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INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the oiudity of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been Filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For illustrations that cannot be satisfactorily reproduced by xerographic means, photographic prints can be purchased at additional cost and inserted into your xerographic copy. These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. University M iaxSiims International 300 N. Zeeb Road Ann Arbor, Ml 48106 8305395 Soppelsa, Robert Thomas TERRACOTTA TRADITIONS OF THE AKAN OF SOUTHEASTERN IVORY COAST The Ohio State University Ph.D. 1982 University Microfilms International300 N. Zeeb Road. Ann Arbor, MI 48106 Copyright 1982 by Soppelsa, Robert Thomas All Rights Reserved PLEASE NOTE: In all ca se s this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a checkV . mark 1. Glossy photographs or p______ a g e s 2. Colored illustrations, paper or_____ print 3. Photographs with dark background _ 4. Illustrations are poor copy______ 5. Pages with black marks, not original _ copy 6. Print shows through as there is text on both sides______ of page 7. Indistinct, broken or small print on several______ pages 8. Print exceeds margin requirem______ ents 9. Tightly bound copy with print lost______ in spine 10. Computer printout pages with indistinct______ print 11. P age(s)____________ lacking when material received, and not available from school or author. 12. P age(s)___________ _ seem to be missing in numbering only as text follows. 13. Two pages numbered____________ . Text follows. 14. Curling and wrinkled pages______ 15. O ther__________________________________ _______________________________________ University Microfilms International TERRACOTTA TRADITIONS OF THE AKAN OF SOUTHEASTERN IVORY COAST DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Robert T. Soppelsa, B.A., M.A., M.A. ***** The Ohio State University 1982 Reading Committee: Approved By Professor Mathew Herban III, Chairman Professor Franklin M. Ludden Professor Howard Crane Adviser Department of History of Art ACKNOWLEDGEMENTS Without the cooperation of countless potters, elders, and villagers in southeastern Ivory Coast, this dissertation could not have been writ­ ten. Though the individuals are too numerous to mention individually, I extend my deepest thanks to all of them for their patience, hospitality, and cooperation. I wish also to thank my interpreters, Joseph Nogbou and Yapo 0ss6, who provided me with many hours of assistance in the field. Generous assistance was also provided by the following individuals: Susan Vogel, Francine Ndiaye, Colette Nolle, Etienne F6au, Vinigi Grott- anelli, Rende Boser-Sarivaxevanis, Dr, Howard Kofler, Philip Ravenhill and Judith Timyan, Albert and Estera Votaw, Dr. and Mrs. Emmou Koffi, Victor Diabat£, Jean Polet, Jonathan Burmeister, Mamadou Sail, Lillian Baer, and Gabrielle Holcomb. The field research and writing of this dissertation was undertaken in 1978-79 and 1980-81, with the help of the following grants: a Fulbright- Hayes U.S. Office of Education Grant for Dissertation Research Abroad, an Ohio State University Presidential Fellowship, and an Ohio State Uni­ versity Graduate Student Alumni Research Award. I am deeply grateful to all three grantors, without whose support the research would not have been possible. I thank my advisor at Ohio State University, Dr. Mathew Herban, III, for the many hours of attention and encouragement he has given to this project, and Dr. Roy Sieber of Indiana University, who first suggested the topic and has followed its progress with interest. Thanks are also due to Dr. Franklin M. Ludden and Dr. Howard Crane for aggreeing to be members of the reading committee. Finally, my warmest thanks to my wife, Betty, and my son, Peter, for their patience and support during the long hours which were necessary for this project's completion. iii VITA Oct. 16, 1946 ................ Bora - Youngstown, Ohio 1968 .......... .............. B.A. (International Studies), The Ohio State University, Columbus, Ohio 1968-70".'.................. U.S. Peace Corps Volunteer, Ivory Coast, Africa 1971 ......................... M.A. (History), New York University, New York City 1974 .........................M.A. (History of Art), The Ohio State University, Columbus, Ohio 1974-73 .......................Instructor, Dept, of Art, Mary Wash­ ington College, Fredericksburg, Va. 1975 (summer)................ Lecturer, History of Art, The Ohio State University, Columbus, Ohio 1976 ......................... C.I.C. Traveling Scholar, Indiana University, Bloomington, Indiana 1973-74, 1975-78 ............ Graduate Teaching Associate, History of Art, The Ohio State University, Columbus, Ohio 1978-79 ...................... U.S. Dept, of Health, Education, and Welfare, Fulbright Fellowship, Europe and Ivory Coast 1980-81 .......................Presidential Fellow, The Ohio State University 1 9 8 1 .........................Fellow, The Ohio State University Alum­ ni Association (Dakar, Senegal) 1981-present ................ Assistant Professor, Dept, of Art and Theatre Arts, Washburn University, Topeka, Kansas iv PUBLICATIONS "Patterns for Living: African Arts from Kansas Collections" (review of an exhibition). African Arts XV, No. 1 (November, 1981): 75-76. FIELDS OF STUDY Major Field: History of Art Studies in African Art and Archaeology. Professor Roy Sieber, Professor E.O. Odita Studies in Oceanic and Precolumbian Art. Professor Roy Sieber Studies in M o d e m Art. Professor Mathew Herban III Minor Field: Anthropology Studies in African Cultural Anthropology. Professor John C. Messenger v TABLE OF CONTENTS Page ACKNOWLEDGMENTS............................ ii VITA .................................................................. iv LIST OF PLATES .......................................................vii Chapter I. INTRODUCTION ................................................. 1 II. ETHNOGRAPHIC AND HISTORICAL BACKGROUND OF THE IVOIRIAN A K A N ........................................... 7 III. M M A ........................................................ 13 Plates to CHAPTER I I I .................................. 90 IV. B A ............................................. ; ........... 154 Plates to CHAPTER I V ..................................... 197 V. ASSO N G U ......................................................241 Plates to CHAPTER V ...................................... 297 VI. THE IVOIRIAN TRADITIONS COMPARED.................... 388 VII. COMPARISON WITH THE GHANAIAN TRADITIONS...................... 402 VIII. CONCLUSIONS............................................... 421 BIBLIOGRAPHY ....................................................... 429 vi LIST OF PLATES Plate Page III-l. Mma (M.N.C.I. D1 7 8 ) .......................................90 III-2. Mma (M.N.C.I. D1 7 9 ) ............... 91 III-3. Mma (M.N.C.I. D213-14) 92 III-4. Mma (M.N.C.I. D2 1 7 ) .......................................93 III-5. Mma (M.N.C.I. D2 1 8 ) .......................................94 III-6. Mma (Krinjabo).......................................... 95 III-7. Mma (Krinjabo)...................................... 96 III-8. Mma..... ( A b y )............................................ 97 III-9. Mma (Musde de 1'Homme MHX.43.27)......................... 98 III-10. Mma (Mus6e de l'Homme MHX.43.38) ........................ 99 III-ll. Mma (Musee de l'Homme MHX.43.39)...................... 100 111-12. Mma (Mus6e de l'Homme MH 00.44.65)..................... 101 111-13. Mma (Musde de l'Homme MH 00.44.67) ..... ........... 102 111-14. Mma (MusSe de l’Homme MH 32.51.1)....................... 103 111-15. Mma (Mus£e de l'Homme MH 33.31.27)..................... 104 111-16. Mma (Musde de l'Homme MH 62.122.2)..................... 105 111-17. Mma (M.A.A.O. MNAN 64.3.46).........................
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