Calabashes are important objects, being used as vessels such as dishes or jars, in the daily life of Africa. On their exteriors people decorate with the interesting ornaments. On this paper I would try to analyze the ornaments of calabashes, which I collected in some parts of West Africa, Mali, Niger, Nigeria, from 1967 to 1968. After analyzing them, I classify them into three styles according to three tribes, Dogon, Fulbe, Hausa. The style of the Dogon, who engage in agriculture and live in the south of central Mali, expresses both geometrism and naturalism. The style of the Fulbe, who ergage in agriculture and cattle-breeding and live in the northern part of Nigeria, expresses the same both forms as the Dogon. And the style of the Hausa, who engage in agriculure outside town and live along the Niger river from Niger to Nigeria, expresses only geometrism. It is an outstanding point that these three styles do not have the naturalism representing the plants. Why cannot we find any plant patterns in these African ornaments? This is very interesting from the viewpoint of history of art and ethnology. Generally in the history of art, two sorts of styles are classified according to the intention of decoration. One of the two has no meaning as pure decoration, the other has some symbolic meaning or sign in the tribal society. For example, the geometric ornaments of the Hausa belong to the former. Some ornaments of the Dogon like the patterns of dancers and his long masks represent some religious meanings of the Dogon myth. Also in case of the Fulbe, some kinds of animal figures such as birds, snakes, chameleons, etc., have some meanings in their folk tales. In conclusion, we can say that the style of ornament in West Africa has some correlation with the style of tribal culture.
What is Africa to the Negro in America? Needless to say, Africa is their homeland from which their ancestors were brought to the New World as slaves under duress. Therefore, none can deny the fact that American negroes and black Africans are real blood brothers. Then, can we find any common racial characteristics between them? To discuss this matter, the writer has attempted to make a special study of Wright's African sketches, Black Power. It seemed that Wright made up his mind to pay his first visit to the Gold Coast in West Africa with a view to getting a firm grasp of the relation between the Negroes in America and the Blacks in Africa. In the United States, it is said that the deepest meaning of the problems of the Negro lies in the psychological distance that separates two races-Whites and Blacks. The writer, however, wonders if there exists such psychological distance as separates American negroes from Africans. Concerning this point, the writer wants to point out the following fact. On setting foot on African soil, Wright came across the faces whose reactions were riddles to him and immediately he found out that Africans were more alien to him than white Americans. Such being the case, the result of Wright's fact-finding travel in Africa seemed to fall short of our expectations. This may be a very delicate and difficult matter to deal with, but the writer has tried to enumerate facts from Wright's works in illustration of this problem. It is highly regrettable that his first home-coming seemed to yield but a sorry crop in spite of his desperate efforts. By the way, if Wright were still alive and active in writing, and if he were to see newly-reborn Africa with his own eyes, what would he say? This is the very point that the writer is anxious to know.