OTHER SENUFO ART
Senufo Trumpet
Collected in 1960, Maybe from the Banfora District, Upper Volta
Trumpet used in three contexts of Senufo society. One is when the younger men enter the senior grade (Tyolobele), which occurs approximately every six years. During this time, the men learn to play the instrument, which is accompanied by drums as they walk through the village. This instrument is also used in the annual Poro feast, called Poliire, at which the senior men provide food for the elders. Lastly, this instrument is also used at the funerals for the elders. A dance called Nandanlenge is initiated with trumpet players coming out of the forest. Women also dance and throw cowrie shells. The trumpet is made by a blacksmith.
Collected in 1960, Maybe from the Banfora District, Upper Volta
Trumpet used in three contexts of Senufo society. One is when the younger men enter the senior grade (Tyolobele), which occurs approximately every six years. During this time, the men learn to play the instrument, which is accompanied by drums as they walk through the village. This instrument is also used in the annual Poro feast, called Poliire, at which the senior men provide food for the elders. Lastly, this instrument is also used at the funerals for the elders. A dance called Nandanlenge is initiated with trumpet players coming out of the forest. Women also dance and throw cowrie shells. The trumpet is made by a blacksmith.
Senufo Pulleys
Carved wooden pulleys are made by blacksmiths (Fonobele) and are used by weavers to hold the heddles on a man’s loom. The decorative structure is made only for artistic satisfaction and has no ritual purposes. Heddle pulleys are used by four ethnic groups, the Kpeebele, the Tyedunbele, the Tyelibele, and the Dyula. The bird motif is very common, but other figures have been used as well.
Carved wooden pulleys are made by blacksmiths (Fonobele) and are used by weavers to hold the heddles on a man’s loom. The decorative structure is made only for artistic satisfaction and has no ritual purposes. Heddle pulleys are used by four ethnic groups, the Kpeebele, the Tyedunbele, the Tyelibele, and the Dyula. The bird motif is very common, but other figures have been used as well.
THE SENUFO COUPLE
- Most Senufo sculptures are dated to the late 19th century.
- The "Senufo couple" includes two wooden sculptures of a couple that dates back to pre-European arrival in the West Africa Savannah. (radiocarbon suggests these sculptures date back to the 2nd half of the 18th century)
- This couple demonstrates a "generic Senufo style": Specifically, they are statues for the Senufo subgroup called celibele.
- The features carved into this art form refer to a peasant-like cultural background.
- The brow line on the male represents a Senufo trade mark: (It is a half circular line accentuating the cheeks)
- Usually marks are indicated near the female's navel which is a reference to the Senufo people. These markings symbolize scars that the Senufo women would receive during initiation. These marking are usually seen on sculptures like this but seem to be absent on this particular female sculpture.
- One typical iconographic element of Senufo wooden sculpture is the hairdo, which is a "bird cap" style that has a knots at the neck /front/ears.
- These types of sculptures were kept in forests outside of the Senufo villages where Senufo initiation took place.
- These objects have unbalanced body parts, and the male figure is more evenly carved than the female.
- The idea that in nature there is always a pairing of a male and female is respected in Senufo culture and represented through these objects.