|
ART HOME
Lesson
Plans
Art
Rubrics- Files
Just
for Kids!
Art
Careers
Resources
Art
Education
Art-Technology
Art
-Math-Science
Comprehensive
Arts
Program
Goals
Art
for Peace
Museums
USA
Student
Art
Internet
Lessons
Heroes
Project
Architecture
Artists/Styles
American
Artists
African-American
Arts
& Crafts
Middle
Ages - Renaissance
Africa
Links
Africa
Lesson
World
Cultures
To top of
page |
[ Home ] [ The Bamana ] [ Where is Mali? ] [ Earth Dyed Cloth ] [ Carvers of Mali ][ Artists of Africa ] [ Art of Mali ] [ Bibliography ]
[Images of African Art][Test
Your Knowledge][What is Art?]
[Chi Wara] [Discover Africa]
Who are the Bamana?
The Bamana (the majority of the Bambara are Bamana)
are characteristically tall and slim with fine features and a lighter skin than many of
the surrounding tribes (Wassing 1968, p. 16) . They are a patrilineal society -- as are
the Dogon, Fulani and other Mandingo groups of the region-- in which the bond with father
and brothers determines the clan name given to the child, his education, heritage and
succession (Wassing p. 59). Each village, averaging around six hundred individuals, has
its own chief. The most important social group is the extended family, formed by tracing
the descent from a male ancestor. All individuals between the age of six and thirty have
status and roles within the village. Family groups, or gwa, hold land in common and
provide work for food production- growing millet, rice, sorghum, peanuts, melons and other
crops. Some of the households contain sixty or more family members. The members of each gwa
work together every day except for Mondays; Monday is traditionally market day. They also
raise cattle, goats, sheep, and fowl--which neighboring Fulani herdsman are entrusted to
herd during the rainy season (Ulrich 1996).
The Bamana are divided into castes based on
occupation and prohibit marriage outside the group. Two important castes are the farmers
and the artisans. Among the Bamana-- the largest group descending from the great Manding
Empire-- the blacksmiths are apart from the agriculturist core of society. They are the
most important technologists in the Bamana culture- having formed a separate cast since
ancient times (Sieber and Walker, p. 20). The artisans are called nyamakalaw, the
"handlers-of-power." This group also includes leatherworkers, weavers and poets
as well as blacksmiths (the women are the potters). While marriage of a smith into another
artisan casts is not prohibited, the sons from a smith family generally marry women from
other smith families.
Smiths, while respected for their technical skills,
are held in awe and often feared for their magical powers (Ulrich 1996). The men are
ritual specialists who work iron and sculpt wood for the farmers; their wives are often
potters. (Sieber and Walker, p. 20). Smithing/carving is a hereditary occupation. A young
boy will spend many hours at his fathers forge- observing and performing small
tasks- before he begins his apprenticeship. He will work with his father for as long as
seven or eight years-- operating the bellows, then carving wood and finally forging iron
(Martin & OMeara, p. 228).
Blacksmiths are called numuw (Nuni in
ancient times according to Leuzinger). Nyama -- a supernatural force understood as
power or energy- animates the universe. Blacksmiths inherit large amounts of nyama from
their ancestors and must learn to "handle" (definition for kalaw) nyama
by undergoing a long training period. Nyama is neither good nor evil; the direction it
takes depends on the handler. The smiths power is the forge. The days work begins
with meditation and sacrifice, because the production of tools and other items is a sacred
undertaking. While working primarily in iron, he provides the villagers with knives, hoes,
horse trappings, alter figures, staffs, and guns. Since the introduction of firearms in
the sixteenth century by Morocco, smiths have become skilled in making and repairing
weapons (Ulrich 1996).
Click
here for Internet Links on African Art
|