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拍品專文
Cf. an most identical dance crest (but with a male figure) from the Bougouni district, in the collection of Gaston de Havenon (Goldwater, R., Bambara Sculpture from the Western Sudan, New York, 1960, p.47, fig.75).
In his article "Sogoni koun" (African Arts, February 1981, Vol.XIV, no.2, pp.38-44) P.J. Imperato describes how this rare form of crest originated amongst the Wallalunke (a group of mixed Malinke/Fulani origin) and was adopted by their Bambara neighbours, stimulated by the migration of young men seeking work in the fields. As with chi-wara, it is danced in connection with agriculture and many villages perform both masquerades, the difference being specified in the costumes - those for chi wara being loose and mobile, sogoni koun well fitted. The lowest element of the crest represents a horse, mule or donkey, the upper a roan antelope on which is carved a female figure to enhance its femininity (a male would enhance masculinity)
In his article "Sogoni koun" (African Arts, February 1981, Vol.XIV, no.2, pp.38-44) P.J. Imperato describes how this rare form of crest originated amongst the Wallalunke (a group of mixed Malinke/Fulani origin) and was adopted by their Bambara neighbours, stimulated by the migration of young men seeking work in the fields. As with chi-wara, it is danced in connection with agriculture and many villages perform both masquerades, the difference being specified in the costumes - those for chi wara being loose and mobile, sogoni koun well fitted. The lowest element of the crest represents a horse, mule or donkey, the upper a roan antelope on which is carved a female figure to enhance its femininity (a male would enhance masculinity)