Tribal Art

The Mangbetu statues probably represent ancestors of the clan. They display incisions in connection with the body paintings and the scarifications of the group, comparable to those of the Asua pygmies with whom the tribe maintained relations. These reasons varied according to the circumstances. The fan hairstyle was worn by the Mangbetu: from an early age, children suffered compression of the cranial box by means of raffia ties. Later, the Mangbetu would "knit" their hair on wicker strands and apply a headband to the forehead in order to extract the hair and produce that particular headdress which accentuates the elongation of the head. The ancients call these figures of ancestors stored out of sight and comparable to those belonging to their secret society nebeli beli.
Shiny dark ...

Sometimes called a "settler", this African statuette forms the incarnation of a spiritual husband, sculpted according to the indications of the diviner. In "African art, Western eyes" Susan Vogel reports that a figure of this type (p.255), idealized spouse, is represented dressed in a city outfit because the spouse is supposed to have a job in city. The earthly spouse, through the cult rendered to this spiritual double, expects to have his resources, his favors and his protection unfailingly. About sixty ethnic groups populate Côte d'Ivoire, including the Baoulé, in the center, Akans from Ghana, people of the savannah, practicing hunting and agriculture just like the Gouro from whom they borrowed the cults and masks.
Irregular polychrome patina, abrasions. Desication cracks ...

Schematized anthropomorphic figure, whose structure is highlighted by alternating colored planes. The face with geometric features is topped with a unique linen beret. Velvety, abraded surface, slight desication cracks.
The Mitsogho ethnic group, Sogho, is established in a forest region on the right bank of the Ngoumé River, Ngounié, near the Kwele. Bwiti society, which has a system of reliquaries comparable to that of the Fang and the Kota, formed the cohesion of the Mitsogho matrilineal clans. Their masks were exhibited at funerals, and stored in the ebanza male initiation house. Like the other ethnic groups of Gabon, they practice the rites of the Bwiti which would have spread in this way among the coastal peoples. Their sculptural production is varied, in the form of statues, ...

The Mumuye in African tribal art.
Mask depicting a stylized "bust", it has a front surface bristling with a series of growths. Nail inlays form geometric patterns. Shiny patina encrusted with matt clear pigments. Erosions and cracks. Occurring occasionally in pairs, this mask could be accompanied by a horizontal mask during rituals preceding the wars. Its appearance is nowadays linked to apotropaic ceremonies and the call for rain.

South of the Benoué River, in a region of difficult access which isolated them until 1950, are the Mumuye, who are organized into family groups called dola. This type of mask is found in the northwestern region of the middle Benoué, from the Kona Jukun, to the Mumuye and up to the Wurkun populations. The 100,000 Adamawa language speakers ...

Small mortar for spices, pigments, or therapeutic ingredients. The object is carved with different faces that take up the features of the traditional masks of the group. Golden brown satin patina. Slight residue of kaolin.
The Western Pende live on the banks of the Kwilu, while the Eastern have settled on the banks of the Kasai downstream from Tshikapa. The influences of the neighboring ethnic groups, Mbla, Suku, Wongo, Leele, Kuba, and Salempasu have been imprinted on their extensive tribal art sculpture. Within this diversity the Mbuya masks, realistic ,produced every ten years, have a festive function, and embody different characters, including the chief, the diviner and his wife, the prostitute, the possessed, etc.... The masks of initiation and those of power, the ...

Ancient African mask bakrogui, Simogui, or Angbaï, of the Toma of Guinea, relating to the ancestors. This mask intended to impress is equipped with a thick skin hood, lined with various elements, mirrors, cowries. It is extended by a heavy cape made of embroidered textile and velvet with colored patterns, edged with red fabric. Metal bells adorn the contours of the mask. Only members of the Poro were allowed to contemplate the bakrogui mask.
The Toma of Guinea, called Loma in Liberia, live within the forest, at high altitude. They are renowned for their landai board masks intended to enliven the initiation rites of the poro association that structures their society, and which represent spirits of the bush. As soon as the landai mask appeared, the initiates would go to the ...

This African statuette generally called "colon" , forms, for the Baoulé, an idealized, individual image of the celestial spouse. Its features were carved on the indications of the diviner for his client in an attempt to remedy various problems.

Abraded polychrome patina. Desication crack.
Two types of statues are produced by the baoulé in the ritual context: TheWaka-Sona statues, "being of wood" in Baoulé, evoke a assié oussou, being of the earth. They are one of a type of statues intended to be used as medium tools by Komien soothsayers, the latter being selected by the asye usu spirits in order to communicate revelations from beyond. The second type of statues, made according to the indications of the diviner, are the spouses of the beyond, masculine, the ...

Equipped with an anthropomorphic cap reproducing the shape of traditional dolls, the container is fitted with a carrying strap.

The Zaramo and the tribes that surround them, such as the Kwéré, designed dolls generally associated with fertility, but to which other virtues would be attributed. Its primary role is played during the period of confinement of the young initiate Zaramo. The novice will behave towards the object as with a child, and will dance with it during the closing ceremonies of the initiation. In case the young woman does not conceive, she will adopt the "child". Among the Zaramo and the Kwéré, this sculpted motif is taken up on the top of canes, decorates ritual objects and even appears on burial posts.

This is a desecrated two-headed dog sculpture, the center of which carried a "bishimba" magic charge. The Kongo use this type of nkisi object to try to resolve a difficulty and to intimidate or repel the person who is causing it. Among the Kongo, the dog, renowned for its knowledge of the supernatural world, its flair and its vision, had the role of mediator between the living and the dead. The Vili, the Lâri, the Sûndi, the Woyo, the Bembe, the Bwende, the Yombé and the Kôngo formed the Kôngo group, led by King Ntotela. Their kingdom reached its peak in the 16th century with the trade in ivory, copper and the slave trade. With the same beliefs and traditions, they produced a statuary endowed with a codified gesture in relation to their vision of the world. Desication cracks, brown ...

Established in a posture highlighting the twins perched on each of her knees, this altar figure is wearing braids and a top bun. Its lower limbs seem to merge with the feet of the circular seat. Dense crusty patina. Desication cracks.
Carved for the most part on order placed by a family, the Dogon statues can also be the object of worship on the part of the whole community. However, their functions remain little known. Alongside Islam, Dogon religious rites are organized around four main cults: the Lébé, relating to fertility, under the spiritual authority of the Hogon, the Wagem, ancestor worship under the authority of the patriarch, the Binou invoking the spirit world and led by the priest of the Binou, and the society of masks concerning the funeral.

With arcades cut at an angle, overhanging a face with a neutral physiognomy, this type ofAfrican mask intended to unmask sorcerers was carved on the eve of ceremonies. Accompanied by words, gestures, dances and sacrifices, it also intervened during initiations out of sight of the profane. Matte crusty patina. Abrasions, desication cracks, lacks.
Height on base: 54 cm.
Among the Fang, established in a region extending from Yaoundé in Cameroon to Ogooué in Gabon, the appearance of these masks generally coated with kaolin (the white color evokes the power of the ancestors), in the middle of the night, could cause dread. This type of mask was used by the ngil religious and judicial male society which no longer exists today. This secret society was in charge of initiations and ...

Mask in the form of a basketwork structure draped in textile, imprisoning a bouquet of feathers at the top, the whole abundantly lined with raffia fibers. The whole thing formed a strange hat for the dancer whose mask consisted of facial paintings. Established in the Ogooué basin, the Okandé group of Membé language, neighbor of the Punu, Pounou, is composed of the Tsogho, Pové (Vuvi), Okandé, Evea, and Apindji ethnic groups. These ethnic groups practice the cult of Mwiri, a male initiation society. Source: "Masks of Gabon", ed. Wakes; http://www.theatramour.com/masque_bodi.php.

The vigorous size of this mumuye figure gave rise to a powerful anatomy of dynamic aspect. The sagittal crest, framed by thick distended lobes, composes like a helmet around summarily traced features, concentrated under the hairstyle. Velvety matte patina, lacks.
.
The statuary emanating from the northwestern region of the middle Benoué, from the Kona Jukun, to the Mumuye and up to the Wurkun populations is distinguished by a relative absence of ornamentation and a refined stylization. The 100,000 speakers of the Adamawa language form a group called Mumuye and are grouped into villages, dola, divided into two groups: those of fire (tjokwa) relating to blood and the color red, guardians of the Vabong cult, among whom are elected the rulers, and those of the ...

Camped in a posture of challenge, this subject of African art has a ventral load (bilongo) for therapeutic purposes. The Vili produced a variety of nkisi individual use statues, to which multiple virtues were attributed. The glazed eyes symbolize clairvoyance in a face with naturalistic features.
The Vili , the Lâri, the Sûndi, the Woyo, the Bembe, the Bwende, the Yombé and the Kôngo formed the Kôngo group, led by King ntotela . Their kingdom reached its peak in the 16th century with the trade in ivory, copper and the slave trade. Present along the Gabonese coast, the Vili broke away from the Kongo kingdom in the 16th century and the Loango kingdom became a powerful state. Now urbanized for the most part, they still integrate traditional associations, depending on the worship ...

African statue of "little favourite", Nyeleni in Bambara, represented frontally, with traditional scarified motifs. She displays the classic criteria associated with fertility, oblong breasts and a prominent abdomen. Gray brown matte patina. Slight erosions.
The Bambara of central and southern Mali belong to the large Mande group, like the Soninke and the Malinke. They believe in the existence of a creator god generically called Ngala who maintains order in the universe. Large masked parties close the initiation rites of the dyo association and the gwan ritual of the Bambara in the south of the Bambara country. Spread over a period of seven years for men, they are less demanding for women. The new initiates then celebrate, in groups, from village to village, their symbolic ...

African sculpture associated with the mythical ancestor Oso of the Kouyou, a neighboring group of the Punu in the Republic of Congo. The face and body bear many scarified patterns, and the mouth reveals sharp teeth. The subject wearing a totemic animal is represented sitting on a janiform mask.
Polychrome matte patina. Desication erosions and cracks.
Formerly, the Kouyou were divided into two totemic clans: in the West that of the panther, and in the East that of the snake. A secret men's association, Ottoté, played an important political role in the appointment of chiefs. The initiation of young people ended with the revelation of the serpent god Ebongo represented in the form of a head. The Kibe-kibe or Kebekebe dances, which accompanied the ceremony, reactivated the ...

African puppet figure with articulated arms thanks to long nails. This statue offers a thick, goitrous neck, carrying a spherical head which seems topped with a cap. The sagging breasts, of low relief, are inscribed on the bust. The powerful legs, devoid of feet, are wide apart. A partially chipped kaolin film covers some areas. Numerous erosions.
Peoples with varied traditions have settled in the savannah north of the Niger and Benué rivers. The Tiv from Cameroon are made up of farmers living on the banks of the left bank of the Benué. Their statues are of two types: of a naturalistic type, these figures take the form of female representations, some of which formed the top of the posts of reception huts. The second, called ihambé , associated with fertility, represent ...

Bronze sculptures referring to the primordial ancestors of the Dogon. These African Dogon statues, in bronze, indeed evoke the Nommos, mythical beings at the origin of creation among the Dogon of Mali. Greenish patina.

The Dogon are a people renowned for their cosmogony, their esotericism, their myths and legends. Their population is estimated at around 300,000 souls living in the south-west of the Niger loop in the Mopti region of Mali (Bandiagara, Koro, Banka), near Douentza and part of northern Burkina (north-west of Ouahigouya ). Remains of old steelworks on the Bandiagara plateau, dating from the 15th century, confirm the activity of the blacksmiths. The latter form an endogamous caste among the Dogon called irim They now produce weapons, tools, and also work with ...