the works are traded. Families, clans, or workshops of artists can be involved; in the center that Roy addresses specifi- cally, a family of sculptors works for five African BorderlandSculpture different ethnic groups. This is significant information because it highlights the indigenous marketabil- PATRICKR. McNAUGHTON ity of art and the often pronounced en- terprise of artists. It suggests, for exam- ple, a parallel between the production of The preceding five articles were pre- plex vehicles of contemplation and ac- art and the manufacture of iron, which sented as a panel called "African tion in most realms of social enterprise. was smelted at precolonial industrial Borderland Sculpture: Liminal Space in Insightfully early, in 1958, d'Azevedo centers and traded extensively along the the Study of Style," which I organized had made it clear that the Gola applied networks of commerce that have long for the February 1987 meetings of the refined aesthetic attitudes to their art been so very important in African his- College Art Association in Boston. My and artists. Thompson (1968, 1973) then tory (Goucher 1981, especially pp. 182- original call for papers will give an idea of showed that the Yoruba also maintained 83). It thus becomes possible to view art what we had in mind: "Studies of Afri- refined aesthetic attitudes and put them forms as commodities, as Arjun Ap- can sculpture style are most fruitful to work in several important social and padurai (1986) and Igor Kopytoff (1986) when they include explorations of cul- spiritual arenas. So it began to appear have recently defined them.1 Such a tural change and artists' motivations. that aesthetic consciousness might be a view in no way diminishes them as art. Politics, commerce, the stature of rule rather than an exception in Africa. If Rather, it allows us to perceive more sculptors, and the relationships between that proved true, we might find artists readily the facility that African artists sculptors and clients have all been and clients ready to use the manipula- have for placing their wares in patterns shown to shape style, and a growing tion of style as a resource in several ex- of trade, and it allows us to perceive body of research demonstrates that it is pressive and symbolic arenas. artworks more emphatically as objects of no longer possible to view the shape of Shortly thereafter Rene Bravmann tangible value, because of their forms African art as dictated by hermetically published two works that dramatically and their potential for meaning.2 sealed geographic, ethnic, or traditional expanded our understanding of style. The prominence and clout of art in Af- boundaries. Proclamations of pristine His Islam and TribalArt in West Africa rica have long been recognized by us. Its tribal morphologies hold little interest (1974) was a landmark exploration of forms can be compelling. Its presenta- for scholars who now view style as a both African Islam and traditional tion in orchestrated multimedia events fluid component in modes of expression sculptural forms that demonstrated just can be seductive. Its harnessing of that are dynamic and almost always how flexible and dynamic both could be. spiritual powers can be overwhelming. synergistic. His Open Frontiers (1973) took up the And its manipulation of ideas can en- "A most interesting space for the theme set forth by Sieber and Rubin and gage people in myriad influential ways. study of style occurs at the borders be- demonstrated its viability in no uncer- It is an element of culture primed for tween ethnic groups and between the tain terms. He began by deploring the communication, predisposed to carry regional populations that compose tired but tenacious notion that ethnic thought and emotion between people. them. These cutting edges harbor genres groups possess immutable ethnic styles. But it is so full of repetition, layered of sculpture that teach a great deal about He then quoted Simon Ottenberg (1971), meanings, and ambiguity that it is re- style development and its relationship to who had artfully equated the ideas of markably malleable in the hands of indi- a society's modes of thought. Current tribe and tribal style with a pronounced viduals or institutions. Thus art becomes research is beginning to show that even ethnocentric interest in cultural mor- a logical arena for the kinds of negotia- our ideas about some ethnic groups' re- phology that does not lead to fruitful un- tions by which institutions seek author- gional styles must now be revised. The derstanding. Finally, Bravmann de- ity and individuals seek personal and so- goal of this panel is to strengthen our veloped his position quite convincingly cial identities. The fact that art, as a understanding of African sculpture by examining the cultural, political, and phenomenon possessed of so many vital styles by looking at their manifestations economic histories of two areas. Indeed characteristics, behaves in many in- in these borderlands." he made it clear that fluidity of style in stances as a commodity among cultures Thus the panel intended to explore as- the borderlands between ethnic groups that have placed the highest value on pects of the ideas set forth originally in was a vital and defining characteristic of commerce is testimony to its perceived 1968, when Roy Sieber and Arnold African art. Thus in the space of five capacities and powers. Rubin published Sculptureof BlackAfrica: years, from Sculpture of Black Africa to The authors I have mentioned here are The Paul TishmanCollection. The message Open Frontiers, the horizons for research by no means the only ones who have of those authors was deceptively simple opened up immensely for African-art examined ethnicity and style over the and immensely influential. While telling historians. past two decades. An excursion through us, innocently enough, that African art Recently Christopher Roy took the back issues of AfricanArts, for exam- was more than the machinations of another important step in the effort to ple, reveals many more, and all of them ethnicity, they destabilize several old no- understand the relationship between make it clear that African art has never tions - like those of the anonymous art- ethnicity and style. In Art and Life in Af- been a slave to ethnicity, and that ethni- ist, of the blind following of conventions, rica: Selectionsfrom the Stanley Collection city itself is a most fluid and supple de- and of a continent devoid of art history (1985), he explores the phenomenon of signation. We see, for example, that and full of art traditions too fragile to style centers in Africa, where artists pro- clans are at least as important and often survive the West or Islam. duce traditional works for several ethnic much more instrumental than ethnic Meanwhile, Warren d'Azevedo and groups at the same time, sculpting eclec- groups in the development of styles. We Robert Farris Thompson were busy tically in a variety of styles while con- see too that commerce and entrepre- demonstrating the existence of sophis- tributing significantly to the history of neurship are major ingredients in an art ticated art forms that function as com- style development in the areas to which stew that seems consistently to place

76 premiums on the vitality and excitement of change while nevertheless managing need to reach more of those who persist to keep the flavor true, which is to say in being fascinated by notions we jet- "traditional." But "traditional," like tisoned long ago, notions that drag art "tribe," "primitive," and "witchcraft," is down by denying its relationship to a term quite ripe for energetic reevalua- thought and actual social practices. tion. "Traditional"does not imply frozen We can apply this point to several in time, or invoke the cliche about doing realms, and we should because each things as the ancestors did. Obviously, makes the others more serious and sys- for example, tradition and change are tematic. So let me conclude with a refer- not mutually exclusive, although at cer- ence to African literature. Camara Laye, tain times in certain places they generate born in 1924 in Guinea to parents who tension between each other that be- had belonged to a clan that excelled in comes a kind of dialectic. Clearly, too, sorcery, blacksmithing, and sculpting, tradition is something negotiated and became one of the best-known and renegotiated constantly, much to the greatest West African authors. He lived benefit of art, and the perplexed delight for many years in Paris, served as an am- of art historians. Finally, as if there could bassador to Ghana and in Sekou Toure's be an end to all this reevaluation, models how the people to whom we talk actually Ministry of Foreign Affairs, and then in of African style geography that suggest interpret and employ in their own social spent many years exile. He was any- a man. And the pure cores and vagabond peripheries lives the lore we so frequently request of thing but simple yet must be considered simplistic, at least in them and then use in our work as translator of his last work wrote that in his books "the instinc- an enormous number of instances. In sources for alleged histories. Laye captured and the spite of the focus of my call for papers, In addressing the pitfalls and com- tive poetry of the native African observation and as well as what I call borderlands and Bravmann plexities of doing oral history, this litera- imagination, the of a Western calls frontiers can be best understood as a ture also clarifies its strengths and use- scholarship, lively frame of mind possible anywhere, from fulness, and that is a contribution of mind" (Laye 1980). Surely our research in has us an ethnic group's edge to its center. It is a great importance to us. As Africanists the African humanities brought conceptual space where forms and ideas we often encounter difficulty with our further than this. Clearly we have much of diverse origins are contemplated and colleagues who work on Western culture further to go. O rearranged, where creativity is at a pre- and claim to reap the benefits of written Notes,page 91 mium and its enactment results in lively documentation. But reading the con- history. temporary literature on oral tradition In a variety of ways the articles by Bar- sheds light by extension on the written bara E. Frank, Kathryn L. Green, Carol word's potential for unreliability. The Ann Lorenz, Robin Poynor, and Chris- motivations of Western scribes and topher D. Roy, along with the introduc- chroniclers are as open to question as the tion by Monica Blackmun Visona, based motivations of people who speak from on her remarks as the CAA panel's memory. It is, after all, as easy to write a commentator, contribute to our deeper lie as it is to tell one, and easy to miss a understanding of style. They show how broader view or foster misapprehen- both the happenstances of history and sions in either case. the quick wittedness of artists and clients Difficulty with scholars of Western cul- constantly generate stylistic transforma- ture regarding the nature of historical in- tions. They demonstrate the pliability terpretation is part of a much larger prob- that characterizes the mixture of compo- lem. A horrifyingly large number of - nents form, style, and symbolism on Western-art enthusiasts, be they the one hand, and the beliefs and prac- scholars, critics, or students, still cling tices of individuals, institutions, and with an almost ferocious dedication to - ethnic groups on the other that help the notion that things African are things determine the nature of artworks. In primitive and simple. Indeed it goes well short, they make it obvious, I think, that beyond Africa. Publications and exhibi- African art history is becoming an ever tions that emphasize the bloodiness of more exciting area for research in spite of other cultures enjoy tremendous suc- many handicaps. cess, for all the wrong reasons. Sieber I would like to end with brief refer- wrote in the introduction to Sculpture of ences to two of those handicaps. The first BlackAfrica that "far from primitive, Afri- involves the nature of history in our en- can sculpture represents a series of com- terprise. Art historians, along with re- plex and often highly developed tradi- searchers in several other disciplines, tions whose meanings and histories are have long been involved in gathering beginning to emerge" (Sieber & Rubin oral traditions and personal reminis- 1968:10). Two decades later a great many cences. A growing literature now ques- of those meanings and histories have tions the meaning of oral lore as well as most certainly emerged, but remain the means by which it is collected.3 That largely ignored beyond the confines of literature focuses on the discipline of his- our own subdiscipline. It seems to me tory, but it is of great relevance to us as that our audience should be much larger art historians because it bears on how we than the students in our classrooms and define sound field methodologies and the readers of African Arts. I think we

77 104). ing by Native Nigerian Artist" (1947). Fagg, William. 1951. "TribalSculpture and the Festival of Bri- 6. Classification can be tricky and sometimes leads to errors. 10. I discussed these topics with Akeredolu occasionally dur- tain," Man 51 (June). One type of image identified as an Ishan "panel ikenga" ing my stay in Owo in 1973. Notes of October, 1973, indicate Lloyd, Peter. 1953. "Craft Organization in Yoruba Towns," Af- (Vogel 1974:11)is now known through Boston's work on Igbo that Akeredolu's evolution of thorn carving began in the rica 23. and Igala cult of the hand images (1977:78) to be an uvo, or early 1930s. Poynor, Robin. 1980. "Traditional Textiles in Owo, Nigeria," attachment for an Igbo ikenga used to mark a special achieve- 11. Willett 1986:50. Willett's article provides photographs of African Arts 14, 1. ment of its owner. The style and imagery of the examples il- thorn carvings produced in the 1930s. Poynor, Robin. 1978a. "The Egungun of Owo," African Arts lustrated in Vogel's work, which are now in the British Mu- 12. Justus Akeredolu, personal communication, May 1973. 11, 3. seum, are typically Igbo, but it is not impossible that they 13. The figure is carved during a lengthy ceremony lasting Poynor, Robin. 1978b. "The Ancestral Arts of Owo, Nigeria." were collected in Ishan territory. seventeen days. In the past, these were apparently as stylized Ph.D. dissertation, Indiana University. Bibliography as any other Owo art form. In the twentieth century they be- Poynor, Robin. 1976. "Edo Influence on the Arts of Owo," - Aniakor, Chike C. 1973. "Structuralism in Ikenga An came quite naturalistic and have been compared by Owo in- African Arts 9, 4. Ethnoaesthetic Approach," Ikenga 2, 1: 6-28. formants to photographs of the deceased. Theako figures and Talbot, PA. 1926. Peoples of Southern Nigeria. London: Oxford Ben-Amos, Paula. 1980. The Art of Benin. London: Thames & ritual are discussed in Willett 1966, Abiodun 1976, and Poynor University Press. Hudson. 1978. "Thorn Carving by Native Nigerian Artist," Design 47, 1947. Boston, John S. 1977. IkengaFigures among the North-WestIgbo 14. Willett took a photograph of this ako in 1958. I photo- Willett, Frank. 1986. "Nigerian Thorn Carvings: A Living and the Igala. London: Ethnographica. graphed the object myself in 1973. The upper part of the fig- Monument to Justus Akeredolu," African Arts 20, 1. Bradbury, R.E. 1961. "Ezomo's Ikegoboand the Benin Cult of ure was stolen from the Department of Antiquities Building Willett, Frank. 1966. "On the Funeral Effigies of Owo and the Hand," Man 61, 165: 129-38. on the palace grounds in Owo in August 1973. Benin and the Interpretation of the Life Size Bronze Heads Bradbury, R.E. "B" Series. R.E. Bradbury Archives. Univer- 15. The Sashere ako was also photographed by Frank Willett from Ife, Nigeria," Man 1,1 (March). sity of Birmingham. in 1958, when he and William Fagg were allowed to see the Cole, Hebert M. and Chike C. Aniakor. 1984. Igbo Arts: Com- pieces of the disconnected figure stored in the attic of the MCNAUGHTON, notes, from page 77 munity and Cosmos. Los Angeles: Museum of Cultural His- Sashere compound. I found a slide of a photograph of what 1. I am not at all convinced that Appadurai's relegation of tory, UCLA. appears to be the same figure in ritual context in the slide sacred or aesthetic objects to realms beyond commerce is Dark, Philip J.C. 1973. An Introductionto Benin Art and Technol- collection at the University of Iowa. William Fagg told me this valid for most African societies. See pp. 22, 23 of his introduc- ogy. Oxford: Clarendon Press. was of a photograph of the Sashere ako he was shown in tion and Davenport 1986. Dean, Carolyn. 1983. "The Individual and the Ancestral: Owo. 2. McNaughton 1986. Carol Ann Lorenz and Mary Moran, Ikegoboand Ukhure," in The Art of Power, the Power of Art: 16. I came upon a photograph of the ako that was used in the the organizers of the symposium at which this paper was pre- Studies in Benin Iconography,edited by Paula Ben-Amos and ceremony in Owo in 1973. I1was not able to purchase a copy, sented, intend to publish the papers as an edited volume. Arnold Rubin. Los Angeles: Museum of Cultural History, but I was allowed to photograph it. The image I got was ex- 3. A great many enlightening articles can be read in three UCLA. tremely fuzzy, but it does reveal that the piece that was actu- edited volumes: Bernardi, Poni & Triulzi (in which Terence Egharevba, Jacob U. 1968. A Short History of Benin. Ibadan: ally used was more like the Sashere object in style, and much D. Ranger, for example, has published an excellent article ti- Ibadan University Press. less naturalistic than the Lamuren figure that was preserved. tled "Personal Reminiscence and the Experience of the Egharevba, Jacob U. 1949. Benin Law and Custom. Port Har- 17. Celia Barclay, personal communication, December 1973. People in East Central Africa"); Miller 1980; and Brown & court. 18. Carol Ann Lorenz, personal communication, December Roberts 1980. In addition the reader may consult d'Azevedo Foss, W. Perkins. 1975. "Images of Aggression: Ivwri Sculp- 2, 1973. 1962; MacGaffey 1978; Peel 1984; Strobel 1977; Tonkin 1982, ture of the Urhobo," in African Images: Essays in African Bibliography 1986; Willis 1976; and Vansina 1985. Iconology,edited by Daniel F. McCall and Edna G. Bay. New Abiodun, Rowland. 1976. "A Reconsideration of the Function Bibliography York: Africana Publishing Co. of Ako, Second Burial Effigy in Owo," Africa 46, 1:4-20. Appadurai, Arjun. 1986. "Introduction: Commodities and Odita, E. Okechukwu. 1973. "Universal Cults and Intra- Akintoye, S.A. 1971.Revolution and Power Politics in Yorubaland the Politics of Value," in TheSocial Lifeof Things:Cotimmodities Diffusion: Igbo Ikenga in Cultural Retrospection," African 1840-1893. London: Longman. in Cultural Perspective, edited by Arjun Appadurai, pp. Studies Review 16, 1: 73-82. Akintoye, S.A. 1969. "The Northeastern Yoruba Districts and 3-63. Cambridge: Cambridge University Press. Okojie, Christopher G. 1960. Ishan Native Laws and Customs. the Benin Kingdom," HistoricalSociety of NigeriaJournal, 4, 4 Bernardi, B., C. Poni and A. Triulzi. 1978. Fonti Orali: An- Yaba, Nigeria: John Okwesa Co. (June). tropologiae Storia. Milan: F. Angeli. Peek, Philip M. 1986. "The Isoko Ethos of Ivri," African Arts Ben-Amos, Paula. 1980. The Art of Benin. New York: Thames Bravmann, Rene A. 1974. Islam and TribalArt in WestAfrica. 20,1: 42-47, 98. & Hudson. Cambridge: Cambridge University Press. Peek, Philip M. 1981. Caption for Fig. 81: "Figure (Ivri), Ben-Amos, Paula. 1969. "Ekpo Ritual in Avbiama Village," Af- Bravmann, Rene A. 1973. Open Frontiers:The Mobility of Art in Isoko," in For Spirits and Kings, edited by Susan M. Vogel, rican Arts 2, 4. Black Africa. Index of Art in the Pacific Northwest series. pp. 141-43. New York: Metropolitan Museum of Art. Cordwell, Justine. 1953. "Naturalism and Stylization in Seattle: University of Washington Press. Peek, Philip M. 1980. "Isoko Artists and Their Audiences," Yoruba Art," Magazine of Art 46 (May). Brown, Kenneth and Michael Roberts, eds. 1980. "Using Oral African Arts 13, 3. Egharevba, J.I. 1960. A Short History of Benin. Ibadan: Ibadan Sources: Vansina and Beyond." Special issue of Social Talbot, P Amaury. 1926. The Peoplesof Southern Nigeria, vol. 2. University Press. Analysis: Journalof Cultural and Social Practice4 (Sept.). London: Frank Cass (reprint 1969). Eyo, Ekpo. 1972. "New Treasures from Nigeria," Expedition Davenport, William. 1986. "Two Kinds of Value in the Eastern Vogel, Susan. 1974. Gods of Fortune: The Cult of the Hand in 14, 2. Solomon Islands," in TheSocial Lifeof Things: Commoditiesin Nigeria. New York: Museum of Primitive Art. Eyo, Ekpo and Frank Willett. 1980. Treasuresof Ancient Nigeria. CulturalPerspective, edited by Arjun Appadurai, pp. 95-109. New York:Alfred A. Knopf. Cambridge: Cambridge University Press. POYNOR, notes, from 61 page Fagg, William. 1970. African Sculpture. Washington, DC: Na- d'Azevedo, Warren L. 1962. "Uses of the Past in Gola Dis- 1. I discuss the introduction of various styles and object types tional Gallery of Art. course," Journalof African History, 3, 1:11-34. in "Edo Influence on the Arts of Owo" (1976). 2. For specific influences refer to Poynor 1976. 3. Oshogboye, the sixteenth Olowo, was said to have been trained in the court of Benin. Was he there because the two royal families were related, as Owo tradition states, or was he CONTRIBUTORS there as a royal hostage, as Benin tradition suggests? Beyond BARBARA E. FRANK is a Ph.D. candidate in African art history at Indiana University. She is the oral traditions, the structure of the Owo court is modeled after that of Benin. Great numbers of chieftaincy titles obvi- presently teaching art history at the College of Wooster, Wooster, Ohio. ously have Benin origins. See Poynor 1976 for specifics. KATHRYNL. GREEN is Assistant Professor of African History and African Studies at the Uni- 4. A number of Owo titles seem to derive from Be- directly of Florida, Gainesville. Her is of a of the nin, as suggested by the Benin Edaiken and the Owo Idani- versity paper part continuing study precolonial Kong ken. Other sets of titles include the Ezomo of Uzebu/the hegemony; a book manuscript is in preparation. of Ojomo Ujebu; Oliha/Olisa; Uwangwe/Unwagwe; Ologbo- CAROL ANN LORENZ is Lecturer in the Department of Art and Art History and the African shere/Ologboshere; Ero/Ero; Eriyo/Ariyo; Eribo/Aribo. 5. Oshogboye was said to be a sword bearer to the Oba of Studies Program at Colgate University. In 1980 she studied Ishan art in Nigeria under a Benin in the sixteenth century, before he left to be crowned Fulbright-Hays Doctoral Dissertation Research Grant. the sixteenth Olowo. Elewuokun the reigned during eigh- PATRICKR. MCNAUGHTON, who organized this special issue, is Associate Professor of Afri- teenth century and was very much a "Beninizer" of the Owo court. He introduced Benin-style court garments and can Art History at Indiana University. He has carried out research in Mali and most recently in changed the names of several chieftaincies to Benin-derived East Africa. names. ROBIN POYNOR is Associate Professor of Art of Gainesville. 6. Egharevba 1960:154. According to Benin sources, the war History, University Florida, chief Iken had to recapture Owo, and for a period of time CHRISTOPHER D. ROY teaches African art history and is curator of the Stanley Collection at Benin forces were repelled. Iken was eventually killed by art central Owo forces. the University of Iowa. In 1983, 1984, and 1985 he carried out a survey of the of and 7. I discuss Owo masking traditions in "The Egungun of western Burkina Faso with grants from the Fulbright-Hays program and from the University of Owo" (1978). Iowa. His book on the art of the area has been scheduled for publication this summer. 8. I discuss this cloth in "Traditional Textiles in briefly Owo, MONICA BLACKMUN Scholar at in received Nigeria" (1980). VISONA, Visiting Wesleyan University 1985-86, 9. Frank Willett recently (1986) published a tribute to her Ph.D. from the University of California, Santa Barbara, in 1983. She conducted post-doctoral Akeredolu. An earlier reference to Akeredolu is "Thorn Carv- research in 1983-84 on art and healing among the Lagoon peoples of the Ivory Coast.

91 II IIIIIIIII IIIIIIII I I IIIIIIIIIIIIIII

d'Azevedo, Warren L. 1958. "A Structural Approach to Esthe- this recent period of research. BOOKS tics: Toward a Definition of Art in American 1. Lo and Do are both used in the literature, as the I and d in Anthropology," Rare, important, and out-of-print books on Af- Anthropologist60: 702-14. Mande languages are frequently interchanged and easily Goucher, Candice L. 1981. "Iron Is Iron 'Til It Is Rust: Trade comprehensible to native speakers. Do is used in Kong. Lo is rican, Primitive, and Ancient art purchased and Ecology in the Decline of West African Iron-Smelting," used among the Dyula of the Korhogo region in Ivory Coast. and sold. Catalogues available on request. Journalof African History 22: 179-89. See below for further discussion of these terms. Please write for further information. Michael 1986. "The Cultural 2. Ravenhill 1984:1. I would like to thank Ravenhill for Kopytoff, Igor. Biography of Things: Philip Graves- Johnston, Bookseller, P.O. Box 532, Commoditization as Process," in The Social Life of Things, his quick response to my plea across the sea for a copy of his edited by Arjun Appadurai, pp. 64-91. paper. London SW9 ODR, England. 01-274-2069. Laye, Camara. 1980. The Guardian of the Word, translated by 3. Interview with Balagazani Diabagate, in Kong, June 15, ETHNOGRAPHIC ITEMS James Kirkup. Glasgow: Fontana Books, William Collins 1986. I owe Balagazani Diabagate, the tutigi of Kong, a par- Sons & Co. ticular debt of gratitude for his openness and patience in the For sale: Antiquities, Old African, Oceanic, MacGaffey, Wyatt. 1978. "African History, Anthropology, and face of my often ignorant questions. I would also like to ex- other Primitiveand Precolumbian art, artifacts the Rationality of Natives," History of Africa 5: 100-120. press my gratitude to Bouraba Diabagate, my invaluable re- and weapons. Specializing in early pieces with search assistant. McNaughton, Patrick. 1986. "Mande Lore and the Monopoly known provenance. Free illustrated catalogue. of Blacksmiths' Technology, Sorcery and Sculpture." Paper 4. In Bazin's (1906) dictionary under do the reader is directed presented at the symposium "Indigenous Craft to see dyo for a verb meaning "to stop." However, dyo as a WilliamFagan, Box 425E, Fraser, Ml 48026. Technologies of Africa," Colgate University, March 1987. noun is defined in a first meaning as "confreriefetichiste"and in PRECOLUMBIAN GALLERY Miller, Joseph C. 1980. The African Past Speaks:Essays on Oral a second meaning as "fetiche(nom d'un)." Traditionand History. Hamden: Archon Books, The Shoe 5. The common plural marker for Mandekan languages is w. Precolumbian gallery featuring Mesoamerican String Press. Binger's spelling of dou is most likely the plural form, using a terracotta artifacts. New World Antiquities, Ottenberg, Simon. 1971. Anthropologyand Aesthetics. Lecture u rather than a w for the plural marker. See Tauxier1932:74, n., 3464 Sacramento St., San Francisco, CA delivered at the where he relates that "Do" is the and "Do-ou" the University of Ghana. Accra: Ghana Uni- singular is 94118. (415) 346-4111. Wednesday-Saturday versity Press. plural. noon-6. Peel, J.D. Y. 1984. "Making History: The Past in the Ijesha 6. I would like to thank Philip Ravenhill for this reference. Present," Man n.s. 19, 1:111-32. 7. Interviews with Balagazani Diabagate, Kong, June 15, July MUSEUMS AND GALLERIES Roy, Christopher D. 1985. Art and Life in Africa:Selections from and 1986. 22-24, August 8, New YorkCity man wishes to meet individual the Stanley Collection. Iowa City: The University of Iowa 8. Interview with Bafaga Diane and Sourou Milogo, Museum of Art. Kotedougou, October 26, 1980. (preferably with car) with whom to browse Sieber, Roy and Arnold Rubin. 1968. Sculptureof Black Africa: 9. See Glaze 1981:131-32for a discussion of kodoli as a wide primitive art galleries and museums. WriteBox The Paul Tishman Collection. Los Angeles: Los Angeles concept of mask. 66, African Arts, African Studies Center, Uni- County Museum of Art. 10. Unless otherwise stated information on Do and my versity of California, Los Angeles, CA 90024- Strobel, Margaret. 1977. "Doing Oral History as an Outsider," Domuso in Kong comes from interviews with the tutigi of Frontiers, A Journalof Women'sStudies 2, 2:68-72. Kong, Balagazani Diabagate. 1310. Robert Farris. 1973. "Yoruba Artistic Thompson, Criticism," 11. I witnessed no such funeral dances during any of my III? in The TraditionalArtist in AfricanSocieties, edited by Warren fieldwork. L. d'Azevedo, pp. 19-61. Bloomington: Indiana University 12. See Prouteaux 1925:624-27 for a description of the lomisi's Islamization of the Region of Kong," Asian and African Press. first out after the Ramadan month. When I wit- night fasting Studies 20, 1:103-23. Thompson, Robert Farris. 1968. "Aesthetics in Traditional Af- nessed the lomisi's announcement of the masks in June, 1986, I Green, Kathryn L. 1986b. "Religious and Warrior Groups in rica," Art News, 66, 9:44-45. did not see the Kondali mask it as Prouteaux accompanying the Western Sudan with Particular Reference to Mande Tonkin, Elizabeth. 1986. "Investigating Oral Tradition," Jour- describes. It is interesting that Vogel also indicates a close Societies." Paper presented at the 29th Annual Meetings of nal of AfricanHistory 27:203-13. connection between a drum and the Do among the Baule. the African Studies Association, Madison, Wisconsin, Oc- Tonkin, Elizabeth. 1982. "Steps to the Redefinition of 'Oral mask and discussion in Richter 13. See Kpelie photos 1979:67, tober 31. History': Examples from Africa," Social History 7, 3:329-35. 72. Green, Kathryn L. 1984. "The Foundation of Kong. A Study Vansina, Jan. 1985. Oral Traditionas History. London: James 14. Ellen Suthers, personal communication, November 19, in Dyula and Sonongui Ethnic Identity." Ph.D. disserta- Currey. 1986. In this context the "Jimini" mask collected by Austin tion, Indiana University. Willis, Roy G. 1976. "On Historical Reconstruction from Freeman in the nineteenth century and discussed at length by Holas, B. 1978. L'Art sacre senoufo. Abidjan: Nouvelles edi- Oral-Traditional Sources: A Structuralist Approach." The Bravmann, who its could well questions provenance, very tions africaines. Twelfth Melville J. Herskovits Memorial Lecture, Program have been collected among the Djimini. It need not necessar- Le Moal, Guy. 1980. Les Bobo:Nature et fonction des masques. of African Studies, Northwestern University. have come from Satama Sokoura or other Mande set- ily any Paris: ORSTOM. tlement, contrary to what Bravmann suggests. See Bravmann Little, K.L. 1949. "The Role of the Secret Society in Cultural 69 1974:147-52 for his discussion of the Freeman piece. Satama GREEN, notes, from page Specialization," AmericanAnthropologist 51, 2:199-212. I would Sokoura is actually in Djamala and not Djimini, as he de- like to thank Monica Visona for her extensive com- Ouattara, Tiona. 1977. "Les Tiembara de Korhogo, des clares. ments on a first draft of this paper. I would also like to ac- origines a Peleforo Gbon Coulibaly." These de 3eme cycle. 15. See Bernus 1961:284-90 for a discussion of the supposed knowledge with gratitude the Division of Sponsored Re- University of Paris 1. of the Senufo Tiembara founders of search, the Center for African Studies, and the Department of Kong origins Korhogo. Person, Yves. 1974. "The Atlantic Coast and the Southern This story of the Kong origins of the Senufo Tiembara found- History at the University of Florida, whose support in the Savannahs, 1800-1880," in History of WestAfrica, vol. 2, pp. summer allowed me to for ers of Korhogo has lately been questioned by Tiona Ouattara of 1986 return to Kong four months 262-307, edited by J.F. Ade Ajaye and Michael Crowder. 2 of field research. Most of the data in this article from (1977). comes vols. New York: Columbia University Press. 16. See Bravmann 1977:46-52 for a masking tradition among Person, Yves. 1968-75. Samori: Une revolution dyula. 3 vols. the Islamized Zara that form to an Islamic gives spirit. Dakar: I.F.A.N. 17. Ellen Suthers, personal communication, November 19, Prouteaux, M. 1925. "Divertissements de Kong," ACKNOWLEDGMENTS 1986. B.C.E.H.S.A.O.F. 605-50. Photographs, page: Bibliography Ravenhill, Philip. 1984. "The Do Traditions of Northwestern 29-31 Ploskanka Bailleul, Pere Charles. 1981. Petit dictionnairebambara-francais, (right): Jeffrey Ivory Coast." Paper presented at the 27th Annual Meetings francais-bambara.England: Avebury Publishing Co. 31 (left): Ken Heinen of the African Studies Association, Los Angeles. Bazin, Hippolyte. 1906. Dictionnaire bambara-francaisprecede 32, 35 Richter, Dolores. 1979. "Senufo Mask Classification," African (right): Roger Asselberghs d'un de bambara. Paris: abrege grammaire Imprimerie Arts 12, 3:66-73, 93-94. 33, 35 (left): Malcolm Varon Nationale. Tauxier, L. 1932. Religion moeurset coutumesdes Agnis de la Cbte 34 (top): Bernd E. 1961. "Notes sur l'histoire de Bulletin de Kegler Bernus, Korhogo," d'Ivoire. Paris: Paul Geuthner. 34 (bottom):Ursula Didoni I'l.F.A.N. ser. B, 23,1-2:248-90. Vogel, Susan. 1987. "Revising History: Baule Masks in the 36, 37, inside backcover: Franco Binger, L.-G. 1892. Du Niger au golfe de Guinee par le pays de Khoury Colonial Situation." Paper presented at the College Art As- 46 Kong et le Mossi. 2 vols. Paris: Hachette. 39, 41-45, (top), 47: ChristopherD. Roy sociation Annual Meetings, Boston. Bochet, Gilbert. 1965. "Les masques senoufo; de la forme a la 46 (bottom):Mark Tade Werbner, Richard. 1979. "Central Places in History: Regional signification," Bulletin de l'I.F.A.N. ser. B, 27,1-2:636-77. 48 (right): Cathrine Angel Cults and theFlow of West African Strangers, 1860-1960," in Bravmann, Rene. 1983. African Islam. Washington, DC: 49, 52 & 54: BarbaraE. Frank Religionand Change in AfricanSocieties. Edinburgh: Centre of (left bottom), Smithsonian Institution Press. 61 Alale African Studies. 56, (Fig. 19): SupremePhoto, Owo Bravmann, Rene. 1974. Islam and TribalArt in West Africa. 57: Wills, John. 1985. "Voltaic Peoples," in I Am Not Myself: The British Museum Cambridge: Cambridge University Press. Art of AfricanMasquerade, edited by Herbert M. Cole. UCLA 58 (top): Photos, Owo Capron, J. 1957. "Quelques notes sur la societe du do chez les Ogbesusi Monograph Series, no. 26. Los Angeles: Museum of Cul- 59 & center):Frank Willett populations Bwa du cercle de San," Journalde la Societedes (left tural History, UCLA. 59 (right): Justine M. Cordwell Africanistes27, 1:87-129. Maurice. 1929. La et ses dialectes.2 60, 61 (Figs. 12-18, 20-25): Robin Poynor Delafosse, langue mandingue 61 26), 71-75: Carol Ann Lorenz vols. Paris: Paul Geuthner. (Fig. Kate. 1983. of the Bamana of Mali." BLANKETOF SEVENTEENHANDWOVEN STRIPS. ASANTE, 62, 63 67: Bravmann Ezra, "Figure Sculpture P (top), Rene Ph.D. dissertation, Northwestern GHANA. COTTON, NATURAL DYE, 137.1 x 218.4cm. NA- 69: Anita Glaze University. 65, 68, J. Glaze, Anita J. 1981. Art and Death in a Senufo Village. TIONAL MUSEUM OF AFRICAN ART, PURCHASED WITH 66: Kathryn L. Green Bloomington: Indiana University Prss. SMITHSONIAN COLLECTION ACQUISITION PROGRAM 82: WayneDraznin Green, Kathryn L. 1986a. "Dyula and Sonongui Roles in the FUNDS. SEE PAGE 28.

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