A Malinke Maternity, Bamana related, sitting on a stool, protruding (or pregnant?) abdomen, tubular torso, conical breasts, squared shoulders, thin elongated arms slightly bent, hands touching the knees, the small child grabbing and sitting on her back, a thin cylindric neck carrying a beautifully carved oval shaped face, with detailed features, a pointed small mouth, an elongated nose, sharp small rounded eyes, the hairdo is nicely pulled bacon a mohawk style, the hears are punctured with colures rope earrings, her shoulders, chest, jawline and stomach are marked with zigzag and crisscross scarifications; age-cracks around the base and through out the sculpture are slight insect damages, the right foot is cracked off, remnants of sacrificial patina. Certificate of provenance. “In Bamana (Malinke) society, individuals can acquire mystical knowledge through initiation into a number of distinct associations. Induction into the Jo association followed a six-year course of study by all young men and some women. Jo’s leadership sponsored the creation of sculptures by Bamana blacksmiths that represented cultural ideals and values. The regal protagonists are defined by a crisp precision and idealized naturalism that exemplifies jayan, or aesthetic of clarity. The visual impact of the larger-than-life allegorical figures attracted the attention, focused the eye, and directed the thoughts of viewers who assembled to reflect collectively upon shared social ideals. A personification of motherhood, referred to as Gwandansu, was the centerpiece of such annually displayed sculptural ensembles, or tableaux vivants. ”Source: The MET Museum".