The Bura are a true paradox: almost nothing is
known of this shadowy Nigerian/Malian group.
They appear to have originated in the first half
of the first millennium AD, although the only
archaeologically-excavated site (Nyamey)
dates between the 14th and 16th centuries.
They are contemporary with – and probably
related to – the Djenne Kingdom, the Koma,
the Teneku and a satellite culture known as
the Inland Niger Delta. Insofar as can be
ascertained, the Bura share certain
characteristics with these groups; for our
purposes, these include extensive ceramic and
stone sculptural traditions.
The Bura appear to have been sedentary
agriculturists who buried their dead in tall,
conical urns, often surmounted by small
figures. Their utilitarian vessels are usually
plain, while other “containers” – the function
of which is not understood – are often
decorated with incised and stamped patterns.
Their best-known art form is radically
reductivist anthropomorphic stone statues,
with heads rendered as squares, triangles and
ovals, with the body suggested by a columnar,
monolithic shape beneath. Phallic objects are
also known; some phallomorphic objects may
have been staffs, perhaps regalia pertaining to
leaders of Bura groups. Ceramic heads are
usually more complex than their stone
counterparts, with incised decoration and
variable treatment of facial proportions and
features. There are a few very rare equestrian
figures, which bear some resemblance to
Djenne pieces; almost no intact human or
equestrian figures are known.
The range of figures is so large that it
presumably indicates differing geographical
and temporal trends in aesthetics within the
Bura polity. Equally, similar figures with
different scarifications of coiffures could imply
production by a range of different workshops
or areas. However, without more complete
contextual information it is impossible to
explore this possibility, and it is necessary to
glean what we can from the art itself.
The role of these figures is almost totally
obscure. Equestrian figures probably represent
high status individuals, and the very few full-
body representations of humans may be
portraits or ancestor figures. Intuitively – as
with so many other groups both inside and
beyond Africa – figures with exaggerated
sexual characteristics would tend to be
associated with fertility and fecundity, as
would any artefact modelled in the shape of
pudenda (although the sceptre-like qualities of
some such pieces should be noted – see
above). The distribution of decoration on some
ceramic pieces (notably phalluses) may
suggest that they were designed to be viewed
from one angle only – perhaps as adorational
pieces. This is true of decorated urns that have
no obvious secular importance. Many pieces
are believed to have been found in burials,
perhaps implying an importance that would
have been linked to social standing and status.
