People / wood carvings

Arts: Though the Bwa are not related by lineage to the Mossi, their wood carvings follow similar stylistic guidelines. with soaring vertical plank masks and animal masks, associated with the "Cult of Do." Roy writes: " The Bwa believe that the world was created by God, named Difini, or Dobweni, who abandoned man and left the earth when he was wounded by a woman pounding millet with her pestle. To act as his representative among man and as an intermediary between man and the forces of nature, Dobweni sent his son, Do. Although Do is androgynous, both male and female, it is most frequently represented as male. Do represents the bush and its life-giving force, for the Bwa still depend on the bush for game and gathered food. He shows himself as the source of plant life and the power that gives fruit to man's work in the fields. Do is concerned with ceremonies that insure the renewal of life." Plank masks employ the dramatic geometric incising found throughout the region. Dance masks fall into two categories, the extraordinary face masks, which feature an abstract round face with a triangular or diamond-shaped mouth, through which the dancer sees, an impressive downward-sweeping hook, and painted circular and checkerboard decorations. All of these patterns have ritual and totemic significance. The face masks include a soaring vertical plank, likewise decorated with a variety of curving and geometric motifs. The topmost portion of the mask is often a graceful downward curve, not strictly horizontal. The second type of mask, of which there are many individual types, are the animal masks. Unlike the rather static, two-dimensional plank face masks, these can be quite dynamic, even stunning. A variety of animals are rather realistically depicted, and including the antelope, buffalo, serpent, rooster, hawks, butterflies, fish, hyenas, and crocodiles. These serve to teach and inspire initiates. The familiar winged "butterfly" masks have a series of eight circles spread four to each side. They are often confused with the hawk mask, which replaces circles with colorful triangular and linear patterns. About the significance of the geometric decorations, Roy adds: "Initiates learn the meanings of the geometric signs that cover the masks from the elders, who use the masks themselves as models, and also use rectangular boards on which the same signs have been painted. Initially, each of the signs is explained independently of other signs, using didactic boards. Then the meanings of the assembled signs on specific plank masks are explained. Here the combination of signs communicates a moral or historical lesson that is an essential part of the initiation. These lessons describe the virtues of the ideal, respected member of the community, and the dangers of straying from the path of social behavior marked out by the ancestors. They also illustrate the myths of the founding of the clans." Another significant mask form, the "leaf" mask, is used by the Bwa, but since it is made entirely of vegetal materials, never survives long enough to be collectible. Like wooden masks, they are associated with the Cult of Do. Geography plays a significant role in mask type, the northern Bwa use mostly leaf masks, while southern Bwa lean towards the many wooden forms. Though figures have been reported, they haven't been seen on the market in years. Attribution of Bwa masks is not difficult, if studied carefully, section by section.

History: Though their distant roots are unknown, this Voltaic group has resided in central Burkina Faso and eastern Mali at least three hundred years. They have been repeatedly invaded, primarily because they live in scattered small villages not easily defended. In the 18th century, the Segou Bamana occupied large areas of Bwa territory. This was a difficult period for the Bwa, who were forced to pay taxes and tributes to their Bamana captors. The decline of the Bamana Empire was replaced by the infamous Muslim Fulani cavalry, who destroyed crops, slaughtered animals, enslaved both men and women, and forced many of the men to join their army. The arrival of the French brought little relief to the Bwa, as they conspired with the Fulani to tighten their grip. By 1915 the Bwa as a people were virtually extinct, yet somehow the few who survived managed to reestablish themselves. They continue to be a vibrant culture to this day, and produce masks treasured throughout the world.

Arts: The Ebrie, like most of the so-called "Lagoon" peoples, are known primarily for their strikingly beautiful female figures, used ritually to promote fertility. Statues of the Ebrie, like those of other groups in the area, are some of the most ravishing in all of Africa, combining the best features of Baule artistry with a unique "lagoon" appearance. They can be found either standing, or seated upon a classic Akan stool, and usually have lovely blackened patinas. Ebrie pieces do show Baule influence, in their faces primarily, but Lagoon carvings are stronger and bolder, more daring, with massive volumes offset by muscular, stubby arms. The effect can be exquisite, even extraordinary. This body shape is in stark contrast to the more linear figures of the Baule.


History: The Ebrie are one of the so-called "Lagoon" cultures, who are from the Akan group. They live, in fact, along a lagoon which bears their name, near the town of Blokosso. The Akan are recognized as one of the original cultures to live in the areas now known as Ghana and Cote d'Ivoire, and can be traced back to the 13th century. The rise of the Asante Kingdom, a large and aggressive member of the Akan, led to the dispersion of many smaller groups, who fled to the south and west, primarily along the coast, away from their heavy-handed, intrusive neighbors. A handful of smaller Akan settlements became known as the "Lagoon" peoples, acquiring this description as a result of establishing their homelands in the isolated wetland areas of coastal Cote d'Ivoire, notable for its many lagoons and estuaries. This change in geography led the Lagoon peoples out of Ghana, away from Asante dominance. Here they came under the artistic and social influence of the Baule, another large Akan culture, who had also fled Ghana early on, settling in Cote d'Ivoire.

Location: Central Democratic Rep of the Congo

Population: 150,000

Arts: The abstract wood carvings of the Mbole are rare, but they are highly distinctive. Their output consists primarily of remarkable small statues used in the "Lilwa" society and ancestral ceremonies, a few extremely rare masks with minimal design, and huge copper ankle "bracelets."

The Mbole live in independent villages headed by a chief chosen from the elders of each extended family. Social and spiritual order is maintained through various societies, run by healers, elders, as well as powerful women. The carvings which put Mbole sculpture on the "map" are those of the Lilwa Society, a powerful group headed by a leader known as the "Isoya." The Lilwa oversees most aspects of the daily life of each village, but judicial proceedings are perhaps their most important duty. Justice is swift for those found guilty of major offenses, with hanging the punishment. Families of each hanged individual are required to produce a small figure representing the deceased. The shape and design of each figure is static, but very distinctive, with hands on thighs, shoulders hunched over in a position of defeat, an enlarged, abstract head, and a downward looking, heart-shaped white face. Reportedly containing the soul of the executed, the figures are kept in special forest huts and used during initiations to emphasize the importance of good behavior. The other village societies use similar figures, but their differentiation is rather esoteric. The Mbole do use masks on rare occasions, but most that exist were field-collected and rather vague in appearance, having incised or painted linear designs below the eyes, resembling tears. The Yela, a neighboring group, use masks with almost the same look. The Mbole also forge massive copper ankle cuffs, used as currency on rare but important transactions, which are very popular with collectors.

History: The history of the Mbole is sketchy at best, but it is known that they came from north of the Congo (Zaire) River, and moved into their current location on the left bank during the 18th century. They speak a Bantu dialect, and their closest relatives are thought to be the Yela, who share certain rituals with them. The Mbole remain rather mysterious, known mostly through their art.

Arts and History: The Mangbetu are an ancient and poorly understood culture, who are thought to have migrated southward into the Congo from the upper Sudan. They have endured centuries of invasions and domination by outside forces, and this has resulted in much fragmentation and intermarriage. As a result, their artworks are rare. Statues are thought to be ancestral portraits, but this is not known for sure. The most famous pieces of the Mangbetu are the terracotta drinking vessels with the same proud and regal head-shape found on statues. Occasionally these vessels are carved from wood. In addition to their elegant shapes, these pieces usually are decorated with copious and dramatic scarification. There are also harps and other musical instruments, again usually figural and easily identified. Mangbetu pieces, when viewed in profile, can remind one of the portrait busts of ancient Egyptians, with the bust of Nefertiti coming to mind. Almost all of their carvings and pottery are prestige items produced for the ruling class, a practice more commonly found farther south in Cameroon. Though their output is sparse, a surprising number of masterpieces exist.