Senufo Oracle Figure, Côte d'Ivoire

kafigeledjo

Galerie Kamer, New York
Arthur Cohen & Elaine Lustig Cohen, New York, acquired from the above on June 10, 1966

Very good condition overall for an object of this type, with wear consistent with use within the traditional cultural context. Some superficial wear to the fabric covering and the dark applied patina on one side of the figure (as illustrated in the catalogue). Some old wear and a minor loss the inner part of the proper right foot, and an old loss to the rear of the proper right foot. A few minor chips to the proper left foot, to be expected with an object of this type. Some minor losses to the headdress, which is composed of the feathers of the violet turaco (Musophaga violacea), domestic chicken (Gallus gallus), and the African Spoonbill (Platalea alba), and quills of the crested porcupine (Hystrix cristata). The figure's feet are attached to a metal plate with two screws.
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.

In the Senufo language, kafigeledjo roughly translates to 'he who speaks the truth'. As instruments of divinatory practice, these oracle figures played a central role in rituals of the same name. Hidden from public view, kafigeledjo were physically accessible to only the most learned and senior male elders of the initiatory poro society, and very occasionally, female leaders in the sandogo association. Possessing oracular power, kafigeledjo figures were said to represent 'invisible bush spirits' (LaGamma, Art and Oracle, 2000, p. 26). Their truth-telling function helped to maintain social order by revealing 'misdeeds, false testimony, and culpability' (ibid.)

Aesthetically, kafigeledjo is at once both representational and abstract. Its fabric-woven form topped with feathers and quills resembles a frenetic human figure, yet the layers of mud and other crusty sacrificial materials and the jarring iron blade shroud the figure in a cloud of secrecy and imbue it with a sense of potent intimidation. This combination of figural and abstract forms is symbolic of the object's spiritual power, which it wields in Senufo communities through leaders who straddled both human and spiritual worlds.