Out of Africa’s central forests have come beautiful examples of tribal art. These collectible works are important in their own right, but also have influenced the works of major 19th and 20th century Western artists, including Picasso, Modigliani, Braque, Klee, Vlaminck and Derain.

While living in New York City in the 1960s, I was privileged to photograph African art in the prominent collections of Allen Alperton and Irwin Hersey and at many Madison Avenue galleries.

Translating the beauty and form of these fascinating pieces to film has been a wonderful personal adventure. Each piece shown here is exceptional, yet typical of their tribal origins, rituals and expressive styles that evolved over hundreds of years.

Today, the best art from the tribes represented in these photographs will list for $10,000 to $100,000 at major auctions.

First are “Ibeji” twin figures from the Yorubaland tribe. The birth of twins is considered to be an unusual and mystical event. The Shaman may advise the parents to have a pair of Ibeji twin figures carved, according to the sex of the children. Or, the carvings may be postponed until one of the twins dies. The figure of the dead twin is then cared for, ritually fed, cleansed, and clothed in the same fashion as the surviving twin.

The Bambara antelope dance head dress represents the spirit “chi wara.” It is attached to a wicker cap and worn by young men of the “flankuru” (an agricultural cooperative) at planting and harvest rituals. Antelope were common in the area and the young men would leap like antelope while performing their dances.

The Baule tribal carvers are noted for their highly polished and finely detailed ancestral wooden sculptures. The attention paid to the scarifications and the intricate hair weavings, expressions details of the face, arms and fingers are distinctive of the Baule tradition. This is a head dress worn at ceremonial events.

Here we have the most beautifully carved example that I have ever seen of a “Dea” ceremonial mask used by the Poro secret society of the Dan tribe of the Ivory Coast and Liberia. The masks are carved to look like beautiful women.

BaKota ancestral figures are distinctive in their two-dimensional aspect. These are covered with brass and copper sheeting in geometric designs. The metal coverings contain samples of bone from an ancestor.

Fang ancestral figures from Gabon are most interesting for combining the qualities of ancestors with those of a child. They usually are placed upon a box containing some of the ancestor’s bones. These sculptures are carved with great skill and finely polished.

The carved wooden “Akua mma” fertility doll expresses the Ashanti ideal of beauty – a high forehead, long neck, round flat face and a small mouth. The women are instructed not to look at deformity of any kind, so that their children will be beautiful. Pregnant women usually carry these dolls.

Finally back to full membership after Katrina, Zulu Social Aid and Pleasure Club marched the streets of New Orleans, ushering in Mardi Gras. Named after one of the strongest tribes in Africa, Zulu is known for their elaborate costumes creating a truly impressive experience. Zulu celebrated their 92nd year as one of the longest running parades. Before Zulu, African Americans were not allowed to join krewes or even march on Mardi Gras. The Zulu tradition began in 1916 when William Story sarcastically satirized Rex, (the oldest and most traditional parade still running, which occurs after Zulu). Story wore a lard can as a crown and walked about with a banana stalk scepter, spoofing the Rex king. Seven year’s later the all black krewe began to officially parade. To this day riders dress in black face and large curly wigs. Zulu has 1250 members and 27 floats. They also include award winning marching bands like Xavier Prep Band and St. Augustine Band. It is truly a privilege to be asked to march during Zulu since more people attend parades Mardi Gras day more then any other day. This year’s theme was “The World of Legend, Heroes, and Folklore” with characters like Batman heading the floats. Standard signature floats include Big Shot, Witch Doctor, Mayor and Governor. Each are headed by an elaborately, Native-American influenced, costumed man. Costumes include a full headdress often detailed with sequence and feathers. The amount of care and time it takes to make these costumes is obvious in its appearance. Along the parade route walk the honor guard known as the Soulful warriors. They walk along the parade route in huge curly wigs and grass skirts, a reflection of the influence of Africa in Zulu’s festivities.

Each float and their members throw different beads with the Zulu name and/or symbol. Each float has a new official parade bead each year with Zulu’s name and emblem, too. With a large assortment of Zulu printed items from cups to Frisbees there are always enough throws to go around. This year I was very lucky to have caught a rare bead only coming off of one float. The beads read “King’s Club,” with Zulu icons on either side. Since these beads commemorate the past King of Zulu and are only thrown by one rider, it is my most prized throw of the year. Unfortunately I could not get my hands on the best throw of all, the Zulu coconut. Each float has a number of gold painted coconuts to hand out. More exclusively are brightly hand painted and decorated coconuts which come from the heads of the floats or from specific higher up members in the club. These are especially collectible items and are difficult to procure unless you are willing to get right up against the float. With all the people, it is hard enough to stay in one place, let alone move with ease throughout the crowd. The crowd received the parade well and barbequing families and groups of friends roped off the entire neutral ground. Perhaps the busiest Zulu I have seen in years, it was the perfect start to Mardi Gras day. Zulu livened up the crowd and gave people a reason to join together and celebrate New Orleans and its traditions.