cape town-based photographer kyle weeks documents the dangerous practice of palm wine collecting design indaba: cape town-based photographer kyle weeks captures the dangerous practice of palm wine collecting in namibia. the ancient cultural tradition involves extracting the sweet, milky, white sap from various palm tree species by fastening a container to their flower stump. the process is risky as it requires tappers (people who collect sap) to scale the towering trees in order to gather the beverage. kyle weeks, spent months in the kunene region of namibia to document the custom in which members of the dynamic himba culture climb up palms the height of tall buildings daily. while the practice is illegal in namibia, the himba people believe in its value as a traditional practice. in his series ‘palm wine collectors‘, weeks candidly captures the tappers as they go about their collecting, letting them direct their movements and poses so that they contribute to the final composition of the image;

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the poetic accumulation of stones forms a sweeping scenography, subtly illuminated by natural light. the poetic accumulation of stones forms a sweeping scenography, subtly illuminated by natural light.Go To Artist Page Sell your music everywhere We'll ship when it's back in stock Sign up for the CD Baby Newsletter Your CD Baby online session is due to expire shortly. Would you like to extend your session and remain logged in? We're sorry, but your CD Baby online session has expired.Photographer Seyi Akinbola recently took  a visit to a local palm wine seller in lagos state nigeria.If you're seeing this message, it means we're having trouble loading external resources on our website. While in South Africa, Jack tries a drink with alleged healing powers. Booze Traveler and South Africa: Hidden GemsAfrican artists have supplied the European expatriate and export markets with merchandise for at least five centuries. Such artistic production began in the fifteenth century on Africa's west coast, where Portuguese explorers and seamen first encountered Africans.

Europeans' curiosity about the voyagers' exotic souvenirs from Africa may have encouraged trade. Whatever the catalyst, in the late fifteenth and the sixteenth century, Portuguese merchants commissioned Sapi and Bini (Edo) ivory carvers in present-day Sierra Leone and present-day Nigeria, respectively, to produce objects to sell in Europe. These objects included elaborately decorated ivory spoons, shoehorns, saltcellars, hunting horns, and other objects that found homes in the curiosity cabinets and on the banquet tables of the European nobility. During the late nineteenth century, when the European presence was constant, a Woyo potter named Voania (Voanya) Muba made figurative vessels exclusively for the European market. Voania was the chief of Muba, a village on the Atlantic Coast and a three-day walk from the towns of Boma and Banana.(34) He became a potter although he lived in a village where pottery had not previously been made. Men in Muba carved wooden lids with high-relief figures to cover the bowls imported from pottery-making villages.

Although the Muba villagers believed Voania had lieya liambu, or talent, and was self-taught because he never left the village to become an apprentice, Voania probably learned how to model clay and make pots from men (who customarily worked in isolation) in a pottery-making village. Whatever the source of his knowledge, Voania created his own formula for the clay body and perfected his skills. Voania's only assistant was a nephew who neither helped to mix the materials or to form the vessels. He served instead as the middleman in selling Voania's vessels. Voania's pottery typically depicts Europeans alone, as a couple, as equestrians, or as a family group standing or sitting on top of a globular vessel. He occasionally portrayed an African male or a female figure. Some pots have only a human head for decoration. The hollow vessels have an opening, usually in the head of a figure. The figures' hats sometimes have two parts-the hat with an opening and a lid to cover it. None of Voania's vessels ever functioned as pitchers.

The Dallas vessel (1975.75) depicts a seated European male wearing a hat and jacket with carefully detailed buttons and buttonholes. There is an opening in the top of the hat. The figure holds a flask for liquor in one hand and a drinking cup or glass in the other. During the nineteenth century, Europeans imported alcoholic beverages that became African symbols of prestige; their consumption was a privilege of rulers, who were the first to be introduced to the foreign imports. The Woyo use proverbs to offer a compliment, appeal to principle, or settle an argument. Carved pot lids that visually illustrate proverbs can silently convey messages when covering bowls containing food. Voania's vessels, on which the imagery on pot lids was not duplicated, were clearly not intended for this kind of communication nor were they sold to Muba villagers. They were meant for European customers, who probably found them amusing. Still the one and only male potter from Muba village, Voania died in 1928.

During the late nineteenth century, European explorers penetrated far inland to Mangbetu country in the northeastern part of the former Belgian Congo (the present-day Democratic Republic of the Congo). The Mangbetu vessel depicts a woman with an elongated head (the result of binding the forehead at infancy) wearing a classic, fanlike coiffure that identifies her as royal (fig. 62). European taste for figurative art encouraged Mangbetu sculptors to create objects in this style.(36) The figure's hairstyle, which in real life required an armature to stand upright, serves as the spout of the vessel. This particular type of Mangbetu vessel, of which only a few are known,(37) is unusual because it is double-chambered and is buff colored instead of black. In Mangbetu society, male artists made terracotta "head" vessels as well as vessels of carved wood and cast or forged metal. Women traditionally made nonfigurative pottery strictly for domestic purposes. In addition to European influence on artistic production, interethnic marriages between peoples who observed gender-specific rules in making pottery may have also resulted in men and women working together to make these vessels.

The Arts of Africa at the Dallas Museum of Art, cat. 108, pp. 286, 288-289.Expedition 5, no. 3 (Spring 1963): 38–41. For a survey of the first works to reach Europe, see Bassani, Ezio, and William Fagg. Africa and the Renaissance: Art in Ivory. Edited by Susan Vogel. New York: Museum for African Art, 1988.“Vonia Muba: Contribution to the History of Central African Pottery.” African Arts 10, no. 2 (January 1977): 59–66, 92. 35. For a similar vessel, see Smet, Peter A. G. M. de. Herbs, Health, Healers: Africa as Ethnopharmacological Treasury. Berg en Dal, Netherlands: Afrika Museum, 1999. 36. Schildkrout, Enid, and Curtis A. Keim. African Reflections: Art from Northeast Zaire. Seattle: University of Washington Press for the American Museum of Natural History, New York, 1990. 37. For similar figural terracotta vessels in the Tartu Museum in Estonia, see Olderogge, D. A., and Werner Forman. The Art of Africa: Negro Art from the Institute of Ethnography, Leningrad.