Search Results

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slides (photographs) (col.)

Culture:

Bamana (African people)  Search this

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Mali

Date:

1971

Scope and Contents:

"In Antilopes du soleil, his 1980 survey of ci wara, Dominique Zahan classifies this corpus of works in group I, which comprises pairs that overtly emphasize the differentiation of the male and female forms. Zahan notes that the social distinctions between men and women that suffuse Bamana society are referenced in the antelope sculptures through sexual attibutes: the male's penis and the infant carried by the female. Female ci wara headdress are also generally smaller than the males. The fawn depicted on her back is invariably a miniature representation of either the adult male or female. The fundamental differences underlying the designs of the male and female headdresses in this style derive from the fact that they are modeled on different species of animal. The head, neck, ears, and horns of the male form draw upon features of the roan antelope, known as dage, and its lower part refers to the aardvark. The female form is inspired by the oryx antelope." [La Gamma A., 2002: Genesis: Ideas of Origin in African Sculpture. The Metropolitan Museum of Art, New York. Yale University Press, New Haven and London]. This photograph was taken when Eliot Elisofon was on assignment for Westinghouse Film and traveled to Africa from October 26, 1970 to end of March 1971.

Local Numbers:

E 1 BMB 4.1 EE 71

General:

Citation source: Archives staff.

Title is provided by EEPA staff based on photographer's notes.

Exhibitions Note:

Contexual image in "African Masks from the Noel Collection" held by the Tubman African American Museum in Macon, Georgia, 2003. LL03-0069

Local Note:

48

Frame value is 32.

Slide No. E 1 BMB 4.1 EE 71

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Rites and ceremonies -- Africa  Search this

Dance  Search this

Masquerades  Search this

Masks  Search this

Wood-carving  Search this

Animals in art  Search this

Animals in art -- antelopes  Search this

Animals in art -- Composite animals  Search this

Headdresses -- headgear -- Africa  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 3367

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Mali

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7460740eb-a048-4dac-9b68-a1b71179e435

EDAN-URL:

ead_component:sova-eepa-1973-001-ref19739

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slides (photographs) (col.)

Culture:

Bamana (African people)  Search this

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Mali

Date:

1971

Scope and Contents:

"In Antilopes du soleil, his 1980 survey of ci wara, Dominique Zahan classifies this corpus of works in group I, which comprises pairs that overtly emphasize the differentiation of the male and female forms. Zahan notes that the social distinctions between men and women that suffuse Bamana society are referenced in the antelope sculptures through sexual attibutes: the male's penis and the infant carried by the female. Female ci wara headdress are also generally smaller than the males. The fawn depicted on her back is invariably a miniature representation of either the adult male or female. The fundamental differences underlying the designs of the male and female headdresses in this style derive from the fact that they are modeled on different species of animal. The head, neck, ears, and horns of the male form draw upon features of the roan antelope, known as dage, and its lower part refers to the aardvark. The female form is inspired by the oryx antelope." [La Gamma A., 2002: Genesis: Ideas of Origin in African Sculpture. The Metropolitan Museum of Art, New York. Yale University Press, New Haven and London]. This photograph was taken when Eliot Elisofon was on assignment for Westinghouse Film and traveled to Africa from October 26, 1970 to end of March 1971.

Local Numbers:

E 1 BMB 5 EE 71

General:

Title is provided by EEPA staff based on photographer's notes.

Local Note:

49

Frame value is 8.

Slide No. E 1 BMB 5 EE 71

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Rites and ceremonies -- Africa  Search this

Dance  Search this

Masquerades  Search this

Masks  Search this

Wood-carving  Search this

Animals in art  Search this

Animals in art -- antelopes  Search this

Animals in art -- Composite animals  Search this

Headdresses -- headgear -- Africa  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 3368

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Mali

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7089d9fba-47e5-4060-8d56-aca698f58bd6

EDAN-URL:

ead_component:sova-eepa-1973-001-ref19740

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slides (photographs) (col.)

Culture:

Bamana (African people)  Search this

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Mali

Date:

1971

Scope and Contents:

"In Antilopes du soleil, his 1980 survey of ci wara, Dominique Zahan classifies this corpus of works in group I, which comprises pairs that overtly emphasize the differentiation of the male and female forms. Zahan notes that the social distinctions between men and women that suffuse Bamana society are referenced in the antelope sculptures through sexual attibutes: the male's penis and the infant carried by the female. Female ci wara headdress are also generally smaller than the males. The fawn depicted on her back is invariably a miniature representation of either the adult male or female. The fundamental differences underlying the designs of the male and female headdresses in this style derive from the fact that they are modeled on different species of animal. The head, neck, ears, and horns of the male form draw upon features of the roan antelope, known as dage, and its lower part refers to the aardvark. The female form is inspired by the oryx antelope." [La Gamma A., 2002: Genesis: Ideas of Origin in African Sculpture. The Metropolitan Museum of Art, New York. Yale University Press, New Haven and London]. This photograph was taken when Eliot Elisofon was on assignment for Westinghouse Film and traveled to Africa from October 26, 1970 to end of March 1971.

Local Numbers:

E 1 BMB 6 EE 71

General:

Citation source: Archives staff.

Title is provided by EEPA staff based on photographer's notes.

Exhibitions Note:

"The World Journey: Art in African Art," held by the Speed Art Museum, Louisville, KY, , beginning August, 20, 2002. LL01-0212.

"African Art from the Permanent Collection," exhibited by the Neuberger Museum of Art, beginning in November, 2001. LL02-0040.

Local Note:

48

Frame value is 6.

Slide No. E 1 BMB 6 EE 71

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Rites and ceremonies -- Africa  Search this

Dance  Search this

Masquerades  Search this

Masks  Search this

Wood-carving  Search this

Animals in art  Search this

Animals in art -- antelopes  Search this

Animals in art -- Composite animals  Search this

Headdresses -- headgear -- Africa  Search this

Musical instruments  Search this

Music  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 3369

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Mali

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7aa5988e2-d5ba-422c-87dd-32c235bf1a7a

EDAN-URL:

ead_component:sova-eepa-1973-001-ref19741

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slides (photographs) (col.)

Culture:

Bamana (African people)  Search this

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Mali

Date:

1971

Scope and Contents:

"In Antilopes du soleil, his 1980 survey of ci wara, Dominique Zahan classifies this corpus of works in group I, which comprises pairs that overtly emphasize the differentiation of the male and female forms. Zahan notes that the social distinctions between men and women that suffuse Bamana society are referenced in the antelope sculptures through sexual attibutes: the male's penis and the infant carried by the female. Female ci wara headdress are also generally smaller than the males. The fawn depicted on her back is invariably a miniature representation of either the adult male or female. The fundamental differences underlying the designs of the male and female headdresses in this style derive from the fact that they are modeled on different species of animal. The head, neck, ears, and horns of the male form draw upon features of the roan antelope, known as dage, and its lower part refers to the aardvark. The female form is inspired by the oryx antelope." [La Gamma A., 2002: Genesis: Ideas of Origin in African Sculpture. The Metropolitan Museum of Art, New York. Yale University Press, New Haven and London]. This photograph was taken when Eliot Elisofon was on assignment for Westinghouse Film and traveled to Africa from October 26, 1970 to end of March 1971.

Local Numbers:

E 1 BMB 6.1 EE 71

General:

Title is provided by EEPA staff based on photographer's notes.

Local Note:

48

Frame value is 32.

Slide No. E 1 BMB 6.1 EE 71

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Rites and ceremonies -- Africa  Search this

Dance  Search this

Masquerades  Search this

Masks  Search this

Wood-carving  Search this

Animals in art  Search this

Animals in art -- antelopes  Search this

Animals in art -- Composite animals  Search this

Headdresses -- headgear -- Africa  Search this

Musical instruments  Search this

Music  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 3370

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Mali

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo77ff2910c-720f-4729-8048-a149e521e032

EDAN-URL:

ead_component:sova-eepa-1973-001-ref19742

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slides (photographs) (col.)

Culture:

Bamana (African people)  Search this

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Mali

Date:

1971

Scope and Contents:

"In Antilopes du soleil, his 1980 survey of ci wara, Dominique Zahan classifies this corpus of works in group I, which comprises pairs that overtly emphasize the differentiation of the male and female forms. Zahan notes that the social distinctions between men and women that suffuse Bamana society are referenced in the antelope sculptures through sexual attibutes: the male's penis and the infant carried by the female. Female ci wara headdress are also generally smaller than the males. The fawn depicted on her back is invariably a miniature representation of either the adult male or female. The fundamental differences underlying the designs of the male and female headdresses in this style derive from the fact that they are modeled on different species of animal. The head, neck, ears, and horns of the male form draw upon features of the roan antelope, known as dage, and its lower part refers to the aardvark. The female form is inspired by the oryx antelope." [La Gamma A., 2002: Genesis: Ideas of Origin in African Sculpture. The Metropolitan Museum of Art, New York. Yale University Press, New Haven and London]. This photograph was taken when Eliot Elisofon was on assignment for Westinghouse Film and traveled to Africa from October 26, 1970 to end of March 1971.

Local Numbers:

E 1 BMB 7 EE 71

General:

Citation source: Archives staff.

Title is provided by EEPA staff based on photographer's notes.

Local Note:

49

Frame value is 11.

Slide No. E 1 BMB 7 EE 71

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Rites and ceremonies -- Africa  Search this

Dance  Search this

Masquerades  Search this

Masks  Search this

Wood-carving  Search this

Animals in art  Search this

Animals in art -- antelopes  Search this

Animals in art -- Composite animals  Search this

Headdresses -- headgear -- Africa  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 3372

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Mali

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7af471e43-5d52-4145-9221-0afb3dc75b7a

EDAN-URL:

ead_component:sova-eepa-1973-001-ref19745

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slides (photographs) (col.)

Culture:

Bamana (African people)  Search this

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Mali

Date:

1970

Scope and Contents:

"Headdresses of this kind are distinctive for their formal qualities as well as for their idiosyncratic construction. All other related Bamana sculptural genres are monoxylic (carved from a single piece of wood), but these works are invariably carved as two separate units - the head and the body - which are subsequently joined together at the neck either with iron staples, U-shaped nails, or metal or leather collars attached with nails. It is possible this work was commissioned by a voluntary communal labor association known as gonzon. Gonzon owned headdresses called n'gonzon koun, or 'anteater head,' which were sculpturally identical to those used by the ci wara association of the same community. They were not danced in the field, however, as were ci wara headdresses, but rather in the village on occasions when the gonzon performed charitable farmwork." [La Gamma A., 2002: Genesis: Ideas of Origin in African Sculpture. The Metropolitan Museum of Art, New York. Yale University Press, New Haven and London]. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.

Local Numbers:

E 1 BMB 8 EE 70

General:

Citation source: Archives staff.

Title is provided by EEPA staff based on photographer's notes.

Local Note:

31

Frame value is 18.

Slide No. E 1 BMB 8 EE 70

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Rites and ceremonies -- Africa  Search this

Masquerades  Search this

Masks  Search this

Animals in art  Search this

Animals in art -- Aardvark  Search this

Animals in art -- antelopes  Search this

Animals in art -- Composite animals  Search this

Wood-carving  Search this

Headdresses -- headgear -- Africa  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 3373

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Mali

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7a6d3a493-bfcf-4612-bc66-15447734e680

EDAN-URL:

ead_component:sova-eepa-1973-001-ref19746

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slides (photographs) (col.)

Culture:

Bamana (African people)  Search this

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Mali

Date:

1970

Scope and Contents:

"Headdresses of this kind are distinctive for their formal qualities as well as for their idiosyncratic construction. All other related Bamana sculptural genres are monoxylic (carved from a single piece of wood), but these works are invariably carved as two separate units - the head and the body - which are subsequently joined together at the neck either with iron staples, U-shaped nails, or metal or leather collars attached with nails. It is possible this work was commissioned by a voluntary communal labor association known as gonzon. Gonzon owned headdresses called n'gonzon koun, or 'anteater head,' which were sculpturally identical to those used by the ci wara association of the same community. They were not danced in the field, however, as were ci wara headdresses, but rather in the village on occasions when the gonzon performed charitable farmwork." [La Gamma A., 2002: Genesis: Ideas of Origin in African Sculpture. The Metropolitan Museum of Art, New York. Yale University Press, New Haven and London]. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.

Local Numbers:

E 1 BMB 8.1 EE 70

General:

Title is provided by EEPA staff based on photographer's notes.

Local Note:

34

Frame value is 17.

Slide No. E 1 BMB 8.1 EE 70

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Rites and ceremonies -- Africa  Search this

Masquerades  Search this

Masks  Search this

Animals in art  Search this

Animals in art -- Aardvark  Search this

Animals in art -- antelopes  Search this

Animals in art -- Composite animals  Search this

Wood-carving  Search this

Headdresses -- headgear -- Africa  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 3374

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Mali

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo794e1a640-fefa-482e-ac7c-699cba5842a4

EDAN-URL:

ead_component:sova-eepa-1973-001-ref19747

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slides (photographs) (col.)

Culture:

Bamana (African people)  Search this

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Mali

Date:

1970

Scope and Contents:

"Headdresses of this kind are distinctive for their formal qualities as well as for their idiosyncratic construction. All other related Bamana sculptural genres are monoxylic (carved from a single piece of wood), but these works are invariably carved as two separate units - the head and the body - which are subsequently joined together at the neck either with iron staples, U-shaped nails, or metal or leather collars attached with nails. It is possible this work was commissioned by a voluntary communal labor association known as gonzon. Gonzon owned headdresses called n'gonzon koun, or 'anteater head,' which were sculpturally identical to those used by the ci wara association of the same community. They were not danced in the field, however, as were ci wara headdresses, but rather in the village on occasions when the gonzon performed charitable farmwork." [La Gamma A., 2002: Genesis: Ideas of Origin in African Sculpture. The Metropolitan Museum of Art, New York. Yale University Press, New Haven and London]. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.

Local Numbers:

E 1 BMB 8.1.1 EE 71

General:

Title is provided by EEPA staff based on photographer's notes.

Local Note:

7

Frame value is 25.

Slide No. E 1 BMB 8.1.1 EE 71

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Rites and ceremonies -- Africa  Search this

Masquerades  Search this

Masks  Search this

Animals in art  Search this

Animals in art -- Aardvark  Search this

Animals in art -- antelopes  Search this

Animals in art -- Composite animals  Search this

Wood-carving  Search this

Headdresses -- headgear -- Africa  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 3375

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Mali

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7ddd5c8d7-68d9-44b8-950c-0702f4475da4

EDAN-URL:

ead_component:sova-eepa-1973-001-ref19748

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slides (photographs) (col.)

Culture:

Bamana (African people)  Search this

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Mali

Date:

1970

Scope and Contents:

"Headdresses of this kind are distinctive for their formal qualities as well as for their idiosyncratic construction. All other related Bamana sculptural genres are monoxylic (carved from a single piece of wood), but these works are invariably carved as two separate units - the head and the body - which are subsequently joined together at the neck either with iron staples, U-shaped nails, or metal or leather collars attached with nails. The especially complex, tiered horizontal headdress is exceptional for its expression of pentup corporeal power. It gives compelling evidence that horizontal headdress were not modeled on a single animal found in nature but rather represent an abstract force expressed through an amalgam of zoomorphic features. Here the animal in the lower half, which appears to be an aardvark, is more fully realized than in others because of the inclusion of its head. It is possible this work was commissioned by a voluntary communal labor association known as gonzon. Gonzon owned headdresses called n'gonzon koun, or 'anteater head,' which were sculpturally identical to those used by the ci wara association of the same community. They were not danced in the field, however, as were ci wara headdresses, but rather in the village on occasions when the gonzon performed charitable farmwork." [La Gamma A., 2002: Genesis: Ideas of Origin in African Sculpture. The Metropolitan Museum of Art, New York. Yale University Press, New Haven and London]. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.

Local Numbers:

E 1 BMB 9 EE 70

General:

Title is provided by EEPA staff based on photographer's notes.

Local Note:

31

Frame value is 9.

Slide No. E 1 BMB 9 EE 70

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Rites and ceremonies -- Africa  Search this

Masquerades  Search this

Masks  Search this

Animals in art  Search this

Animals in art -- Aardvark  Search this

Animals in art -- antelopes  Search this

Animals in art -- Composite animals  Search this

Wood-carving  Search this

Headdresses -- headgear -- Africa  Search this

Dance  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 3376

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Mali

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo78baa452c-93ef-496e-b068-3f030eef7e0d

EDAN-URL:

ead_component:sova-eepa-1973-001-ref19749

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slides (photographs) (col.)

Culture:

Bamana (African people)  Search this

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Mali

Date:

1970

Scope and Contents:

"Headdresses of this kind are distinctive for their formal qualities as well as for their idiosyncratic construction. All other related Bamana sculptural genres are monoxylic (carved from a single piece of wood), but these works are invariably carved as two separate units - the head and the body - which are subsequently joined together at the neck either with iron staples, U-shaped nails, or metal or leather collars attached with nails. The especially complex, tiered horizontal headdress is exceptional for its expression of pentup corporeal power. It gives compelling evidence that horizontal headdress were not modeled on a single animal found in nature but rather represent an abstract force expressed through an amalgam of zoomorphic features. Here the animal in the lower half, which appears to be an aardvark, is more fully realized than in others because of the inclusion of its head. It is possible this work was commissioned by a voluntary communal labor association known as gonzon. Gonzon owned headdresses called n'gonzon koun, or 'anteater head,' which were sculpturally identical to those used by the ci wara association of the same community. They were not danced in the field, however, as were ci wara headdresses, but rather in the village on occasions when the gonzon performed charitable farmwork." [La Gamma A., 2002: Genesis: Ideas of Origin in African Sculpture. The Metropolitan Museum of Art, New York. Yale University Press, New Haven and London]. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.

Local Numbers:

E 1 BMB 9.1 EE 70

General:

Title is provided by EEPA staff based on photographer's notes.

Local Note:

31

Frame value is 10.

Slide No. E 1 BMB 9.1 EE 70

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Rites and ceremonies -- Africa  Search this

Masquerades  Search this

Masks  Search this

Animals in art  Search this

Animals in art -- Aardvark  Search this

Animals in art -- antelopes  Search this

Animals in art -- Composite animals  Search this

Wood-carving  Search this

Headdresses -- headgear -- Africa  Search this

Dance  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 3377

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Mali

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo783118978-e320-42d4-bc7a-be212d37952a

EDAN-URL:

ead_component:sova-eepa-1973-001-ref19750

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slides (photographs) (col.)

Culture:

Bamana (African people)  Search this

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Mali

Date:

1970

Scope and Contents:

"Headdresses of this kind are distinctive for their formal qualities as well as for their idiosyncratic construction. All other related Bamana sculptural genres are monoxylic (carved from a single piece of wood), but these works are invariably carved as two separate units - the head and the body - which are subsequently joined together at the neck either with iron staples, U-shaped nails, or metal or leather collars attached with nails. The especially complex, tiered horizontal headdress is exceptional for its expression of pentup corporeal power. It gives compelling evidence that horizontal headdress were not modeled on a single animal found in nature but rather represent an abstract force expressed through an amalgam of zoomorphic features. Here the animal in the lower half, which appears to be an aardvark, is more fully realized than in others because of the inclusion of its head. It is possible this work was commissioned by a voluntary communal labor association known as gonzon. Gonzon owned headdresses called n'gonzon koun, or 'anteater head,' which were sculpturally identical to those used by the ci wara association of the same community. They were not danced in the field, however, as were ci wara headdresses, but rather in the village on occasions when the gonzon performed charitable farmwork." [La Gamma A., 2002: Genesis: Ideas of Origin in African Sculpture. The Metropolitan Museum of Art, New York. Yale University Press, New Haven and London]. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.

Local Numbers:

E 1 BMB 10 EE 70

General:

Title is provided by EEPA staff based on photographer's notes.

Local Note:

31

Frame value is 8.

Slide No. E 1 BMB 10 EE 70

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Rites and ceremonies -- Africa  Search this

Masquerades  Search this

Masks  Search this

Animals in art  Search this

Animals in art -- Aardvark  Search this

Animals in art -- antelopes  Search this

Animals in art -- Composite animals  Search this

Wood-carving  Search this

Headdresses -- headgear -- Africa  Search this

Dance  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 3378

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Mali

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7a4d717ad-0d93-4bb1-ba38-b21cfb26d23b

EDAN-URL:

ead_component:sova-eepa-1973-001-ref19751

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slides (photographs) (col.)

Culture:

Bamana (African people)  Search this

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Mali

Date:

1970

Scope and Contents:

"Headdresses of this kind are distinctive for their formal qualities as well as for their idiosyncratic construction. All other related Bamana sculptural genres are monoxylic (carved from a single piece of wood), but these works are invariably carved as two separate units - the head and the body - which are subsequently joined together at the neck either with iron staples, U-shaped nails, or metal or leather collars attached with nails. The especially complex, tiered horizontal headdress is exceptional for its expression of pentup corporeal power. It gives compelling evidence that horizontal headdress were not modeled on a single animal found in nature but rather represent an abstract force expressed through an amalgam of zoomorphic features. Here the animal in the lower half, which appears to be an aardvark, is more fully realized than in others because of the inclusion of its head. It is possible this work was commissioned by a voluntary communal labor association known as gonzon. Gonzon owned headdresses called n'gonzon koun, or 'anteater head,' which were sculpturally identical to those used by the ci wara association of the same community. They were not danced in the field, however, as were ci wara headdresses, but rather in the village on occasions when the gonzon performed charitable farmwork." [La Gamma A., 2002: Genesis: Ideas of Origin in African Sculpture. The Metropolitan Museum of Art, New York. Yale University Press, New Haven and London]. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.

Local Numbers:

E 1 BMB 11 EE 70

General:

Citation source: Archives staff.

Title is provided by EEPA staff based on photographer's notes.

Local Note:

31

Frame value is 4.

Slide No. E 1 BMB 11 EE 70

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Rites and ceremonies -- Africa  Search this

Masquerades  Search this

Masks  Search this

Animals in art  Search this

Animals in art -- Aardvark  Search this

Animals in art -- antelopes  Search this

Animals in art -- Composite animals  Search this

Wood-carving  Search this

Headdresses -- headgear -- Africa  Search this

Dance  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 3379

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Mali

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7bb82c197-bff4-4302-a496-2360cdd91328

EDAN-URL:

ead_component:sova-eepa-1973-001-ref19752

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slides (photographs) (col.)

Culture:

Bamana (African people)  Search this

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Mali

Date:

1970

Scope and Contents:

"Headdresses of this kind are distinctive for their formal qualities as well as for their idiosyncratic construction. All other related Bamana sculptural genres are monoxylic (carved from a single piece of wood), but these works are invariably carved as two separate units - the head and the body - which are subsequently joined together at the neck either with iron staples, U-shaped nails, or metal or leather collars attached with nails. The especially complex, tiered horizontal headdress is exceptional for its expression of pentup corporeal power. It gives compelling evidence that horizontal headdress were not modeled on a single animal found in nature but rather represent an abstract force expressed through an amalgam of zoomorphic features. Here the animal in the lower half, which appears to be an aardvark, is more fully realized than in others because of the inclusion of its head. It is possible this work was commissioned by a voluntary communal labor association known as gonzon. Gonzon owned headdresses called n'gonzon koun, or 'anteater head,' which were sculpturally identical to those used by the ci wara association of the same community. They were not danced in the field, however, as were ci wara headdresses, but rather in the village on occasions when the gonzon performed charitable farmwork." [La Gamma A., 2002: Genesis: Ideas of Origin in African Sculpture. The Metropolitan Museum of Art, New York. Yale University Press, New Haven and London]. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.

Local Numbers:

E 1 BMB 12 EE 70

General:

Title is provided by EEPA staff based on photographer's notes.

Local Note:

31

Frame value is 15.

Slide No. E 1 BMB 12 EE 70

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Rites and ceremonies -- Africa  Search this

Masquerades  Search this

Masks  Search this

Animals in art  Search this

Animals in art -- Aardvark  Search this

Animals in art -- antelopes  Search this

Animals in art -- Composite animals  Search this

Wood-carving  Search this

Headdresses -- headgear -- Africa  Search this

Dance  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 3380

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Mali

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7ed3d84bf-d9da-4fc7-819b-dd801ddec2fd

EDAN-URL:

ead_component:sova-eepa-1973-001-ref19753

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slides (photographs) (col.)

Culture:

Bamana (African people)  Search this

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Mali

Date:

1970

Scope and Contents:

"Headdresses of this kind are distinctive for their formal qualities as well as for their idiosyncratic construction. All other related Bamana sculptural genres are monoxylic (carved from a single piece of wood), but these works are invariably carved as two separate units - the head and the body - which are subsequently joined together at the neck either with iron staples, U-shaped nails, or metal or leather collars attached with nails. The especially complex, tiered horizontal headdress is exceptional for its expression of pentup corporeal power. It gives compelling evidence that horizontal headdress were not modeled on a single animal found in nature but rather represent an abstract force expressed through an amalgam of zoomorphic features. Here the animal in the lower half, which appears to be an aardvark, is more fully realized than in others because of the inclusion of its head. It is possible this work was commissioned by a voluntary communal labor association known as gonzon. Gonzon owned headdresses called n'gonzon koun, or 'anteater head,' which were sculpturally identical to those used by the ci wara association of the same community. They were not danced in the field, however, as were ci wara headdresses, but rather in the village on occasions when the gonzon performed charitable farmwork." [La Gamma A., 2002: Genesis: Ideas of Origin in African Sculpture. The Metropolitan Museum of Art, New York. Yale University Press, New Haven and London]. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.

Local Numbers:

E 1 BMB 12.1 EE 70

General:

Citation source: Archives staff.

Title is provided by EEPA staff based on photographer's notes.

Exhibitions Note:

"West African Permanent Exhibit," held by Sinclair Community College at the Learning Resource Center Library in Dayton, Ohio, beginning 2001. LL01-0003

Local Note:

Frame value is 16.

Slide No. E 1 BMB 12.1 EE 70

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Rites and ceremonies -- Africa  Search this

Masquerades  Search this

Masks  Search this

Animals in art  Search this

Animals in art -- Aardvark  Search this

Animals in art -- antelopes  Search this

Animals in art -- Composite animals  Search this

Wood-carving  Search this

Headdresses -- headgear -- Africa  Search this

Dance  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 3381

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Mali

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7ebbfde5c-3e86-452a-96dc-8e8fd9825878

EDAN-URL:

ead_component:sova-eepa-1973-001-ref19754

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slides (photographs) (col.)

Culture:

Bamana (African people)  Search this

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Mali

Date:

1970

Scope and Contents:

"Headdresses of this kind are distinctive for their formal qualities as well as for their idiosyncratic construction. All other related Bamana sculptural genres are monoxylic (carved from a single piece of wood), but these works are invariably carved as two separate units - the head and the body - which are subsequently joined together at the neck either with iron staples, U-shaped nails, or metal or leather collars attached with nails. The especially complex, tiered horizontal headdress is exceptional for its expression of pentup corporeal power. It gives compelling evidence that horizontal headdress were not modeled on a single animal found in nature but rather represent an abstract force expressed through an amalgam of zoomorphic features. Here the animal in the lower half, which appears to be an aardvark, is more fully realized than in others because of the inclusion of its head. It is possible this work was commissioned by a voluntary communal labor association known as gonzon. Gonzon owned headdresses called n'gonzon koun, or 'anteater head,' which were sculpturally identical to those used by the ci wara association of the same community. They were not danced in the field, however, as were ci wara headdresses, but rather in the village on occasions when the gonzon performed charitable farmwork." [La Gamma A., 2002: Genesis: Ideas of Origin in African Sculpture. The Metropolitan Museum of Art, New York. Yale University Press, New Haven and London]. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.

Local Numbers:

E 1 BMB 13 EE 70

General:

Title is provided by EEPA staff based on photographer's notes.

Local Note:

Frame value is 5.

Slide No. E 1 BMB 13 EE 70

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Rites and ceremonies -- Africa  Search this

Masquerades  Search this

Masks  Search this

Animals in art  Search this

Animals in art -- Aardvark  Search this

Animals in art -- antelopes  Search this

Animals in art -- Composite animals  Search this

Wood-carving  Search this

Headdresses -- headgear -- Africa  Search this

Dance  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 3382

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Mali

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo780aca990-90c6-4cd0-a660-bc60e0a7af16

EDAN-URL:

ead_component:sova-eepa-1973-001-ref19756

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slides (photographs) (col.)

Culture:

Bamana (African people)  Search this

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Mali

Date:

1970

Scope and Contents:

"Headdresses of this kind are distinctive for their formal qualities as well as for their idiosyncratic construction. All other related Bamana sculptural genres are monoxylic (carved from a single piece of wood), but these works are invariably carved as two separate units - the head and the body - which are subsequently joined together at the neck either with iron staples, U-shaped nails, or metal or leather collars attached with nails. The especially complex, tiered horizontal headdress is exceptional for its expression of pentup corporeal power. It gives compelling evidence that horizontal headdress were not modeled on a single animal found in nature but rather represent an abstract force expressed through an amalgam of zoomorphic features. Here the animal in the lower half, which appears to be an aardvark, is more fully realized than in others because of the inclusion of its head. It is possible this work was commissioned by a voluntary communal labor association known as gonzon. Gonzon owned headdresses called n'gonzon koun, or 'anteater head,' which were sculpturally identical to those used by the ci wara association of the same community. They were not danced in the field, however, as were ci wara headdresses, but rather in the village on occasions when the gonzon performed charitable farmwork." [La Gamma A., 2002: Genesis: Ideas of Origin in African Sculpture. The Metropolitan Museum of Art, New York. Yale University Press, New Haven and London]. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.

Local Numbers:

E 1 BMB 13.1 EE 70

General:

Title is provided by EEPA staff based on photographer's notes.

Local Note:

Frame value is 2.

Slide No. E 1 BMB 13.1 EE 70

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Rites and ceremonies -- Africa  Search this

Masquerades  Search this

Masks  Search this

Animals in art  Search this

Animals in art -- Aardvark  Search this

Animals in art -- antelopes  Search this

Animals in art -- Composite animals  Search this

Wood-carving  Search this

Headdresses -- headgear -- Africa  Search this

Dance  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 3383

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Mali

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7a40db035-3f36-4119-8508-aa7c21bfddab

EDAN-URL:

ead_component:sova-eepa-1973-001-ref19757

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slides (photographs) (col.)

Culture:

Bamana (African people)  Search this

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Mali

Date:

1970

Scope and Contents:

"Headdresses of this kind are distinctive for their formal qualities as well as for their idiosyncratic construction. All other related Bamana sculptural genres are monoxylic (carved from a single piece of wood), but these works are invariably carved as two separate units - the head and the body - which are subsequently joined together at the neck either with iron staples, U-shaped nails, or metal or leather collars attached with nails. The especially complex, tiered horizontal headdress is exceptional for its expression of pentup corporeal power. It gives compelling evidence that horizontal headdress were not modeled on a single animal found in nature but rather represent an abstract force expressed through an amalgam of zoomorphic features. Here the animal in the lower half, which appears to be an aardvark, is more fully realized than in others because of the inclusion of its head. It is possible this work was commissioned by a voluntary communal labor association known as gonzon. Gonzon owned headdresses called n'gonzon koun, or 'anteater head,' which were sculpturally identical to those used by the ci wara association of the same community. They were not danced in the field, however, as were ci wara headdresses, but rather in the village on occasions when the gonzon performed charitable farmwork." [La Gamma A., 2002: Genesis: Ideas of Origin in African Sculpture. The Metropolitan Museum of Art, New York. Yale University Press, New Haven and London]. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.

Local Numbers:

E 1 BMB 13.2 EE 70

General:

Title is provided by EEPA staff based on photographer's notes.

Local Note:

Frame value is 3.

Slide No. E 1 BMB 13.2 EE 70

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Rites and ceremonies -- Africa  Search this

Masquerades  Search this

Masks  Search this

Animals in art  Search this

Animals in art -- Aardvark  Search this

Animals in art -- antelopes  Search this

Animals in art -- Composite animals  Search this

Wood-carving  Search this

Headdresses -- headgear -- Africa  Search this

Dance  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 3384

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Mali

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo754055865-db19-4ccc-a73b-3ceb72202217

EDAN-URL:

ead_component:sova-eepa-1973-001-ref19758

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slides (photographs) (col.)

Culture:

Bamana (African people)  Search this

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Mali

Date:

1970

Scope and Contents:

"Headdresses of this kind are distinctive for their formal qualities as well as for their idiosyncratic construction. All other related Bamana sculptural genres are monoxylic (carved from a single piece of wood), but these works are invariably carved as two separate units - the head and the body - which are subsequently joined together at the neck either with iron staples, U-shaped nails, or metal or leather collars attached with nails. The especially complex, tiered horizontal headdress is exceptional for its expression of pentup corporeal power. It gives compelling evidence that horizontal headdress were not modeled on a single animal found in nature but rather represent an abstract force expressed through an amalgam of zoomorphic features. Here the animal in the lower half, which appears to be an aardvark, is more fully realized than in others because of the inclusion of its head. It is possible this work was commissioned by a voluntary communal labor association known as gonzon. Gonzon owned headdresses called n'gonzon koun, or 'anteater head,' which were sculpturally identical to those used by the ci wara association of the same community. They were not danced in the field, however, as were ci wara headdresses, but rather in the village on occasions when the gonzon performed charitable farmwork." [La Gamma A., 2002: Genesis: Ideas of Origin in African Sculpture. The Metropolitan Museum of Art, New York. Yale University Press, New Haven and London]. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.

Local Numbers:

E 1 BMB 14 EE 70

General:

Citation source: Archives staff.

Title is provided by EEPA staff based on photographer's notes.

Local Note:

Frame value is 21.

Slide No. E 1 BMB 14 EE 70

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Rites and ceremonies -- Africa  Search this

Masquerades  Search this

Masks  Search this

Animals in art  Search this

Animals in art -- Aardvark  Search this

Animals in art -- antelopes  Search this

Animals in art -- Composite animals  Search this

Wood-carving  Search this

Headdresses -- headgear -- Africa  Search this

Dance  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 3385

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Mali

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo77fee797e-41f8-46fb-911d-452be3ccc112

EDAN-URL:

ead_component:sova-eepa-1973-001-ref19759

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slides (photographs) (col.)

Culture:

Bamana (African people)  Search this

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Mali

Date:

1970

Scope and Contents:

"Headdresses of this kind are distinctive for their formal qualities as well as for their idiosyncratic construction. All other related Bamana sculptural genres are monoxylic (carved from a single piece of wood), but these works are invariably carved as two separate units - the head and the body - which are subsequently joined together at the neck either with iron staples, U-shaped nails, or metal or leather collars attached with nails. The especially complex, tiered horizontal headdress is exceptional for its expression of pentup corporeal power. It gives compelling evidence that horizontal headdress were not modeled on a single animal found in nature but rather represent an abstract force expressed through an amalgam of zoomorphic features. Here the animal in the lower half, which appears to be an aardvark, is more fully realized than in others because of the inclusion of its head. It is possible this work was commissioned by a voluntary communal labor association known as gonzon. Gonzon owned headdresses called n'gonzon koun, or 'anteater head,' which were sculpturally identical to those used by the ci wara association of the same community. They were not danced in the field, however, as were ci wara headdresses, but rather in the village on occasions when the gonzon performed charitable farmwork." [La Gamma A., 2002: Genesis: Ideas of Origin in African Sculpture. The Metropolitan Museum of Art, New York. Yale University Press, New Haven and London]. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.

Local Numbers:

E 1 BMB 14.1 EE 70

General:

Title is provided by EEPA staff based on photographer's notes.

Local Note:

Frame value is 12.

Slide No. E 1 BMB 14.1 EE 70

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Rites and ceremonies -- Africa  Search this

Masquerades  Search this

Masks  Search this

Animals in art  Search this

Animals in art -- Aardvark  Search this

Animals in art -- antelopes  Search this

Animals in art -- Composite animals  Search this

Wood-carving  Search this

Headdresses -- headgear -- Africa  Search this

Dance  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 3386

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Mali

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo728105298-15d1-49e4-8e55-747d26556e9f

EDAN-URL:

ead_component:sova-eepa-1973-001-ref19760

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slides (photographs) (col.)

Culture:

Bamana (African people)  Search this

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Mali

Date:

1970

Scope and Contents:

"Headdresses of this kind are distinctive for their formal qualities as well as for their idiosyncratic construction. All other related Bamana sculptural genres are monoxylic (carved from a single piece of wood), but these works are invariably carved as two separate units - the head and the body - which are subsequently joined together at the neck either with iron staples, U-shaped nails, or metal or leather collars attached with nails. The especially complex, tiered horizontal headdress is exceptional for its expression of pentup corporeal power. It gives compelling evidence that horizontal headdress were not modeled on a single animal found in nature but rather represent an abstract force expressed through an amalgam of zoomorphic features. Here the animal in the lower half, which appears to be an aardvark, is more fully realized than in others because of the inclusion of its head. It is possible this work was commissioned by a voluntary communal labor association known as gonzon. Gonzon owned headdresses called n'gonzon koun, or 'anteater head,' which were sculpturally identical to those used by the ci wara association of the same community. They were not danced in the field, however, as were ci wara headdresses, but rather in the village on occasions when the gonzon performed charitable farmwork." [La Gamma A., 2002: Genesis: Ideas of Origin in African Sculpture. The Metropolitan Museum of Art, New York. Yale University Press, New Haven and London]. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.

Local Numbers:

E 1 BMB 14.2 EE 70

General:

Citation source: Archives staff.

Title is provided by EEPA staff based on photographer's notes.

Exhibitions Note:

"West African Permanent Exhibit," held by Sinclair Community College at the Learning Resource Center Library in Dayton, Ohio, beginning 2001. LL01-0003

Local Note:

Frame value is 13.

Slide No. E 1 BMB 14.2 EE 70

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Rites and ceremonies -- Africa  Search this

Masquerades  Search this

Masks  Search this

Animals in art  Search this

Animals in art -- Aardvark  Search this

Animals in art -- antelopes  Search this

Animals in art -- Composite animals  Search this

Wood-carving  Search this

Headdresses -- headgear -- Africa  Search this

Dance  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 3387

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Mali

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo74cd46709-35a0-4272-bb5e-ce73418fe2a1

EDAN-URL:

ead_component:sova-eepa-1973-001-ref19761