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This extremely detailed and well-
rendered sculpture of a standing male
with arm(s) upraised was made by a
master carver of the Dogon group, Mali.
The piece is unusual in terms of its
dynamic composition, for while figures
with arms upraised are not uncommon –
the pose is associated with the Tellem
people, local predecessors to the Dogon,
and is believed to represent an appeal
for rain – they are usually far more
schematic than this example. The
proportions are also unconventional,
with long, powerful legs, large
genitalia, solid hips, a rather short
torso and very long arms raised above
the head, which is naturalistic and
compact while slightly elongated. The
figure is naked, but is seemingly
extensively scarified with hatching and
zigzags from the chest to the groin. The
raiment extends as far as a square
amulet with cruciform adornment, a
matching belt with multiple panels, an
anklet on each ankle, and triple sets of
armlets and bracelets. While masculine,
the figure may be intended to be
hermaphrodite on the basis of the rather
full chest, although this may have been
an affectation of the carver. The head
is small and perfectly proportioned,
with a domed pate, a long nose,
naturalistic eyes, a pursed mouth and a
fan-shaped beard connecting ear to ear.
The patina is encrusted and irregular,
implying long usage and probably the
application of libations. The meaning of
the piece is uncertain, although it is
most likely to be a notable Hogon
(shaman), or perhaps a figure from Dogon
mythology. If it is intended to be a
hermaphrodite, it may be a nommo – an
ancestral newt-like creature said to be
at the genesis of the Dogon culture. The
jewellery and scarifications are
unusually ornate, and it is certainly
more derived than the standard Tellem
figures. It is carved in the style of
the Tintam subgroup from the NE area of
the Dogon area, which are noted for
their naturalism and careful study of
proportions.
The Dogon people of the Bandiagara
escarpment, Mali, have been described as
the most studied and least understood
tribal group in Africa. Their history,
technology, cultural wealth, art and
even oral legends are among the most
involved in Africa, not least because
the polity is in fact essentially
artificial, comprising various sub-units
that were grouped together on the basis
of propinquity under the colonial
administration. The Dogon live on the
Bandiagara escarpment, Mali, a 150-mile-
long eminence that supports a population
of between 250,000 and 450,000. They
have been described as the most studied
and least understood tribal group in
Africa. They moved to this area in the
15th century, escaping the Mande kingdom
and slavery at the hands of Islamic
groups, and displaced a number of tribes
(including the Tellem and Niongom) that
were living on the escarpment at the
time. They are agriculturists (millet,
barley, onions and various animals),
patrilineal, polygamous and have a
society arranged around specialist
trades. They are excessively prolific in
terms of artistic production, not least
because they have mastered all the main
materials that are used in traditional
African art; figures in stone, iron,
bronze/copper and of course wood are all
known, in addition to cave/rock painting
and adaptation of more modern materials.
Furthermore, their social structures are
extremely complex (and variable – see
below) and are socially signalled
through numerous material signalling
systems. Their profound resistance to
Islam – which once sought to enslave
them – is striking in light of their
comparative proximity, and can be seen
in their defiantly figurative artworks
which are of course banned under Islamic
law.
Their diversity has posed certain
challenges to western art historians.
There are around seventy-eight different
mask forms still in production (in
addition to numerous extinct variants),
which are used in ceremonies for
circumcision, initiation, funeral rites
(damas), cultic procedures (the Dogon
have numerous cults that pertain to
twins, as well as spirits including
mono, sigui, Lebe [crocodile], binou and
amma) and other seminal events. They
also produce numerous sculptural forms,
of males, females, hermaphrodites,
nommos (ancestral spirits), animals and
unidentifiable individuals that have
maternity, apotropaic and ancestor
functions. The scale of the population
and the size of the area in which they
live have resulted in considerable
social and artistic diversity. Noted
variants include the Master of Ogol
style, Tintam, Kambari, Komakon, Bombou-
Toro, Wakara, Niongom, Kibsi and Nduleri
figures, all of which can all be
differentiated stylistically on the
basis of their mode of execution. Their
discovery of ancient sculptures by the
Tellem people in caves along the base of
the escarpment led to the incorporation
of certain stylistic conventions (i.e.
human figures with upraised arms in what
is believed to be a prayer for rainfall)
into more recent Dogon works. Most
sculptures are not made to be seen
publicly, and are commonly kept by the
spiritual leader (Hogon) away from the
public eye, within the houses of
families, or in sanctuaries. They are
also renowned for their skilful
production of jewellery and other metal
objects. Organic-looking rock paintings
are carried out on behalf of boys
undergoing the circumcision process.
Even secular items are endowed with
iconographic designs that bestow
benedictions upon the user or owner;
notable examples include headrests,
granary doors/locks, house-posts and
troughs.
This beautifully rendered piece is a
Dogon masterwork. It was probably kept
by the Hogon and displayed for specific
ceremonies. It displays well, and is an
elegant and refined piece of art, and a
credit to any collection.
- (PF.4472 (LSO))
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