Senufo: Art and Identity 79 Gottschalk, Burkhard, 2002. Senufo: Massa und die Statuen des Poro. Düsseldorf: Ursula Gottschalk. Holas, Bohumil, 1978. L’art sacré sénoufo. Abidjan: Nouvelles éditions africaines. Knops, Pierre, 1958. “Critique de ‘Fondements spirituels de la vie sociale sénoufo’ de M. Bohumil Holas.” Bulletin de la Société royale belge d’anthropologie et de préhistoire 69: 130–38. ———, 1980. Les anciens Sénufo, 1923–1935. Berg en Dal: Afrika Museum. Launay, Robert, 1982. Traders without Trade: Responses to Change in Two Dyula Communities. Cambridge: Cambridge University Press. Maesen, Albert, 1981. “Le masque Korubla chez les Sénufo centraux.” Critica d’arte africana 46, 1: 85–96. Ravenhill, Philip L., 1999. “Helmet.” In Selected Works from the Collection of the National Museum of African Art, Roslyn Adele Walker (ed.), 48, cat. 27. Washington, DC: National Museum of African Art, Smithsonian Institution. Richter, Dolores, 1979. “Senufo Mask Classification.” African Arts 12, 3: 66–73, 93–94. Veirman, Anja, 2001. “Mask (kpeliye).” In Frans M. Olbrechts 1899–1958: In Search of Art in Africa, Constantine Petridis (ed.), cat. 126. Antwerp: Ethnographic Museum. ———, 2002. “The Art of Living: Some Aspects of the Art and Culture of the Senufo.” In Forms of Wonderment: The History and Collection of the Afrika Museum, Berg el Dal, Jan-Lodewijk Grootaers and Ineke Eisenburger (eds.), 108–32. Berg en Dal, Netherlands: Afrika Museum. FIG. 14 (left): Ring with buffalo head. Unidentified artist. Bronze alloy. H: 8.9 cm. Reported provenance: Acquired by Emil Storrer in Côte d’Ivoire, 1950s. Collection of Brian and Diane Leyden. Photo: © Pauline Shapiro, Brooklyn. Fr. Michel Convers (1998: 71) identifies buffalo-shaped rings with an association known as Nyikaryi (compare Glaze 1978). He reports that association members treated illnesses, mended bone fractures, and tended to snake bites. FIG. 15 (below): Helmet. Unidentified artist. Copper alloy. H: 24.8 cm. Reported provenance: Lucien Van de Velde, Antwerp, 1967–1991. National Museum of African Art, Smithsonian Institution, Washington, DC, Museum purchase (1991), 91-16-1. Photo: Franko Khoury © National Museum of African Art. Connoisseurs and scholars identify as Senufo or Jula the limited number of bowl-shaped cast copper-alloy helmets that have surfaced in Ghana and Côte d’Ivoire in recent decades. In an effort to situate analysis within broader geographical and historical contexts, former National Museum of African Art Chief Curator Philip Ravenhill (1999: 48, cat. 27) considered this helmet’s formal similarities with eighteenth- and nineteenth-century Qajar metal helmets from present-day Iran. He encouraged study of the impact of long-distance trade between the West African savanna and the Islamic world on the arts of Africa. FIG. 13 (left): Composite figure. Unidentified artist. Wood, cloth, organic material, feathers. H: 74.1 cm. Reported provenance: Rolf Miehler, Munich; Pace Primitive, New York; Kelley Rollings, Tucson, AZ; Hélène and Philippe Leloup, Paris; James Freeman, Kyoto, Japan; Lucien Van de Velde, Antwerp; Sotheby’s (New York), 25 May 1999, lot 344. Private collection. Photo: © Austin Kennedy/Paper Scenery, New York. American art historian Anita Glaze (1988: 85, cat. 30) reports figures of this type appeared during adjudications and were identified as kafigelejo, meaning “Tell the truth!” Swiss art dealer Emil Storrer photographed a pair of similar sculptures in the vicinity of the northern Ivoirian town of Sinématiali in the mid twentieth century (see Förster 1988: 95, fig. 28). Earlier in the century, Fr. Pierre Knops (1980: 109, fig. 15) photographed a masquerader wearing a full-body outfit similar to the one that covers the obscured wooden sculpture around which this composite figure was constructed.
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