Red Ochre Collection

A Himba woman in traditional attire. Her body gleams from a mixture of red ochre, butterfat and herbs. Her long hair is styled in the traditional Himba way

Two young Pokot girls wearing traditional ornaments that denote their unmarried status. Their broad belts are made with the metacarpus and metatarsal bones of dikdiks interspersed with beads. Kenya

A Pokot warrior wearing a cheetah skin jumps high in the air surrounded by young women to celebrate an Atelo ceremony. The Pokot are pastoralists speaking a Southern Nilotic language

Australian aboriginal dancing at a corroboree. Body painted with pipe clay and red ochre
FLO4695397 Australian aboriginal dancing at a corroboree. Body painted with pipe clay and red ochre. Native of New South Wales dancing

Painting in the Chauvet cave, 32, 000-30, 000 BC. Creator: Art of the Upper Paleolithic
Painting in the Chauvet cave, 32, 000-30, 000 BC. Found in the collection of the Grotte Chauvet

Chinese horse. Caves painting of Lascaux, ca 16.000-15.000 BC. Creator: Art of the Upper Paleolithic
Chinese horse. Caves painting of Lascaux, ca 16.000-15.000 BC. Found in the collection of the Centre national de Prehistoire (Perigueux)

Galloping horse. Caves painting of Lascaux, ca 16.000-15.000 BC. Creator: Art of the Upper Paleolithic
Galloping horse. Caves painting of Lascaux, ca 16.000-15.000 BC. Found in the collection of the Centre national de Prehistoire (Perigueux)

Chinese horse. Caves painting of Lascaux, ca 16.000-15.000 BC. Creator: Art of the Upper Paleolithic
Chinese horse. Caves painting of Lascaux, ca 16.000-15.000 BC. Found in the collection of the Centre national de Prehistoire (Perigueux)

The dancers of Cogul. Cave painting from the Roca de los Moros (Roca dels Moros). Found in the Collection of Museu d Arqueologia de Catalunya, Barcelona

Himba women perform the otjiunda dance, stamping their feet, clapping and chanting while one of them gyrates in the centre of the circle

A Samburu warrior resplendent with long, braided, Ochred hair. The round ear ornaments of the warriors are fashioned from ivory

Lithyalin Scent Bottle, Bohemia, c. 1830. Creator: Friedrich Egerman
Lithyalin Scent Bottle, Bohemia, c. 1830

Black Cow. Caves painting of Lascaux, ca 16. 000-15. 000 BC
Black Cow. Caves painting of Lascaux, ca 16.000-15.000 BC. Found in the collection of Centre national de Prehistoire (Perigueux)

Painting in the Ekain Cave. Creator: Art of the Upper Paleolithic
Painting in the Ekain Cave. Found in the Collection of La cueva de Ekain

San rock painting in the Drakensberg Mountains in South Africa, . Found in the Collection of

Painting in the Chauvet cave, 32, 000-30, 000 BC. Found in the collection of Grotte Chauvet

Painting in the cave of Altamira, 35, 000 to 11, 000 BC. Artist: Art of the Upper Paleolithic
Painting in the cave of Altamira, 35, 000 to 11, 000 BC

Painting in the Cuevas de la Arana, Between 10000 und 6000 BC. Found in the collection of Cuevas de la Arana, Bicorp

Painting in the Cave of Niaux. Artist: Art of the Upper Paleolithic
Painting in the Cave of Niaux. Found in the collection of

Panel of the Unicorn (Panel of the Black Bear) at Lascaux. Artist: Art of the Upper Paleolithic
Panel of the Unicorn (Panel of the Black Bear) at Lascaux. Found in the collection of Centre national de Prehistoire (Perigueux)

For two to three months after their circumcision, Pokot boys sing and dance in a special seclusion camp while undergoing instruction from tribal elders

A Himba youth with his hair styled in a long plait, known as ondatu. Once married, he will split the ondatu into two plaits and keep them covered

Two happy Himba girls ride a donkey to market. Their bodies gleam from a mixture of red ochre, butterfat and herbs. Their long hair is styled in the traditional Himba way

A Himba woman milks a cow in the stock enclosure close to her home. Traditional milk containers made from hollowed wood are preferred to their modern equivalents

A Msai warrior with his long braids and body coated with red ochre mixed with animal fat. He has put ochre dust round his eyes to enhance his appearance ready for a dance

A Msai warrior in full battle cry, his long-bladed spear at the ready

Two Msai warriors in full regalia. The headdress of the man on the left is made from the mane of a lion while the one on the right is fringed with black ostrich feathers

A Wa-Arusha warrior carries home a yoke. His brown necklace is made from aromatic wood. The Wa-Arusha are closely related to the Msai and speak the same _maa language

A back view of a Msai warrior resplendent with long ochred braids tied in a pigtail. This singular hairstyle sets him apart from other members of his society

An old Himba woman, upright despite her years, rides her donkey through harsh land where mid-day temperatures rise to 400C. Her body gleams from a mixture of red ochre, butterfat and herbs

An old Turkana woman wearing all the finery of her tribe. In a hole pierced below her lower lip, she wears an ornament beautifully made from twisted strands of copper wire

Detail of a Msai warriors ear ornaments and other beaded or metal adornments. The Msai practice of piercing ears in adolescence and gradually elongating the lobes is gradually dying out

Towards the conclusion of a Ngetunogh ceremony, an initiate must put on his mothers jewellery for a day before removing the wild sisal face mask he has worn for 2-3 months

At the start of a Ngetunogh ceremony, the mothers of Pokot initiates will smear animal fat on the boys masks as a blessing

After 2-3 months seclusion, Pokot initiates leave their camp in single file to celebrate Ngetunogh. They must wear goatskins

Pokot men, women and girls dancing to celebrate an Atelo ceremony. The Pokot are pastoralists speaking a Southern Nilotic language

Pokot women and girls dancing to celebrate an Atelo ceremony. The Pokot are pastoralists speaking a Southern Nilotic language

A Pokot warrior wearing a leopard skin jumps high in the air surrounded by women to celebrate an Atelo ceremony. The Pokot are pastoralists speaking a Southern Nilotic language

Africa, Kenya, Kajiado District, Ol doinyo Orok. Three Msai warriors with long ochred hair wearing the traditional beaded belts of warriors

Africa, Kenya, Kajiado District, Ol doinyo Orok. A large gathering of Msai warriors during an Eunoto ceremony when the warriors become junior elders and thenceforth are permitted to marry

A Msai Warrior watches a hot air balloon float over the Mara plains

Msai warriors draw water from a deep well. The depth of wells is measured by the number of men required to bring water to the cattle troughs at the top of them

A Msai warrior blows a trumpet fashioned from the horn of a Greater Kudu. The strap is decorated with cowrie shells. Kudu-horn trumpets are only sounded to call men to arms or on ceremonial occasions

A Msai warrior, his face and body decorated with red ochre and clay, wears an ostrich feather headdress. This singular adornment was once worn by warriors going into battle

Kenya, Kajiado, lpartimaro. Two Msai warriors in full regalia. The headress of the man on the left is made from the mane of a lion while the one on the right is fringed with black ostrich feathers

Samburu warriors, spears in hand, jump into the air without bending their knees during one of their dance routines

A month after a Samburu youth has been circumcised, he becomes a warrior. He will go to the nearest stream or Waterhole to wash off a months grime

A Samburu warrior has his Ochred hair braided by a friend. A mixture of cows urine and ashes is often rubbed into the hair first to help straighten it

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"Red Ochre: A Symbol of Tradition and Culture" In the vast African landscape, red ochre holds a deep significance for various tribes and communities, and is more than just a pigment; it represents tradition, identity, and celebration. A Himba woman in traditional attire catches our attention as her body gleams with a mixture of red ochre. This natural dye not only adorns her skin but also symbolizes her connection to ancestral customs that have been passed down through generations. The Pokot tribe, pastoralists speaking a Southern language, showcase their vibrant culture during an Atelo ceremony. A Pokot warrior wearing a cheetah skin jumps high in the air surrounded by young women, all adorned with red ochre. Their energetic dance pays homage to their heritage while celebrating unity and strength. Among the Pokot people, even young girls proudly display their uninitiated status through traditional accessories like broad necklaces made of hollow reed grass. These adornments serve as markers of identity within their community. Similarly, unmarried Pokot girls wear ornaments that signify their single status. With each piece carefully crafted and infused with red ochre symbolism, these decorations become visual representations of love stories yet to unfold. Delving into history reveals ancient cave paintings where red ochre played a vital role in artistic expression. The dancers depicted in Cogul's cave painting from Roca de los Moros captivate us with their vivid hues created using this timeless pigment. Moving forward across time and continents brings us to San rock paintings found in South Africa's Drakensberg Mountains or the Chauvet Cave masterpiece dating back thousands of years ago, used by these early artists to bring life to their creations—depicting scenes from daily life or spiritual beliefs onto stone canvases. Even beyond Africa's borders lies evidence of humanity's fascination with this earthy hue—a Bohemian scent bottle from 1830, showcasing the versatility in art and craftsmanship.