Headdress (chi wara or n’gonzon koun). Gainesville, FL Web. December 2018.
• Samuel P. Harn Museum of Art label for Edo people, Bracelet. Gainesville, FL Web. December 2018.
• Samuel P. Harn Museum of Art label for Mano People, Masquerade (deangle). Gainesville, FL Web. December 2018.
• Samuel P. Harn Museum of Art label for Sime, Elias, Untitled.Gainesville, FL Web. December 2018.
• Samuel P. Harn Museum of Art label for Somalian, Koranic Amulet (xirsi). Gainesville, FL Web. December 2018.
• Samuel P. Harn Museum of Art label for Yoruba People, Ritual Ax. Gainesville, FL Web. December 2018.
• What can we learn from the art of Benin? https://www.bbc.com/bitesize/articles/z84fvcw. December 2018