“Much of Kenya [and East Africa in general] is composed of vast dry stretches of thorny brush rooted in poor sandy soil. Although there are regions where rainfall supports the continuous presence of greenery, most of the country is dependent upon seasonal rains, which often do not fall for years at a time. As a result, the majority of Kenyan peoples were pastoralists, moving constantly in search of forage for their herds, and hunter-gatherers who maintained a subsistence level existence.

In contrast, many peoples of West Africa have for centuries lived [by the major river systems—Congo, Niger, Volta, etc.] in sedentary societies based on agricultural production. This more stable life-style contributed to the development of a broad spectrum of arts including sculpture. Living in one place made it possible for people to turn their artistic talents toward the creation of objects which transcend purely practical needs.

The very different living conditions and life-styles of the more nomadic people of Kenya [and East Africa] led to the development of objects of a primarily utilitarian nature. Knowledge that each village location was less than permanent discouraged the production of material which was fragile or not directly related to daily existence.

Traditional everyday Kenyan objects display a combination of remarkable craftsmanship, aesthetics, and complexity of design. This blending of form and function elevates these utility objects to works of art.”

-Excerpted from Arts of Kenya, Museum of African Art: Smithsonian Institution, Washington, D.C. (1979)

“These objects are fabricated from a wide variety of materials — wood, leather, grass, and gourds — which have been appliqued, woven, and repaired with natural fibers, metal, zippers, nylon, and beads. Often their forms belie their components, as with wooden vessels carved to look like gourds.

Each container, carefully worked and then colored with natural pigments and fat, is designed to store specific substances: fat, water, milk, food, feathers, honey. Design efficiency is paramount. Wooden tops often serve as goblets; rounded bottoms are more stable in sand. Transport vessels are distinguished by projections and straps, which can be hung over the shoulder or lashed to animals. Through years of continual use they have arrived at their present patinated state.”

-Excerpted from Arts of Kenya, Museum of African Art: Smithsonian Institution, Washington, D.C. (1979)

“Garments and jewelry serve extremely practical as well as decorative purposes. They symbolize cultural, social, and economic divisions for both women and men. The skirts illustrated here indicate the age, community status, and wealth of the women who wear them.

Today, substitutes for traditional materials are often used. However, the integrity of form has remained constant. Design components derived from wild animals are presently illegal. Salvaged aluminum sometimes replaces antelope bones. Old glass beads have been supplemented with plastic ones. Grass and leather are yielding to monofilament line and wire. Keys, zippers, and bottle caps are frequently basic elements in decoration.”

-Excerpted from Arts of Kenya, Museum of African Art: Smithsonian Institution, Washington, D.C. (1979)

“Stools and headrests may be divided into three categories: 1) Stools that are stationary household items identified by their size, weight, and round, flat surfaces; 2) Headrests that are light and transportable, often with carrying straps; and 3) Stool-headrests, which are occasionally portable.

Headrests are used by men from many Kenyan groups to support their neck or head while reclining. This protects their elaborate and colorful mudpack hairdos.

In an architectural sense, these pieces represent sophisticated design combinations. Some manifest intricate ornamental carvings. Others show great stylization in terms of simplicity of form. Many reveal an appreciation of natural shapes, resulting in objects that are strongly zoomorphic in feeling.”

-Excerpted from Arts of Kenya, Museum of African Art: Smithsonian Institution, Washington, D.C. (1979)

“Every traditional Kenyan object, from shields to game boards, is crafted meticulously. Walking sticks epitomize, perhaps above all other pieces, the diversity of natural versus derived form. In a functional sense they indicate age of the owner, communicate authority, and express individuality. The more substantial ones are clearly used for support and the lighter ones purely as symbols of authority.

The stylistic range is broad. The Meru show their ability to select organic shapes of great natural beauty. Burled and bifurcated woods abound. The Turkana have developed highly stylized forms. The movement of the grain is emphasized and the carving of each piece tightly controlled.”

-Excerpted from Arts of Kenya, Museum of African Art: Smithsonian Institution, Washington, D.C. (1979)