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Palapala

Kapeʻe

  • A seated figure carved in dark wood with a stool balanced on its head, beads around the head, neck, and waist, and presented next to the words Arts of Africa with a pink background.

Bocio with opposing faces

#1536

Fon artist and ritual specialist

Late 19th–mid-20th century

Wood, bone, teeth, wire, applied organic material, textile fragment

wehewehe

The Kingdom of Dahomey was a state almost perpetually at war due to its role in the trade of enslaved people. In response to the trauma and anxiety experienced by its vulnerable underclass, forms of empowered sculpture were developed to shield individuals and their households from harm. Composed through consultation with a diviner, these bocio prescribed for ordinary consumers are more visually unsettling than those historically created for royalty. They are conceived for placement at specific sites, with such positioning informing their true function and meaning. The faces carved on either side of this example allow it to act as a sentinel, guarding opposite directions simultaneously. These powers of vigilance are compounded by the integration of exposed medicinal matter, including a dog’s skull as a crowning element and an animal’s vertebrae strung around the neck.

1536. Bocio with opposing faces, Fon artist and ritual specialist

Suzanne Preston Blier

OLELO HOIKE

Anana
H. 19 1/2 x W. 5 3/4 x D. 5 5/8 in. (49.5 x 14.6 x 14.3 cm)
aie
Purchase, Denise and Andrew Saul Philanthropic Fund Gift, 1984
Helu Komo
1984.190

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