Joueur de balafon, Gan, Burkina Faso

Very good condition overall; wear consistent with age and use within the culture. Fine dark bronze patina with areas of encrustation.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Relevant de la catégorie des sĩm fãama (« puissances en métal »), cette figurine en bronze, aussi rare que raffinée, célèbre l'origine du balafon chez les Gan. Le personnage arbore, fidèlement reproduite, une coiffure d'apparat, le ta'tig'e kpoogo, calebasse surmontée d'une crête de fibres végétales qui reprennent l'arrangement de la barbiche en fines tresses se terminant par des cauris. Cette coiffure qui tintait à chaque mouvement de son porteur représentait pour le kasi-ga, le balafoniste royal, l'insigne de la haute charge héréditaire qu'il remplissait comme de son affiliation sacrée à la cour. C'est sous le règne du 14^e roi gan, Tukpã-Pooro, que des musiciens d'origine teébò (plur. teésè) furent intégrés à la cour d'Opíré et chargés de la composition des chansons-devises des souverains. Sur cette figurine particulièrement évocatrice, identité du personnage et fonction sont magistralement réunies dans l'association signifiante des divers attributs. Il est à remarquer la présence, sur la poitrine du balafoniste, de la petite flûte tura, par le jeu de laquelle les Teésè étaient passés maîtres dans l'art de la simulation du langage parlé. Notons aussi le port, par le musicien, d'anneaux de cheville, en regard du balafon. Les premiers représentent les danja to'yo, accessoires métalliques destinés à thésauriser le cuivre nécessaire à la fabrication des symboles des entités protectrices du royaume, et le second l'instrument propre à la déclamation des chansons-devises dédiées à la louange et la mémoire de chaque souverain. Cette richesse des détails merveilleusement rendus et leur importance symbolique concourent à la force de cette ancienne effigie qui s'impose comme l'une des œuvres isolées et remarquables, inscrites dans le corpus des objets réalisés à l'usage de pratiques cultuelles privées.

Gan figure of a balaphone player, Burkina Faso

This rare 'bronze' figurine, refined in its execution, celebrates the origin of the balaphone amongst the Gan, and falls within the category of sĩm fãama or 'powers in metal'. The character wears a faithfully reproduced headdress, the ta'tig'e kpoogo, which is surmounted by a ridge of vegetable fibres continuing down and around to form the arrangement of the beard in fine tresses ending in cowry shells. This hairstyle, which jingled with every movement of its wearer, represents for the kasi-ga the royal balaphonist. The insignia displays his high hereditary status and demonstrates that he has fulfilled his sacred obligations to the court. Under the reign of Tukpã-Pooro the 14th Gan King, only musicians from teébò (plur. teésè) were incorporated into the court of Opíré and charged with the composition of celebratory songs for the sovereign. In this particularly evocative figure the identity and function of the character is masterfully combined so that we see a meaningful association of various attributes. The presence of a small tura flute on the chest of the Balaphone player should also be noted. It was by the play of this instrument that the Teésè were masters in the art of spoken language. Also note the ankle rings in relation to the balaphone. The former represents the danja to'yo (metal accessories used for hoarding copper) required in the fabrication of protective symbols for the kingdom. The latter was used for the declamation of praise songs dedicated to the celebration and memory of each sovereign. The richness of the marvellously rendered detail and its symbolic importance contributes to the strength of this ancient effigy, which stands out as a unique and remarkable work, part of the corpus of objects created for use in private religious ceremonies.