Bamana. <em>Dance Headdress (Ci-wara Kun)</em>, late 19th–early 20th century. Wood, metal, 31 3/4 x 13 1/2 x 2 3/4 in. (80.6 x 34.3 x 7 cm). Brooklyn Museum, Gift of Rosemary and George Lois, 77.245.2. Creative Commons-BY (Photo: Brooklyn Museum, 77.245.2_edited_SL1.jpg)

Bamana. Dance Headdress (Ci-wara Kun), late 19th–early 20th century. Wood, metal, 31 3/4 x 13 1/2 x 2 3/4 in. (80.6 x 34.3 x 7 cm). Brooklyn Museum, Gift of Rosemary and George Lois, 77.245.2. Creative Commons-BY (Photo: Brooklyn Museum, 77.245.2_edited_SL1.jpg)

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What was the importance of this kind of animal to the Bamana people?

Antelope were connected to fertility of animals and the land. They were a metaphor for the successful farmer who works hard to till his fields. The horns are said to represent ears of millet and the zig zag shape of the mane is thought to be a reference to the movements of the sun. The placement of the baby antelope on the back of the female headdress mirrors the way Bamana mothers carry their own children and references the link between animals, plants, and human fertility.

Dance Headdress (Ci-wara Kun)

Arts of Africa

ART OF DOUBLES
Duality is present in art throughout the continent as an expression of essential concepts that drive human nature—from gender to humanity’s place in the cosmos. This pair of pairs illustrates some of the ways that artists have expressed these ideas.

Ere ibeji are carved by the Yoruba primarily as memorial figures for twins. Because twins are considered spiritually powerful beings, with power to provide considerable good or to inflict harm, ibeji figures are the focus of great personal interaction and care. Such figures are considered a point of access to the spirit of a departed twin, and an icon of status for a mother of twins.

Worn on the heads of male dancers, ci-wara headdresses are danced in male and female pairs to symbolize the fertility of land and animals. Each headdress represents an antelope, which for the Bamana is a metaphor for the successful farmer who tirelessly tills his fields.

CULTURE Bamana

MEDIUM Wood, metal

Place Made: Ségou, Koulikouro, or Sikasso Region, Mali

DATES late 19th–early 20th century

DIMENSIONS 31 3/4 x 13 1/2 x 2 3/4 in. (80.6 x 34.3 x 7 cm) (show scale)

COLLECTIONS Arts of Africa

ACCESSION NUMBER 77.245.2

CREDIT LINE Gift of Rosemary and George Lois

CATALOGUE DESCRIPTION Female: antelope headdress with long slender neck and carrying a fawn on her back. Ears are in shape of round disks with white metal rings inserted in each ear. Thin metal band with zigzag edge decorates her forehead and there is a small white metal disk inserted in proper left eye. Notched circular pattern decorates snout. Tall, thin vertical horns have incised decorative grooves. Edges of ears have decorative notched pattern. On top of female's back is the fawn. It has vertical horns that are bifurcated - bent at right angle - and with incised grooves. The ears are notched at edge and there are incised bands on forehead. It has a small sweeping mane with "V" shaped configurations on outer curve. Tail is pointed. Condition: excellent. Small area of pitting on proper left side of neck. Fawns snout tip worn, and small section of mane missing near torso. Right inlaid eye missing.

EXHIBITIONS

MUSEUM LOCATION This item is not on view

CAPTION Bamana. Dance Headdress (Ci-wara Kun), late 19th–early 20th century. Wood, metal, 31 3/4 x 13 1/2 x 2 3/4 in. (80.6 x 34.3 x 7 cm). Brooklyn Museum, Gift of Rosemary and George Lois, 77.245.2. Creative Commons-BY (Photo: Brooklyn Museum, 77.245.2_edited_SL1.jpg)

IMAGE overall, 77.245.2_edited_SL1.jpg. Brooklyn Museum photograph, 2018

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RIGHTS STATEMENT Creative Commons-BY

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Download our app and ask your own questions during your visit. Here are some that others have asked.

What was the importance of this kind of animal to the Bamana people?