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Akan "soul washer's badge"

This object, 10 cm. diameter gold-plated bronze, belongs to the realm of "arts of the court" is a piece that is designed and intended for a social function related to power management in an institution recognized type of monarchy. So it is obviously far from the style which, in various forms, often characterized by the traditional tribal arts African and is directed toward a refinement and a gem of execution that is closer to the Western conception of the decorative arts.
This type of object, originally brought only by the sovereign and the Akan of Ghana's most important dignitaries of the court (the bearers of the sword - a symbol of authority, the carriers of the brackets "linguists" and the warriors in the highest degree), was worn as a pendant as a result of "luck" even by girls during puberty rites of initiation into adulthood. The kings of Akan, also make them take even a sort of bodyguards, true duplication of the sovereign from among those born on the same day of the week when the king was born, who attend the most important ceremonies, according to the king himself, thus forming a sort of shield symbols, such ceremonies are called akrafo ("anime" or "soul washers" in English 'Soul Washers') and are the symbols vitality of the living and the fate of the king, taste the food of the monarch before him to ensure it is safe and when the king dies, they are obliged to accompany him to the grave.
Frequently, these pendants are solid gold and the fact that this, too well made and of good antiques, gilt bronze and argues in favor of a less important source of nobility, and probably belongs to the type used by the girls in the process of initiation .

It comes from the German collector and scholar Wilfried Glar.

Bibliography:

1) The arts of Ghana

Herbert M. Cole - H. Doran Ross - UCLA, San Francisco, 1977

2) The Royal Arts of Africa. The majesty of form. Suzanne Preston Blier

- Prentice Hall, NJ (USA), 1998

3) Religion and Art in Ashanti

Robert Sutherland Rattray - London, 1927 (repr. 1959)

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Gurma - bronze bracelets

Gurma I, also known in French-speaking regions Gourmantche are linguistically relative of a population with the most famous and live in the northeastern Mossi of Burkina Faso. Among the items most frequently found between the artistic production of this people, there are certainly large and elaborate bronze bracelets or similar alloys.
ornaments but also loaded with an exchange value, the bracelets are inscribed with Gurma graphic patterns reminiscent of the lines used during the rituals of divination and, therefore, also have symbolic value-magic.

From top to bottom the first bracelet evokes the symbolism of the snake (it is a "snake-bracelet") and, in this type is quite rare. The second, also not in common type, is rather like double cast, with a bronze alloy and less than a high percentage of copper and, therefore, with a color more yellowish or reddish, depending on the areas concerned, according to the expert Wilfried Glar (personal communication), this is not simple technique has been used by only a few craftsmen through the first half of the 20th century. Also for this second piece evoked the symbolism is that of the snake. The next two types see bracelets most common, although the quality rather than discrete objects: the second of the two is like "nodes", also reported by Blandin in his text, and the first "shining" almost golden gloss.

The last two bracelets shown are the most bulky and heavy: the Gurma is the first and the second (lighter in color and open) is probably the invoice Fulani, an ethnic group which shares a border with Gurma to the north of Burkina. The five

Gurma bracelets come from Wilfried Glar while the Fulani by Klaus-Jochen Kruger.

Bibliography:

addition to texts already reported for bronze objects

1) Afrikanische Reife. Teil 5: Die Gurma

Wilfried Glar - Glare, Bedburg, 2007

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Senufo (and neighboring population) - pending

These small pendants come mainly from the Senufo bronze, known people who inhabit the area between the Ivory Coast, Mali and Burkina Faso, but also - as was only recently discovered - many small ethnic groups of the Southwest Burkina Faso (Turka, Guin, and Tusyan Karaboro), with some relatives of the Senufo themselves (such as Karaboro) and other log furnace.

Small in size, the five examples that I present on this occasion, ranging from 2.5 cm to less than 6 cm, these objects were hung around his neck, arm or waist with a leather string through the arms and torso of the figure represented and were worn mostly by women and children for protection. The figures shown are the spirits of the bush , genes the forest to be exorcised and / or whose sympathies attattivarsi.

The first two from the top, superb quality, from the collection of William Kohler and American have gone at auction at Christie's in New York November 20, 1997.

The third, forms very "relaxed" and made smooth by long years of use, come from the collection Endicott, too, as all previous ones, is produced by Senufo and was purchased by me from the gallery of Craig De Lora.

The next two, very small and certainly for children, are very old, probably of the 19th century and these are from the gallery De Lora.

What should come next instead of ethnicity Tusyan and was acquired by the collector and expert on German Wilfried Glar.

The last of the series is, perhaps, Guin and I got it from German collector and expert Klaus-Jochen Kruger.

Bibliography:

addition to texts on bronze objects already reported this case in addition

1) glänzend wie Gold

Till Forster - Museum fur Wolkerkunde, Berlin, 1987

2) Die Kunst der Senufo

Till Forster - Museum Rietberg, Zurich, 1988

3) Soothsayer Bronzes of the Senufo

Eric de Kolb - Gallery of Hautbarr, New York, 1968