African Art has historically been focus on the power and beauty of the body. The pieces of art that remain today lack much of the purpose as they meant to be used not displayed in glass cases. This is true for items such as the Buli Master’s stools and the headdresses of the Bamana and Mende peoples. These items, though aesthetically pleasing were meant to be used in either a leader’s home while entertaining guests or for ceremonies of seasonal change or children becoming adults. The headdresses in particular are not stand alone objects, but part of an assumable in a dance. The Prestige Stool, Helmet Mask for Sande Society (Ndoli Jowei), and Ci Wara Headdress all show bodily features that their respective communities found valuable. The
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Though this headdress is not of a human figure it still tells a story about physical qualities respected by the Bamana people. The antelope is done in nearly a complete geometric fashion. The neck is three lines from the base of figure to the head with triangular shapes connecting between those lines. The head is long and pointed as are the enlarged ears. The antlers consist of one smoothed rod that splits at the end into two prongs. The overall image is of well balanced nearly “graphic” design of an antelope. Like the helmet masks this sculpture was meant to be warn as part of a dance costume, which would have obscured the wearer’s face. The dancer would have had a stick to act in place of four legged creature. The dance mimics the elegant quality of the antelopes stride and movement. In most African traditions predatory animals (aside from the elephant due to its size) are honored for their power and dominance. The dance of the antelope shows the opposing element to that concept of physical prowess. Despite them being prey animals they are being esteemed for their grace and elegance. The Ci Wara Headdresses would have been used for ceremonies of seasonal and hunting renewal, the antelope being respected for their place in the food chain. The respect of beauty and submissive animals may have been an allusion to remind the people of their place in their own
Though this headdress is not of a human figure it still tells a story about physical qualities respected by the Bamana people. The antelope is done in nearly a complete geometric fashion. The neck is three lines from the base of figure to the head with triangular shapes connecting between those lines. The head is long and pointed as are the enlarged ears. The antlers consist of one smoothed rod that splits at the end into two prongs. The overall image is of well balanced nearly “graphic” design of an antelope. Like the helmet masks this sculpture was meant to be warn as part of a dance costume, which would have obscured the wearer’s face. The dancer would have had a stick to act in place of four legged creature. The dance mimics the elegant quality of the antelopes stride and movement. In most African traditions predatory animals (aside from the elephant due to its size) are honored for their power and dominance. The dance of the antelope shows the opposing element to that concept of physical prowess. Despite them being prey animals they are being esteemed for their grace and elegance. The Ci Wara Headdresses would have been used for ceremonies of seasonal and hunting renewal, the antelope being respected for their place in the food chain. The respect of beauty and submissive animals may have been an allusion to remind the people of their place in their own