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Description

Dark-coloured figure with some geometric linear decoration around the body and the upper portions. Oblong head has diagonal, narrow eyes, flaring nostrils, and a wide mouth. From the breasts, the arms extend upward with the flat, long-fingered hands at an angle. Legs are bent slightly at the knees.

History Of Use

Figures are used in a variety of rituals to ask for blessings for fertility and a good harvest. Instructed by jꛑɳunɛ (Dogon healer), ailed people buy a statue that illustrates their hardship, or one of the deity they wish to appease. However, with the introduction of Islam to the region, the later figures were less likely to depict deities so as not to offend. They would then represent the ailed person, a mythical character, or spirit. Many statues are carved by jéme-írũ (blacksmiths) and jꛑɳunɛ, and then sold in markets. While these statues are largely crafted for Dogon uses, they are also commercialized for sale to tourists. The design of the figure indicates what the figure is meant for, and this one (a dédégue) is used to plead for rain from the rain god Nommo, who served the purpose of guiding and helping the Dogon throughout drought periods. The Dogon were heavily reliant on subsistence farming and a Nommo figure would be commissioned when they were in need of rain clouds; the statue would serve as Nommo's abode. The pleas for rain would be made at altars for Nommo (andugo), and at ones dedicated to family ancestors (binu, lebe, and vageū). Altars for Nommo were made of stone axes, iron hooks (gobo), and wooden statues, and were often on rooftop terraces, courtyards, or in separate sanctuaries of a clan's village. After making the sacrifice at the andugo altar, the smoke from the prepared fire would attract dark rain clouds. In the ceremony, the officiant would have the hook over their head, making a hooking gesture to pull the rain bearing clouds closer. At ancestral altars, there was a figurative sculpture which was dedicated to the founders of the family and subsequent members who have died, known as the vageū; they were commissioned to solve a specific problem. In the Bulu rain ritual at these altars, a Binu priest would invoke the heaven's to send down rains that would result in an abundant harvest. Other Bulu ceremonies, which take place at the beginning of the planting season, had Binu priests and Hogons (holy men) climb to sanctuary roofs and throw grains down on the fields, with arms raised.

Specific Techniques

Before chopping wood from a tree, the Dogon healer (jꛑɳunɛ) will offer cowrie shells to the tree, as an offering to Nyama (the spirit that lives in all living things). After felling the tree they carve the tree with chisels and other wood-carving tools before covering the new statues in sá oil or shea butter to create a coating to protect it.

Iconographic Meaning

The raised arms of these figures represent communication between people and Nommo, and potentially a prayer for a good harvest from ancestors. The carving style for these figures varies from village to village. Ogol style is characterized by couple statues linked by arms; the female has a child or spoon on her back and the male has a quiver to represent their societal roles. Dyamsay style from the northern Bandiagara Plateau region is characterized by scarification on the bodies and some brass highlighting on jewelry items. Another style, which is more widely practiced among Dogon communities, is characterized by parted legs, brass highlights and thick black designs created with a patina. Northern and Central Dogon communities carve in Tintam and N'Duleri styles, which are frequently identifiable by figures being tall and slim, with Djennenke scarification or braided hair. Southern Dogon communities carve in Toro style which is identifiable by figures being short and ‘cubist’ in nature.