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Kaonde - whistle

High 11.25 cm, this whistle comes topped with a human head from the little-known population of Kaonde, who inhabit the area between Zambia and Congo, yet ethnic linguistically linked to the group Luba-hemba-songy, the Kaonde are closer to the group artistically Chokwe (or Tschokwe as they are called in French-speaking area) and related sottoetnie that expand beyond the area already mentioned above in Angola.

The patina obtained with hot irons and the holes (and not with tools to drill) suggest a model dating back at least to the first half of the 20th century. The face above is simple but with good execution and refinement of the classic aura "dreamy" which is also found in the masks of the people listed.

De Lora comes from the gallery of New Jersey (USA).

Bibliography:

1) Chokwe! Art and Initiation Among Chokwe and Related People

Manuel Jordan - Prestel, Munich, London, New York, 1998

2) Sculpture Angolaise. Mémorial de cultures.

Marie-Louis Bastin - Electa / Museu Nacional de Ethnology, Milan / Lisboa, 1994

3) Art décoratif Tschokwe. The collection Henrique Quirino da Fonseca

Dominique Remondino - Editions D, Geneve, 2002

4) Makishi Lya Zambia

Marc Leo Felix and Manuel Jordan - Verlag Fred Jahn, Munich, 1998

5) Chokwe

Boris Wastiau - 5 Continents Visions of Africa, Milano, 2006

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Cameroon (Bangwa? Babanki? Bamun? Bamileke?) - Flute

Among the musical instruments aimed at specific activities, in this case ritual dances but also in shipping war or hunting stands out this type of flute / whistle for the people of Cameroon. It was typically used in groups of three to play highly rhythmic sounds .

Exposed as you see in the photos on hand, represents a stylized human figure, which we clearly recognize the two legs, but upside down - as in the first photo - is probably the figure of a cow with two horns.

You can not define with certainty the exact population that produced this particular specimen, but it can be assumed with sufficient certainty from the region a the Grasslands, and thus perhaps or by Bangwa Babanki or some other subgroup of the strain or Bamun Bamileke.

The patina indicates good antiques and a long usage. The base has been specially built by the famous American craftsman Amyas Naegele. The piece comes from the New York gallery of Michael Oliver and was subsequently in the important collection of Noble and Jean Endicott. I have purchased from the gallery of Craig De Lora.

Bibliography:

1) Africa. Art forms.

Marc Ginzberg - Skira, Milan, 2000

2) Kunst in Cameroon
Bernhard Gardi - Museum fur Wolkerkunde, Basel, 1994

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Dogon - locks

The Dogon, as other populations of the Sahel of Mali (eg Raman), use of sculptures sometimes quite complex, stylized, anthropomorphic or zoomorphic and always with a clear symbolic value, such as locks on closing the doors of barns or dwellings. The "body" of the lock represents the feminine, while latch wood that is clearly crosses the male symbol of the penetration, if the act of opening is akin to the idea of \u200b\u200blife and birth, alludes to the final closing at the end of life, the death of all things. In the examples shown here

the theme is, except for the final down, one of the turtle: water or land, the turtle is characterized by the Dogon locks in a diamond pattern on the surface of the lock body to represent the scales of shell and the elongated head and is equipped with or without tail. In the last example, however, raised the animal is a bird, anthropomorphized by the presence of the two legs.

The patina of locks, regardless of their age, depends mainly on the position in which they were exposed, whether more or less affected by the weather, and many of these coatings are dried and dehydrated indicator element to understand the actual use are the subject to friction or rubbing that for the real specimen and actually used must be worn in a characteristic way.

Bibliography:

1) Serrures du Pays Dogon

Bilot Alain, Michel Bohbot, Genevieve Calame-Griaule, Francine Ndiaye

and Adam Biro., Paris, 2003

2) Dogon corn encore. ..

AA.VV. - Somogy ed., Paris, 2002