A female Bamana "Do N´Jellini" or "Jo Nyeleni" statue from the region of Tingrela at the border to Mali, standing on blockshaped feet, straight not structured legs, the torso with a protruding navel, conical prominent breasts, little triangular scarifications above the breasts and shoulders, short tapering arms, the little hands in the familiar "paw" position, a long columnar neck and an ovoid head with a domed Iroquois-like hairstyle, a small pointed mouth, beneath a slender nose, framed by only indented eyes, nearly round deep sitting ears,; a blackened patina. Provenance Mohamed Belo Garba.

Similar like the Gwandusu this Do N´Jellini sculpture was ritually used every seven years.

"Social changes in the twentieth century have greatly impacted the role of initiation societies in Bamana culture. With transformations such as the introduction of Islam, colonialism, and urbanization, initiation societies have become a less essential element in Bamana life. As a result, fewer and fewer villages maintain ritual objects and sacred places associated with initiation societies such as Jo."

"With this finely carved object, the sculptor goes far in reducing the human body to geometric shapes. The head combines human an animal features, with the position of the feet, pointing inwards, corresponding to the discreet and respectfuldemeanour a woman is respected to keep. .." Jean Paul Colleyn, s.a.

Lit.: Salia Malé, Bamana, the Art of Existence in Mali, Rietberg Museum, 2003, 143-162, cat. 134. Jean Paul Colleyn, Visions of Africa, Plate 2, Wolfgang Jaenicke, Different patinas on Jonyeleni and Gwandusu sculptures.

sold