Culture Country Terms Main Features Initiation Societies of the Bamana Mali Boli Jonyele Bogolan Initiation Gwanduso Ntomo Koro Power Komo Kono Ci wara Bamanaya the condition of being Bamana not a tribe but marks out certain religious representations and practices Jow men s initiation societies or secret power associations basi medicine bogolanfini or bogolan mud dyed cloth used in female initiation boli portable altar objects which are mystical sources of power nyama energy or life force energy that animates the universe nyamakala Bamana artisans known as handlers of nyama Individuals consult power association experts when they fall ill court potential spouses embark on journeys or start new careers Masks communicate about moral and ethical conduct Idea of the boli as portable alter objects are embodied with power created by blacksmiths metal objects sculptures they harness energy into objects tradition of artisans carried down thru family handlers of nyama do not marry outside of their group concern with fertility of crops animals domesticated and humans five things Bamana consider to be involved in making and what the objects do 1 created to achieve practical goal not just asethetics 2 fix needs arrange needs objects are solutions for urgent problems 3 basi medicines any objects fulfill needs 4 sacrifice must be made to make object accretion 5 children represent the power of reproduction fertility nomo primodial prehuman ancestor and master of water hogon priest Awa men s association dama collective funerary rite Sculpture and Masquerade of the Dogon Mali Equestrian Figure Primordial Couple Standing figure with raised arms Masks Satimbe Sirige Kanaga There are two groups of Dogon smiths the jemo who live on the plain and their former slaves and pupils the iru who live on the plateau There are many difficulties with this way of distinguishing Tellem from Dogon styles of sculpture the man and women are often considered the primordial couple but given the complexity of Dogon cosmology it is more accurate to think of them as the ideal couple people known as Tolem lived there before Dogon move in blurring of lines as what is Dogon and one is Tolem area still inhabited by Dogon villages built on Bandiagara right on the cliffs like pueblos in midwest Indians building into cliff provided protection from enemy famous for domestic arts sculpture of their residences men are associated with producing architecture women are involved in weaving everyday cloth and ceramics blacksmiths make sculptures and masks themes of figures 1 individual figure often with raised arms 2 most prevalent image of the couple often seated 3 equestrian figure hogon priest on horseback created for shrine context intercedes between humans and the gods help with certain problems human figure is the most popular sculptural motif Masks used in in funerary context ritual around death performed by Awa which all men are initiated all Awa initiates learn the dance and performance different from Bamana mother of masks commemorates first death was of a snake Poro society and masquerades of the Senufo C te d Ivoire Mali Burkin a Faso Kpeliye Kponyugo Sejen Debles Pombibele Children of Poro Ancient Mother Poro men s association with three stages in age groups principal framework through which Senufo men learn and practice their social political and spiritual roles in society Sandogo women s association that unites the females of a Senufo community members trained as diviners sinzanga Poro society s sacred grove d bl rhythm pounder five primordial creatures chameleon tortoise serpent crocodile hornbill Plank masks and masquerades of the Bwa Burkina Faso Do religious organization that is a major unifying force in Bwa life also an anthropomorphic being incarnated as a grass mask Do Plank Hawk Butterfly Today not all Senufo communities in northern C te d Ivoire Burkina Faso and Mali support poro initiation associations nor have they necessarily sponsored the institutions in the past but poro has historically been important in contributing to diverse and dynamic artistic production in the area focus is on honoring ancient mother she is protector and diety of poro society that is arranged around village communities divided into wards female and male societies poro functions as government and economic control and prepares young men to be adults traditionally all men were initiated three age groups each phase lasts seven years and are progressive age grade society pre circumcision adolescence and adulthood three stages poro gives social framework for the village learn cosmology ancestral history of Senufo wise men or those who know what a man is once the three phases are done third phase woman are not apart of The Gurunsi have also heavily influenced the mask traditions of their neighbors the Bwa who carve the largest wooden masks in Black Africa Bwa are receptive to change and quick to adopt institutions they admire from their neighbours cross stylization of many different cultural groups are combined Do the son of the creator God a spirit of the wild bush and of the vital energy of nature who is represented by masks of leaves and vines distinctive of Bwa masks large polychromed use geometric abstraction zoomorphic motifs bright colors often used in agriculture context most common motifs are birds they are messengers between humans and supernatural world during dry season rituals are performed in celebration of renewal request rain during draught masks are considered animated beings Bwa is masking tradition very little scultpure Sande society and sowei of the Mende Sierre Leone Sowei helmet mask Sande society female society into which all Mende girls are traditionally initiated at puberty also known as Bondo society sande the medicine of the Sande society Sowei title of the highest rank of Sande society officials sowei name of the Sande society mask ndoli jowei usual term for the Sande masker literally meaning dancing Sowei Great importance is also given to the uniqueness of each Sowei mask and carvers strive to differentiate masks through the invention of surprising new motif the Sande spirit is female but the male names with trousers and other male traits she may exhibit give her a degree of sexual ambiguity and male aggressive power sande masking is a visual expression of female power owned and performed by women represents this idea of womanhood masks are directly tied to ideal female beauty masquerade acts politically of