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Why has unfired clay received less attention than other African art materials?
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African art
Raffia-fiber cloth, made by the Kuba, Democratic Republic of the Congo, mid-20th century; in the Honolulu Academy of Arts.
In the context of African art, unfired clay is considered the most widely used medium across the continent, yet it has received significantly less attention in academic and historical literature than other materials like wood or metal.1
The primary reason for this lack of documentation is the extreme fragility of the material. Because unfired clay is not hardened through the firing process, it is highly susceptible to damage and deterioration over time, making it exceptionally difficult to collect, preserve, and study. Consequently, while it likely represents a foundational tradition in African sculpture, its ephemeral nature has caused it to be largely overlooked in favor of more durable media.1