Ceremonial Drum of the Senufo People

The Senufo people who live along the Ivory Coast in Africa created the ceremonial drum. The drum represents various aspects of tradition and life for certain Senufo communities. The construction of the drum is particularly indicative of the roles of women within Senufo communities and how they are seen as "preservers of life" those that hold up the structure and spirituality which govern their world.^[1] In fact, of the four Senufo societies, which educate and govern the individual acts of people, the divination governing sandogo society is composed mostly of women.^[2] It is worth noting that Senufo culture is matrilineal and certain societal positions such as the artisans, are determined by matrilineal inheritance. While ruled by elder male leaders, one's place in society, as well as their position for the future, is determined by the lineage of the mother.^[3] The ceremonial drum owned and housed in the Art Institute of Chicago epitomizes Senufo culture, and it is through drum's embellished designs that viewers are exposed to core beliefs of the Senufo, particularly, in how women are seen as guardians of divinity and supporting foundations of society for the Senufo.

Provenance

The drum is thought to have been made within a

The construction of the drum is unique; in the manner of its construction, the use of symbols, and even the colors used to decorate it. The drum itself has two main stylistic regional influences, the first being Western Sudanic, and the second being from the Guinea Coast.

The drum itself is classified as a Membranophone meaning that the sound is produced by creating a vibration in the membrane, or drum head. The membrane or drumhead is made from an unknown hide, affixed by seven wooden pegs, to a wooden drum indicative of the Kulebele wood carvers;^[7] a Senufo group known for traveling to work on location for their patrons.^[1] The drum is a rare find, and until 1993 there was only one other recorded and observed case of a drum with such a closely related style, and similar female caryatid figure.^[4] As of now, there are at least two other drums which share a likeness to the one located at the Art Institute; the first being located in the National Museum in Abidjan, Ivory Coast; the second, located, whose existence is only evident by a 1981 photograph taken in a Kasembele village neighboring the Mbengue Kulebele sculptors.^[4]

Makers of the Drum: The Kulebele carvers

The Kulebele Carvers form part of one of the oldest trade commercial networks of the Côte d'Ivoire^[8] with recorded migration the area as early as the eighteenth century.^[4] The Kulebele are well known throughout West Africa for their unique and detailed work on masks, statues, and artifacts for religious activities. The Kulebele carver who worked on this drum likely worked during the 1930s and 1940s, however it is possible that construction began as early as the 1920s.^[4] A distinctive characteristic of the Senufo Kulebele style is the use of bas-relief motifs utilizing animal iconography. The base-relief motifs and iconography evident found on the caryatid drum can be found in other Kulebele works, including the doors (to the right) made by western Kulebele workshops. However, Kulebele work does not only reside in Senufo culture. Since the 1940s the Kulebele have diversified their production, in order to sell their work to the changing tourist markets.^[9] This expansion has led away from the Senufo work, towards working Asante combs, Baule figures, and Dan masks.^[9]

Uses

The drum in Senufo communities has many uses from ritual agricultural events, commemorating competitions, to being played to honor women of status at their funerals.^[4] The symbols and construction of the drum show the importance of divination within Senufo Society and of the role of women.^[3] The drum itself is a visual demonstration of how women and divination are intertwined tying to its construction as well as its use. While the majority of Membranophone drums are associated with males for agricultural competition based purposes and some ceremonial occasions, caryatid drums such as this one, are notable for their playing by women for funerary commencement within the Sandogo and the Poro Societies.

Agricultural Purpose

The members of a ton villa (a farming centered group consisting of young men and women) utilize music within agricultural competitions as a means of managing work productivity. The music itself creates a competitive atmosphere where each member attempts to outdo the other. In hoeing competitions for example:

"The competitors raise their hoes above their shoulders and bend low to cut deep into the soil. The quality of their work is as important as their speed. Women of the ton vala provide an important part of the music as they sing and play sichaala and sichaa-gun-go gourd rattles. Whether they join a djegele ensemble in the field, or sing as an independent group, they encourage the spirit of competition through songs of praise for each man's efforts. As the young farmers hoe their way through the fields, the musicians follow."^[8]

Ceremonial and divination purposes

Senufo culture is

The drum's design, of the load-bearing woman representing social and moral responsibility, has its roots in ceremony. In fact, the funerary associations of the drum can be seen to be drawn from one of the most important Senufo ceremonial events, a Kuumo or "great funeral".[4] The ceremony draws hundreds of visitors who come to commemorate the lives of community elders who recently passed within a few years, as well as the spirits of the community's ancestral dead.^[4] The event is accentuated by performances of dances, masquerades, and instrumental groups. One of these instrumental group performances is particularly interesting for its live-action caryatid figure imitation by Poro society drum bearers. The demonstration itself is a Poro society ritual practice, whereby young, unmarried Senufo females actually bear the considerably heavy drums of the players, holding the instrument in the same pose as that of the caryatid figure.^[4]

References