The Holly Keko Style 113 bou and Irakua Da. The third, commissioned by Djotir Kambou to commemorate his father, Ithe Da (see fi g. 3, statue 4), around 1880 was, according to my sources, one of the last creations manufactured for the thilduu of the Kou clan.13 Together these objects illustrate the main characteristics of the Holly Keko style, of which Magnuor was the acknowledged master. The main defi ning features of this style are in the head. The small and slightly concave faces of these fi gures are particulary specifi c: The mouth has pursed lips; the nose is fi ne and slightly aquiline; and the eyes are elongated and crescent-shaped, with lowered eyelids that lend an austere look of almost majestic disdain. The “helmet” shape of the head, supported by a powerful neck, is accentuated by a coiffure with a central medial crest, characteristic of the Birifor warriors whom Magnuor sought to portray or evoke as clearly as possible. The well-defi ned jaw is made even more prominent by the low position of the ears, which are located just in front of the clearly evident juncture that connects the chin and the tail of the coiffure. The Teebo “paternity” of the sculptures is evidenced as much in their ascetic faces as in the pronounced modeling of their bodies, the suggestion of movement in which, most visible in profi le, confers a surprising suppleness to these effi gies (fi g. 9). With its prominent chest, the slender body recalls the typical Teebo position of the arms, which are thrown backward, and the legs, which are slightly fl exed with the knees extending forward. The manner in which the arms join to the shoulders and the prominent representation of the clavicles and the elbows are characteristic of this particular style. All of these sculptural details that became hallmarks of this style were adopted by later sculptors of this Teebo clan, and most notably by Gnokithe Kambou, Magnuor’s son, who replaced him as thiteldara kotin. It appears that Gnokithe, born to a Lobi mother in Keko around 1880, was introduced to sculpture early on by his father, whose work he took on in the latter’s fi nal years. After Magnuor’s death, Gnokithe went to live with his older brother in N’kpeion, near Perigban, where he sculpted actively until his death around 1950 or 1955. During the last years of his life, he produced an effi gy commemorating Djotir Kambou, Ithe Da’s son, at the request of the Kou chief, Bandoune Kambou (see fi g. 3, statue 5). The continuity of style presented in Gnokithe’s work is uneven. The fi gure he produced in memory of Djotir Kambou is strongly reminiscent of those already present in the thilduu, but some variations are evident, most notably in the shape of the head, which is more oval, and in the way in which volumes are treated, which demonstrates FIG. 9 (left and two views right): Statue in the Holly Keko style created around 1870 by the sculptor Magnuor Pale (c. 1830– c. 1899). Hardwood, natural patina, traces of libations. H: 75 cm. François and Marie Christiaens Collection. © Hughes Dubois. FIG. 10 (below): A statue in the Holly Keko style, created by the sculptor Bangite Sib (c. 1910–c. 1995). Donated to the Musée des Civilisations du Sud-Ouest, Gaoua. Photo: Daniela Bognolo, Gaoua, 1989. FIG. 11 (below): Interview about the sculptor Bangité Sib with his eldest son (right) and Ontore Kambou. Bagara, 1989. Photo: Daniela Bognolo.
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