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Many Kenyan traditional societies
placed great significance on decoration of both functional and ritual
objects, and the body. The tribes such as the Kuria and the Samburu,
were raised to the form of high art. The Samburu placed great significance
on physical beauty and adornment, especially among warriors, who
take great care of their physical appearance, using hair styling
and ochre body painting to create an impression of great delicacy.
It was this trait that earned them their name Samburu- Butterflies,
given to them by other tribes.
Many Northern nomadic tribes such as the Boran, Oromo and Gabbra
extensively decorate functional items, including water gourds, stools
and neck pillows.The Turkana people, who live in one of Kenya's
harshest environments, still afford great care and attention to
decoration of the body and object such as ostrich egg waterholders,
wrist knives and clubs.
For the Maasai, the use of decorative beading is extremely significant,
and jewelry is used to emphasize social status and to signify stages
of initiation and passage.
Modern forms of art came to Kenya progressively. The art of carving
was practiced throughout Kenya to produce both functional and decorative
items. The Kamba people are considered the best Kenyan carvers,
and have long been known as skilled woodworkers. Carving on the
coast was centered on the island of Lamu, where the local Bajun
tribe is believed to have influenced Arab craftsmen to create a
unique hybrid of styles.
The Kisii from Western Kenya are also well known for their carving
in stone, using locally quarried soapstone. They use locally quarried
soapstone to produce a range of carvings. The most popular items
are small animals, chess pieces based on traditional African designs
and more functional items such as egg cups, soap dishes, coasters
and ash trays. The soapstone here varies in colour from white (the
easiest to carve) through various shades of pink to a deep lustrous
red (the most difficult to carve).
Graphical art in Kenya has a much less defined history. There are
certain traditions in design and representation derived from rock
art patterns, but also considerable influence from the coast. Textile
design and decorative art throughout the coast created strong Swahili
designs from Middle Eastern roots.
Painting and drawing in the formal European sense was introduced
by colonialism. There were several European artists in colonial
Kenya, the best known being Joy Adamson. Although
better known for her conservation work and writing, she was also
an accomplished artist. Her botanical paintings were used as a base
for Kenya's original textbooks on plants, and her huge collection
of tribal portraits remain a body of work of great anthropological
importance.
Kenyan painting has gradually developed incorporating traditional
designs with modern technique. One of Kenya's best known painters,
who have achieved international fame and recognition, is Joel
Oswago. Joel is from Western Kenya, and his brilliant paint
work depicts scenes of Luo life both traditional and modern. His
style is difficult to describe or define. He paints his subjects
in an intense defined manner, emphasizing bodily and facial features
with sharply contrasting primary colours.
This can create an impression of harshness, but also of great physical
vulnerability. His scenes of village life are usually structured
in a tableau to suggest an immediate social or domestic situation.
His art can be remarkably funny, terribly sad or often a combination
of both.
At the National Museum an independent trust, called the Kuona Trust,
has been established to foster and encourage Kenyan artists. The
Trust has set up an artist’s residence by the shores of Lake
Naivasha, where a space and accommodation for artists is available.
Kenya has developed a name as a home for bohemian expatriate artists,
and there are many international artists living and working in the
country
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