_Antelopes are frequently seen in
African art, some of the most well known sculptures are from the Bamana people
of Mali. Antelopes are highly
respected and one of the most important characters of the Bamana society. Their traditions show a mythical
creature, part antelope and part man, taught them the secrets of
agriculture. This creature is
known as Chi (farming) Wara (wild beast) and is most commonly seen as a wooden sculptural
part of their headdresses. “The curved neck of the antelope and the way it
bends its neck to eat is similar to the way farmers bend their backs to
cultivate the earth. The
creature’s long horns are said to be as straight as the young millet stalks.”[1] These masks are a part of teenagers
training to teach them the ways of being a productive adult. The boys are taught how to be part of a
family after they are paired with a younger girl, while also teaching them
proper agricultural skills to be able to support their family.
When seen in most museums today, the only part of the Chi Wara on display is the superstructure, or top piece of the headdress. The entire headdress is composed of multiple parts, the main one being the Chi Wara superstructure, along with a full mask to cover the dancers face and raffia that cascades down covering almost the entire body. When performed both male and female parts are combined in pairs. The headdress adds several feet to the overall height of the dancer, so skill is also needed when performing the Chi Wara.
Chi Wara vary according to region and time in which they were created and are categorized by their overall form as being “horizontal,” “vertical,” or an “abstract style.” The “horizontal” is seen mainly in the Northern region and is characterized by the horns, which are directed backwards rather than straight upward. The body is more closely resembled to a dog rather than an antelope. Various items such as beads and metal are attached to the headdresses, the Bamana believe doing so gives it “di, ‘sweetness’ or ‘tastiness.’”[2] The “vertical” style of Chi Wara is seen mostly in the Eastern region, and has a “powerful curved neck with…decorative openwork, a firm narrow head and slightly curved horns.”[3] The “abstract style” is seen in the southwestern region and is a combination of many forms. Included are the “curved antelope horns, fragments of horns, anteater snouts (for rooting into the earth), and the canine animal of the ‘horizontal’ style.”[4] A trait seen in all three styles is the textures on each section, which softens the otherwise harsh appearance of the Chi Wara. Although the religious importance of the Chi Wara is diminishing, they still remain as part of many Bamana dance groups.
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[1] Hope Werness, The Continuum Encyclopedia of Animal Symbolism in Art, (New York: The Continuum International Publishing Group Inc, 2003), 10-13.
[2] Monica Visona, Robin Poynor, and Herbert Cole, A History of Art in Africa Second Edition, (Upper Saddle River, NJ: Pearson Education Inc, 2008), 1-16.
[3] Olaomo Azeez, "Indigenous Art of West Africa in Wood," Global Journal of Human Social Science 11, no. 2 (2011): 63-70,
[4] Monica Visona, Robin Poynor, and Herbert Cole, A History of Art in Africa Second Edition, (Upper Saddle River, NJ: Pearson Education Inc, 2008), 1-16.
Image Source: Bamana, Headdress: Male Antelope (Ci Wara), 19th-early 20th century, 35 11/16 x 15 3/4 x 3 3/8in. (90.7 x 40 x 8.5cm). Metropolitan Museum of Art - Images for Academic Publishing, The Metropolitan Museum of Art, The Michael C. Rockefeller Memorial Collection, Gift of Nelson A. Rockefeller, 1964 (1978.412.435) (Image © The Metropolitan Museum of Art)
When seen in most museums today, the only part of the Chi Wara on display is the superstructure, or top piece of the headdress. The entire headdress is composed of multiple parts, the main one being the Chi Wara superstructure, along with a full mask to cover the dancers face and raffia that cascades down covering almost the entire body. When performed both male and female parts are combined in pairs. The headdress adds several feet to the overall height of the dancer, so skill is also needed when performing the Chi Wara.
Chi Wara vary according to region and time in which they were created and are categorized by their overall form as being “horizontal,” “vertical,” or an “abstract style.” The “horizontal” is seen mainly in the Northern region and is characterized by the horns, which are directed backwards rather than straight upward. The body is more closely resembled to a dog rather than an antelope. Various items such as beads and metal are attached to the headdresses, the Bamana believe doing so gives it “di, ‘sweetness’ or ‘tastiness.’”[2] The “vertical” style of Chi Wara is seen mostly in the Eastern region, and has a “powerful curved neck with…decorative openwork, a firm narrow head and slightly curved horns.”[3] The “abstract style” is seen in the southwestern region and is a combination of many forms. Included are the “curved antelope horns, fragments of horns, anteater snouts (for rooting into the earth), and the canine animal of the ‘horizontal’ style.”[4] A trait seen in all three styles is the textures on each section, which softens the otherwise harsh appearance of the Chi Wara. Although the religious importance of the Chi Wara is diminishing, they still remain as part of many Bamana dance groups.
_____________________________________
[1] Hope Werness, The Continuum Encyclopedia of Animal Symbolism in Art, (New York: The Continuum International Publishing Group Inc, 2003), 10-13.
[2] Monica Visona, Robin Poynor, and Herbert Cole, A History of Art in Africa Second Edition, (Upper Saddle River, NJ: Pearson Education Inc, 2008), 1-16.
[3] Olaomo Azeez, "Indigenous Art of West Africa in Wood," Global Journal of Human Social Science 11, no. 2 (2011): 63-70,
[4] Monica Visona, Robin Poynor, and Herbert Cole, A History of Art in Africa Second Edition, (Upper Saddle River, NJ: Pearson Education Inc, 2008), 1-16.
Image Source: Bamana, Headdress: Male Antelope (Ci Wara), 19th-early 20th century, 35 11/16 x 15 3/4 x 3 3/8in. (90.7 x 40 x 8.5cm). Metropolitan Museum of Art - Images for Academic Publishing, The Metropolitan Museum of Art, The Michael C. Rockefeller Memorial Collection, Gift of Nelson A. Rockefeller, 1964 (1978.412.435) (Image © The Metropolitan Museum of Art)