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The sculptor
works in the direct method of carving without preliminary sketches. Woodcarvers use axes,
adzes and knives working from broad forms through increasingly greater definition to
carefully executed final cuts. They have a remarkable vision of the end product from the
time of making the first cut. (Sieber and Walker, p. 21). Among the Bamana there exist
many styles -- from rounded maternity figures to the abstract tracery forms of the
antelope headdresses. Each piece, while adjusting to the norms of the society, shows that
individual artists are aware of the value and power of their creation -- no two are alike.
The smiths are the skilled carvers of ritual
masks, ancestral and maternity figures, and household items such as door locks and weaving
bobbins. The entire group owns masks and ancestral figures. Throughout the carving, he
must make sacrifices to the gods and spirits. Even the door locks relate to the spirit
world. Carvings of a kana or water lizard are believed to protect a house from thieves.
These abstract forms are acceptable in Muslim areas where naturalistic representations of
human and animal forms are prohibited (Ulrich). The Bamana also made locks in the shape of
a woman with a characteristic mitre-like headdress (as worn by their maternity figures).
DOOR LOCKS
Carving of door locks is also a practice shared by
the Dogon and Senufo. The techniques are very similar among the three cultures. Granary
doors of the Dogon once displaying peculiar carvings, have been replaced with plain
boards. The doors, as found all over West Africa, have bolts in the form of a sliding bar.
The lock is artistically carved with the form of a lizard or bird, or shaped like a walu
mask showing the heavenly twins or some other mythical creature. The doors of the ginna,
the house of the Dogon high priest or hogon, were often richly decorated with
events from the story of creation -- the eight Dogon ancestors forming a focal point
(Wassing 1968, p 179). The same themes are found on doors of the Senufo, but the style is
different. They often display tortoises, crocodiles, chameleons, Kpelie mask images
and human figures (riders or hunters). The locks are similar to the Dogon, but with the
Senufo motifs.
For a fascinating discussion of Bamana
sculptors, see Brett-Smith's THE MAKING OF BAMANA SCULPTURE-CREATIVITY
AND GENDER, and superb examples in BAMANA-THE ART OF EXISTENCE IN
MALI, edited by Colleyn.
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