BAULE, IVORY COAST

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Numbering about one million at the turn of the twentieth century, the Baule form part of the Akan group and occupy a part of the eastern Ivory Coast that is both forest and savanna. Some of the first African sculpture sought out by European collectors was produced by the Baule. The representation of exotic details, such as hairstyle, scarification pattern and the serenity of expression appealed to European taste. Moderation, balance, and positioning are significant aesthetic criteria for the Baule, idealizing the human figure.

Standing on a circular base, this female figure appears to be a Baule Spirit Spouse, or Blolo Bla and has been designed with great care and attention. Patterns of raised scarification marks and full breasts are cultural indicators of beauty and signify ability for childbirth. In Baule culture, large calf muscles have been acknowledged as a sign of beauty, as well as well-placed feet with straight toes. The downward-looking eyes demonstrate a sense of privacy. Generally portrayed in a standing position of formal calmness with arms close to the body, attention is focused upon the head with emphasis given to detailed face, neck scarification and elaborate coiffures, known as a Baule Tre, a typical tripartite arrangement.

The scarification on this figure appears on the face, the front and back of the neck, breasts, and stomach. The mouth projects forwards and the hands rest on the stomach around the protruding navel, which is a sign of grace and peace. This gesture of hands on the navel has great meaning for the Baule, as the same gesture is made by certain spirits to show their respect or deference when they meet humans. The navel or ‘kotoa’ is the symbol for life and when protruding indicates a carnal link.

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