The Boli, or altar, figure from the Bamana peoples of Mali is a unique piece of art not based on what an individual knows about the figure, but rather what it doesn’t. The Boli has a secretive quality that harness energy from the community and peoples reactions to the Boli can fluctuate based on their interpretations on the object. The Boli is made of materials ranging from human bodily fluid to sticks and string. The figure is generally made to resemble an animal, typically a hippopotamus or cow, but over time with sacrificial material covering the figure it can become somewhat unclear. The Bamana peoples have an obscure relationship with the Boli for many reasons that could sprout from the materials it is made from, its uses in the society, and its extremely secretive nature. The Boli figure (fig. 1) stands on four separate legs that all connect to the ground forming a stable connection to the earth for the Boli to rest without fear of falling over. The set legs of the Boli also show stillness within the piece. As an individuals gaze progresses upwards through the animalistic features found on a Boli it can be seen that the Boli has a hump at the top of the “back”. This hump can vary in size throughout different Bolis and can even slightly vary in placement amongst them as well. The Boli can be extremely vague in appearance lacking definition and precise features. This lack of definition can be explained from the Boli being a form of an alter. Dark brown mud can be seen on the outermost layer of the Boli displaying somewhat of a matte finish as the light reflects off the piece. Cracks of the Boli’s surface capture shadows creating more definitive line sporadically throughout the piece almost as if each crack is a lightning bolt... ... middle of paper ... ...re relationship the Bamana peoples have with the altar that is the Boli. It cannot be defined by one specific thing, but by the combination of many procedures and many different variables that come within those procedures. The Bamana Boli, as we have seen, is a very complicated figure that is very mysterious and for that reason has its fair share of believers and skeptics. The figure has a unique assembly where an assortment of materials and combinations of materials and sacrificial substances create and mold the figure. The Boli is also used in its rituals where it fends of evil spirits with is contained nyama in practices by secret societies such as the Kono, where it effects the people in each community. The combination of all of this gives the Bamana peoples of Mali an ambiguous relationship with the Boli figure that can be interpreted as good, bad, or neutral.
This sacred space is enclosed with a corridor of stones leading away which represents a Bora. The Bora was a traditional meeting ground of Aboriginals which in this ritual is another connection to their ancestry and spirituality. Connecting with the land has been a vital part of Aboriginal spirituality despite the catholic prominence. Source 1 also ties in with Christian beliefs as well as Aboriginal spirituality with it’s references to “God the creator” and the recollection of Jesus being the light of the world. A candle is placed to acknowledge the light Jesus brought into the world which shows the deep connection to Jesus and Christmas which celebrates Jesus birth. At the centre of the Murri people’s worship place a coolamon which is an area a baby could be placed is created to symbolism Jesus’s Manger. Through source 1 it is shown that religion and spirituality can go side by side in contemporary society by
Selection of Book: There were numerous purposes and objectives as to why I chose to read this particular anthropology manuscript of all the various other options available. For one, I selected this book initially due to the title of the book. “Dancing Skeleton” was the portion of the title that primarily stuck out to me, and made me imagine African children – who we see on commercials all the time in third world countries, which tend to look malnourished all throughout their adolescents – dancing around with skin-wrapped skeletal bones. Personally, for me, seeing children suffering from malnourishment and starvation must be one of the most unbearably agonizing pains a child can go through, not to mention the suffering of a mother having to watching her child gradually starve to death. I was additionally very much interested in understanding precisely what other individuals in different parts of the world and specifically Mali, are lacking that is affecting their health and well-being so noticeably. Furthermore, I was especially interested is reading informal stories and accounts through the eyes of the author about conducting specified field research on infant feeding and the importance of children
The debate was how such a barbaric society could produce such sophisticated artwork. The quality of the Benin bronzes, based on...
"Gian Lorenzo Bernini: Bacchanal: A Faun Teased by Children" (1976.92) In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/works-of-art/1976.92. (October 2006)
At a mere 16 3/8 inches, the Fudo Myo-o at the Art Institute at Chicago is not the first object in the Japanese collection to catch your eye. Yet, when you pass by it will stop you in your tracks. The Fudo Myo-o is like nothing you’ve ever seen. His bulging eyes fasten onto your own, a gaze so vicious you cannot tear away from it. His piercing stare draws you in and his stance seems to beckon you to come forth. His furrowed brow and protruding fangs created a facial expression so intense it feels almost as if he is trying to tell you something. His arms seem to have, at some point, been holding something and they are open as if they are welcoming you and offer some kind of promise. Fudo sits upon a rectangular foundation, which gives the impression that his is some kind of deity or god-like figure. The Fudo Myo-o has fabric draped over his left shoulder and is wearing lavish jewelry reminiscent of a Bodhisattva. His jewelry also hints to the viewer that he must have some level of nobility. He also has shell li...
Benedetti claims LACMA harbors over 1,700 different Islamic artworks (4). Most of them are collected from the ...
The novel immediately projects the fear and misunderstanding felt by the people of Bambara due to the unexpected early changes that are taking place in Africa. “A white man...There’s a white man on the bank of the Joliba” is exclaimed by Dousika’s pregnant wife Sira (Conde 5). The family is instantly struck with a curious mind but also one that is uneasy. The sight of this white man causes great despair already for the man of the house Dousika: “White men come and live in Segu among the Bambara? It seemed impossible, whether they were friends or enemies!”(Conde 10). The unexpected appearance of this white ...
In Nigeria, the Yoruba ruler Airowayoye 1 of Orangun-ila wears a similar costume to the Elephant Mask Costume seen in Cameroon. Airowayoye 1 wears a beaded veil that covers his face, a beaded scepter, and sits on a footstool. Much like art in Africa, each piece of Airowayoye 1’s costume holds significant meaning. The beaded veil is said to protect the ruler’s viewers from the power of his eyes. The beaded staff is a symbol of the ruler’s connection with heaven and earth and the height of the crown represents the significant class difference between rulers and common people and (Werbel). Medicines and other ritualistic materials are also placed inside crown to add to the ruler’s superiority and power. He must share this power with the ‘mothers’ or witches which are represented by the birds (O’Riley 246).
The regions of Togo and Volta, in Ghana, Africa, are the common home of the Ewe people. With strong emphasis on communal ethos as well as lineal importance, the Ewe are a very intricate and fascinating ethnic group with both strong spiritual, religious views, as well as the inclusion of an incredibly dense and significant musical culture. In their society, members of each lineage share rights and obligations with one another, though, the elders of the communities carry both secular and sacred authority. Spiritually, the Ewe people believe in a supreme being, Mawu, the creator God, as well as Se, of whom is said to be the maker and keeper of human souls. Even the music culture has spiritual ties. Ewe musicians, particularly drummers, will say their source of talent is in direct correlation to their ancestors spirit that they have inherited and, as reincarnations of these talented ancestors, it is their destiny to pursue this musical role.
The way of the Ju/‘hoansi life has changed dramatically in many ways throughout the years. However, it is still possible to reflect upon their original way of life and compare it with their present state of living. Most of the changes occurred due to environmental, economical, developmental, social and cultural changes. All of which play a vital role in determining a Ju’s way of life. Although the land of the Dobe and !Kangwa have developed and changed in recent years, there are still some remnants of how the environment used to be. A significant shift in social and cultural aspects of the Ju/‘hoansi life can be observed in the new environment. However, some important aspects of their culture and belief system are still reflected in their everyday lives.
Icons throughout history has hold many different meanings whether sacred or for everyday lifestyle. Each culture practice different ideologies that come with an array of different interpretations. Paintings, sculptures and craftworks are examples of different medium used to portray icons but yet could hold the same significance as the other. In Christ the Savior of Souls, early 14 century of the Saint clement church, the artist use a highly spiritual figure as the subject, placed in the center fold, using contrasting colors to convey its importance to the people who come in its presence and to show the divinity of the figure itself. Portraying a similar trend, the Buddha seated on lion throne from 2nd century C.E. India, poses a same significance of a highly spiritual human being, proceeding over its followers but through an entirely different form of art. These two forms hold great significance to both their follower’s spirituality and just ordinary folks alike. Often placed in a scared place deemed by their culture, it stands as a relics and reminder of the ideology they choose to follow.
...der is that its varying messages from the sculpture have puzzled its viewers as to what its meaning can be. “For the myths tell us that from the mystical perspective the distinctions between male and female…-as between time and eternity, pluralism, and monism- are meaningless”(TECHNIQUES OF THE WORLD SAVIORS: Bodhisattva Avalokitesvara, part two from The Myth of the Great Secret: An Appreciation of Joseph Campbell [Celestial Arts, 1990], Toby Johnson). Although both influences of a male and female have crossed together, the mythical stories of the goddess or god have represented the need for a stronger female aspect. To hold it as high of a position as a goddess can have and make its display for the entire world to see, this piece of evidence not only tells the tale of the Chinese woman’s adversity, but of the adversity of women everywhere.
The Navajo Sand Paintings is an example of a sacred symbolic object commonly misinterpreted as nothing more than an artistic piece of primitive art. In actuality, the beauty is being overseen because Navajo sand paintings have more significance. This so called `piece of art' serves as a major device, but in a...
In Ashanti tribe, family and the mother’s side are most important to this particular group. This tribe believe that child often inherit their father’s soul while flesh and blood is received from the mother. “Instrument such as talking drums are used for learning the Ashanti language and spreading news and used in ceremonies. This instrument is very important to the Ashanti and there are very important rituals involved in them”. (Vollbrecht, Judith A., 1979).
This essay deals with the nature of a cross cultural encounter between the Benin people and Portuguese traders in the 15th and 16th centuries, which resulted in the depiction of Portuguese figures in Benin brass plaques. It will propose that this contact between people with different cultures was on the basis of 'mutual regard' (Woods, K. 2008, p. 16), and although the Portuguese had qualms about idolatry in Benin it will show that assumptions by Europeans up to the 20th century of the primitive nature of tribal African societies was inaccurate with regard to the Benin people, who had a society based on the succession of the King or 'Oba', a Royal Family and Nobility. The essay will finally suggest that Benin’s increase in wealth following the arrival of the Portuguese led to a resurgence in bronze sculptures and the introduction of a new form, the rectilinear plaque.