Blolo Bla. Akan. Baule.
Blolo Bla figure. Baule. Ryan Jensen. 536 Broadway, New York, N.Y. ARTstor.
The Blolo Bla (spirit spouse) of Baule is a wooden and golden leaf figure meant to satisfy a society’s needs between the actual and ancestral world. The Blolo figures represent that of human experience as well as evolution which is linked to not only the ancestral spirit world, but the human world as well.[6] These figures are owned by Baule Diviners who are individuals that have been selected by spirits as ways to communicate important insights based off of the human condition. The figures can either represent male or female, in which the male figure represents a husband and a female figure is that of a wife. One can tell the male and female apart by emphasized parts of the body and differences that would distinguish a male from a female.[7] The main role of the doll regardless is for psychological belief. The dream partners are based off of specific wants or needs. Certain dolls may be more contemporary or specific than others based off of what the owner wants in life. For example if a man wants to marry a successful woman, the figurine may be dressed in a business suit.[8] The doll is described as very beautiful and the Blolo is believed to give good luck. It is not passed down among generations, as a figure’s purpose is to fit precise needs for particular people. The Spirit spouse figures represent more equality and unity in this Baule region because it's an object that the belief is shared by genders, but it’s evident what the purpose of the spouse is broken down and based off of gender preferences.[9]
Blolo Bla figure. Baule. Ryan Jensen. 536 Broadway, New York, N.Y. ARTstor.
The Blolo Bla (spirit spouse) of Baule is a wooden and golden leaf figure meant to satisfy a society’s needs between the actual and ancestral world. The Blolo figures represent that of human experience as well as evolution which is linked to not only the ancestral spirit world, but the human world as well.[6] These figures are owned by Baule Diviners who are individuals that have been selected by spirits as ways to communicate important insights based off of the human condition. The figures can either represent male or female, in which the male figure represents a husband and a female figure is that of a wife. One can tell the male and female apart by emphasized parts of the body and differences that would distinguish a male from a female.[7] The main role of the doll regardless is for psychological belief. The dream partners are based off of specific wants or needs. Certain dolls may be more contemporary or specific than others based off of what the owner wants in life. For example if a man wants to marry a successful woman, the figurine may be dressed in a business suit.[8] The doll is described as very beautiful and the Blolo is believed to give good luck. It is not passed down among generations, as a figure’s purpose is to fit precise needs for particular people. The Spirit spouse figures represent more equality and unity in this Baule region because it's an object that the belief is shared by genders, but it’s evident what the purpose of the spouse is broken down and based off of gender preferences.[9]
Couple. Akan. Baule.
Ayse Usu Pair. Couple (Ivory Coast). Baule. University of California, San Diego. ARTstor.
The Baule Couple sculpture is a wood-based sculpture that stands about 15 inches high to the top of the taller figure (male) on the right. This is a piece from the Akan peoples in which societal groups, hairstyles, and patterns on the object's body are stressed and represent that of a male and female. This pair demonstrates that gender balance exists in this culture in which the taller male figure is represented bigger because of power and status over the female, even though both of them are are present.[10] Not only does it represent this, but also having the two as a pair orders of human balance in nature and the belief that everyone on earth has an “other” and that one is needed to complete the other, which is strong belief in the community.[11] Also, the sense of unity and support is a message that is based off of the object. Once can see that the two figures are seated, conveying another sense of power. This piece is an example of strong value in the Baule community as it defines nature and the way that life is supposed to be, but also represents the purpose of the male and female.[12]
Ayse Usu Pair. Couple (Ivory Coast). Baule. University of California, San Diego. ARTstor.
The Baule Couple sculpture is a wood-based sculpture that stands about 15 inches high to the top of the taller figure (male) on the right. This is a piece from the Akan peoples in which societal groups, hairstyles, and patterns on the object's body are stressed and represent that of a male and female. This pair demonstrates that gender balance exists in this culture in which the taller male figure is represented bigger because of power and status over the female, even though both of them are are present.[10] Not only does it represent this, but also having the two as a pair orders of human balance in nature and the belief that everyone on earth has an “other” and that one is needed to complete the other, which is strong belief in the community.[11] Also, the sense of unity and support is a message that is based off of the object. Once can see that the two figures are seated, conveying another sense of power. This piece is an example of strong value in the Baule community as it defines nature and the way that life is supposed to be, but also represents the purpose of the male and female.[12]
Horned Kple-Kple mask. Goli. Baule.
Horned Kple-Kple mask. Baule. Ryan Jensen. ARTstor.
This object is made of wood, ochre and kaolin and is used in a meaningful masquerade dance that is incorporated in extremely popular dance movements among the Baule region by the Goli peoples.[13] The most usual venue for the Goli mask is used for the funeral of a prominent person, in which all-day masking takes place. It’s the idea of the embodiment of the spirit that is shown through movements and chants when the mask and outfit is put on.[14] There are four different pairs of maskers that participate in the masquerade and they all replicate the style of the mask which is always flat, with a circular center and horns coming out of it signifying an antelope. The purpose of the mask is to represent not only funerary practices, but also implies marriage, family, and children which has different colors and movements to separate the purposes. The mask takes a profession from foolish youthfulness to stronger, more aggressive danger, but also forms ideas of youthful female grace and that transformation of fully realized woman beauty and wisdom. The curvy and straight lines signify complexity. The color of this particular mask (red) implies blood, danger, aggression. The mask consists of strong, assertive and aggressive dance movements. Other masks that are worn may have different colors and details to signify other meanings that this particular dance is used for. The accentuation of gender unity and focus on marriage is evident and that family is strength that will help one succeed.[15]
http://www.youtube.com/watch?v=DZCO6YJiuEM&feature=results_main&playnext=1&list=PLCACA671B6B77E649
Horned Kple-Kple mask. Baule. Ryan Jensen. ARTstor.
This object is made of wood, ochre and kaolin and is used in a meaningful masquerade dance that is incorporated in extremely popular dance movements among the Baule region by the Goli peoples.[13] The most usual venue for the Goli mask is used for the funeral of a prominent person, in which all-day masking takes place. It’s the idea of the embodiment of the spirit that is shown through movements and chants when the mask and outfit is put on.[14] There are four different pairs of maskers that participate in the masquerade and they all replicate the style of the mask which is always flat, with a circular center and horns coming out of it signifying an antelope. The purpose of the mask is to represent not only funerary practices, but also implies marriage, family, and children which has different colors and movements to separate the purposes. The mask takes a profession from foolish youthfulness to stronger, more aggressive danger, but also forms ideas of youthful female grace and that transformation of fully realized woman beauty and wisdom. The curvy and straight lines signify complexity. The color of this particular mask (red) implies blood, danger, aggression. The mask consists of strong, assertive and aggressive dance movements. Other masks that are worn may have different colors and details to signify other meanings that this particular dance is used for. The accentuation of gender unity and focus on marriage is evident and that family is strength that will help one succeed.[15]
http://www.youtube.com/watch?v=DZCO6YJiuEM&feature=results_main&playnext=1&list=PLCACA671B6B77E649
[6] Susan M. Vogel: African Art Western Eyes-Novel.(Yale University Press, 1997), 3
[7]Frank Willet: African Art (Thames &Hudson, Inc. Third Edition, 2003), 14
[8] [3] Susan M. Vogel: African Art Western Eyes-Novel.(Yale University Press, 1997), 3
[9] [4]Frank Willet.: African Art (Thames &Hudson, Inc. Third Edition, 2003), 14
[10] Monica Visona Blackmun, Robin Poynor, and Herbert Cole: A History of Art in Africa, Second Eidition (King: London, 2008), 215
[11] Ibid, 216
[12]Susan M. Vogel: African Art Western Eyes (Yale University Press, 1997), 4
[13] Marc Alexandre: African Art: The World Bank Collection (Washington D.C. 1998), 35
[14] Ibid, 36
[15] Monica Visona Blackmun, Robin Poynor, and Herbert Cole: A History of Art in Africa, Second Eidition. (King: London, 2008), 218
[7]Frank Willet: African Art (Thames &Hudson, Inc. Third Edition, 2003), 14
[8] [3] Susan M. Vogel: African Art Western Eyes-Novel.(Yale University Press, 1997), 3
[9] [4]Frank Willet.: African Art (Thames &Hudson, Inc. Third Edition, 2003), 14
[10] Monica Visona Blackmun, Robin Poynor, and Herbert Cole: A History of Art in Africa, Second Eidition (King: London, 2008), 215
[11] Ibid, 216
[12]Susan M. Vogel: African Art Western Eyes (Yale University Press, 1997), 4
[13] Marc Alexandre: African Art: The World Bank Collection (Washington D.C. 1998), 35
[14] Ibid, 36
[15] Monica Visona Blackmun, Robin Poynor, and Herbert Cole: A History of Art in Africa, Second Eidition. (King: London, 2008), 218