Bamana Female Marionette Bust, Mali

Samuel Goldwyn, Jr., Los Angeles

Very good condition for an object of this type and age. Old age cracks to foot of figure, with native metal bracket repairs. Age crack to the back of the rectangular middle section. Surface cavities and flaws to the wood. Minor marks, nicks, scratches, abrasions, chips, and small cracks consistent with age and use. Surface is waxy with white mineral buildup. Fine aged dark brown patina. Underside with a hole drilled for attachment to modern metal base.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

According to Mary Jo Arnoldi (in Colleyn 2001: 78), "Sogo bo [masquerade] performances are important sites for the exploration of the moral universe. Even though they are defined as entertainment, troupes proceed with a seriousness of purpose, often mediated by wit and humour, to examine the nature of their world and their lived experiences. [... The] theater has constituted an important avenue through which young Bamana men and women have gained access to knowledge, instruction and experience in contemplating and actualizing critical beliefs and values within their communities."

And she continues (loc. cit.: 77): "Sogo bo did not originate with the Bamana, but with the Bozo fishermen. By the late nineteenth century, however, Bamana within Segou began to adopt the masquerade theater and throughout the last century it flourished in these farming communities. Within Segou, people's sense of the Sogo bo regional identity and its uniqueness as a genre is based upon perceptions of its origins within Segou; its pan-ethnic endorsement; its close identification with local youth associations; and the particular constellations of expressive forms and dramatic characters that are considered unique to the theater. [...] The theater is organized into a series of discrete masquerade sequences that are punctuated by short intervals of song and dance. Each sequence consists of a single dramatic character [...]. In most communities the masquerades are voiceless and are accompanied by drumming and by songs performed by a lead singer and women's chorus."