The Lobi people are notable furniture carvers, but it is their figurative sculpture that is most appreciated.
During the Colonial era, borders split and demarcated the Lobi as being resident of 3 countries: Burkina Faso, administrated by Germany, Ghana by Britain and Ivory Coast by France.
The Lobi people comprise a small population group, with clans known as Dagara, Dorossy, Dyan gan and Tenebo.
They are animists, practice ancestor worship and carve male and female figures called bateba. These sculptures have protective functions for the home and family. They are kept in outside shrines for the Thila earth spirits. Each village has a priest or healer adept at communicating with these spirits.
Perhaps because of their geographical placement within three countries, the Lobi carving tradition was influenced by the artistic heritage of others. This varied impact on their sculpture creates a dynamic, inventive style, but some sculptural attributes remain constant:
The bateba figures are generally conceived with a vertical upright stance. Sculpture is made from hard wood, usually iroko, and perhaps this fact, has contributed to the carving being characterized by a rudimentary simplicity of form.
Figures also comprise a calm, composed almost brooding countenance. On one hand, one may argue that this visually portrays an inner strength and fortitude. Some may consider them timeless. For me, Lobi carving is wonderful!.
Heads are generally portrayed at right angles to a columnar neck and the face is raised and positioned facing forward. Eyes are often coffee bean shaped.
The impression created by the attitude of the head is spiritual, almost portraying detachment, but at the same time a point of compelling focus for the viewer. Others might call this a "classic" but stylized pose, however the head creates the impression of all the contained energy, held within the physical body.
The arms are portrayed as held close to the body, sometimes rudimentary and the umbilicus is generally pronounced. Short linear incised scarification decorates the face and upper torso, similar to the practices of other tribes in Burkina Faso.
These below four examples, originate from different areas and were made at different times:
This figure (A), in spite of the stiff vertical form and blade-like legs, engenders a feeling of movement through the oval shape created by the meandering form of the linked hands across the torso and slightly turned head.
Fig. A
This male figure (B) despite the stiff frontal appearance leans slightly forward, the body forming an arc. The modelling of the torso and trousers appears more naturalistic and rounded than other sculpture made by the Lobi people.. The gesture of the hand on the pelvis is a common feature depicted on male figures and reiterates notions of fertility and lineage. The stomach protrudes forward into the umbilicus emphasizing the arch of the back, an angle reinforced by the diagonal slant of the trousers.
Fig. B
This figure also denotes aspects of what is called "colon" art. One can roughly explain this genre as that made within the stylistic tradition of the tribe showing historical elements (the shape of the hat), but with elements of colonial attire, (the Western style trousers and shoes). Although the bottom ( gluteus maximus) is rounded, the legs in the trousers are formless, appearing trunk-like in aspect.
This superbly proportioned figure, (C) is rendered alive with the combination of wonderful angles and unexpected invented form. The thin straight arms lend an overall balance to the piece. The rounded head is reiterated in the form of the buttocks and a powerful presence and energy is imparted to the entire piece through the angled abdomen and strength of the legs.
Fig. C
This beautiful female figure, (D) slightly eroded on the legs, has an exquisitely carved face. The pot on the head is hollow and perhaps also doubled as a receptacle for ritual offerings. The gently rounded torso and small breasts impart a tautness and youthful grace to the figure. The face is beautiful, with detailing on the almond eyes and pronounced crescent shaped brows.
Fig. D
Perhaps, the artistic tradition of the Lobi is totally underrated and requires re-assessment by those in museums and collectors of African art.
Further reading:
Pirat. C.h. Lobi statuary and the statuary of related peoples an example of cult art. Tribal arts magazine no 1. March 1994. 22-32
