
Spoon
Spoon whose handle represents a settler, easily identifiable by the colonial case.
COL-29
Text of the original catalogue
According to legend, at the end of the century XVIIIan Akan group, related to the Anyis, led by Queen Abla Pokou, niece of King Ashanti OsaiTutu, flees Ghana and tries to take refuge in Ivory Coast. He went to the death of the monarch when a war broke out over the succession to the throne between Abla and his brother Dako. Persecuted by Dako's troops, Abla is forced to flee to the neighbouring territory of Côte d'Ivoire as far as the river Comoé, infested with crocodile, west of Abenguru. Braking in their flight by this raging river and following the advice of their fortune-teller, the queen did not hesitate, to save her people and to be able to cross the river, to sacrifice her newborn son in order to obtain the help of the gods. Holding his son with both arms and lifting him over his head he threw him into the river shouting “baouli” (the child has died), thus giving a new name to his people. The crocodiles pelotated to get a part of the dam forming a compact and solid surface that allowed them to cross the river to their people. And this is how the people were born on this other shore of the Comore. BauléThe Baulé are located in the centre of Ivory Coast, in its capital Yamusukro and in the cities of Tiebisú, Tumodi, Dimbokro, Beumí and Sikasso, considered the moral capital of the Baulé, where legend tells that Queen Poku came with her people from Gana. They have ruled the country for forty years in the second half of the century XX. They learned, apparently, to carve the wood of the gourd and the aesthetic feeling that emerges from their masks and statues is unparalleled. For them, at birth, each individual leaves a family in the other world. In adulthood jealousy comes to the couple, instilled by the spouse of the afterlife. That is why the fortune teller orders to make a statue, as beautiful as possible, that will be welcomed as if the husband or wife of the other world came to reconcile with the spouse of the earth. After a ceremony, sort of a wedding, the statue will be kept in the bridal chamber, decorated and fed regularly. Blolo Bian is the husband and Blolo Blah the wife of the hereafter, our origin and our destiny. Therefore for I baulé their statues more than in relation to the world of ancestors are with the realm of divination. The Asian usu represent the spirits or geniuses of nature. They are intermediate divinities that can be favorable or harmful. In order to be favorable, the fortune-teller orders to carve an effigy as beautiful as possible, so that the genius will be at ease in his new cabin. He is usually depicted as a bearded man, of beautiful factions, sitting on a throne. Akan, often with an egg in hand, symbol of the universe. He will receive sacrifices and libations from families or from those possessed who will thus obtain his favors and protection. These statues will be transmitted from generation to generation to ensure the well-being of families.
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Spoon whose handle represents a settler, easily identifiable by the colonial case.
COL-29

Mango formed by the figure of an androgynous woman, in an attitude of meditation. hands resting on the belly as an allusion…
CHR-7

Spoon whose mango is a male character with his beard with his right hand while the left leans on his belly.
CHR-9

Ritual spoon whose handle is a female figure representing the classical canons of the Baule statuery.
CHR-10

Spoon whose handle is formed by an androgynous figure of woman, with ritual scarifications on the chest, face and belly.
CHR-12

Blolo bla or female statue that perfectly repeats the canons of the ballet aesthetic: An important navel, because it is the image…
EFM-3

It is a Blolo blah or wife of the hereafter, that is, the wife we have left in the other world when…
EFM-4

A woman sitting with her hands resting near her knees and expression of expectation or amazement on her face.
COL-32

A woman sitting on an Akan throne with the scarifications adorning her body can only be a queen.
EFM-25

Statue of a woman who perfectly respects the aesthetic canons of ethnicity.
EFM-26

For the Baulé, at birth we leave another family in the other world, in the blolo, and the spouse we have left…
EFM-27

Little memorial statue from a small village in Baule.
EFM-29

Motherhood from the Sakassou region.
MTR-3

A woman's figure breastfeeding her child, longline and detached that breaks with the ballet aesthetic canons.
MTR-4

Representation of a maternity with the child behind his back.
MTR-8

Mother with a child sitting at one end of her man leaning the right nao on her head while a second child…
MTR-9

Original sculpture presenting a maternity, with the child behind his back in the traditional way of the African woman, but that keeps…
MTR-10

Mystical husband or from beyond in dry wood and patina color honey.
EMS-11

Statue of an ancestor in very dense wood.
EMS-12

It is the geniuses or spirits of nature that can intervene in the world of humans by granting them their favors or…
EMS-29

Dark and deep patina.
EMS-33

The figure of this ancestor respects perfectly the canon baule.
EMS-35

Figure collected in an animist village of Baule. Remains of red polychrome are preserved on his face and lips.
COL-33

As animism disappears in Africa, these figures are becoming more difficult to find.
EMS-36