Canne de la chefferie Bété Gagnoa region, Côte d’Ivoire Wood, incl stand Informant: Bakari Bouaflé This exceptionally slender and vertically conceived staff is carved from a single piece of wood. Its composition is dominated by an elongated, almost columnar central section separating the small anthropomorphic lower body from the comparatively large and carefully articulated head. At the lower end, the shaft develops into a pair of strongly modelled, bent legs terminating in prominent feet. The extreme elongation of the torso or neck transforms the object into something more than a staff decorated with a human figure: the staff itself appears as a radically extended human body. The head forms the principal sculptural and expressive focus of the work. It is crowned by a high, conical coiffure articulated by numerous parallel grooves. Curving and concentric incisions continue across the forehead and temples, creating an ornamental framework around the face. The dark, partly lustrous surface accentuates the contrast between these incised passages and the smoothly modelled volumes of the forehead, cheeks and neck. The facial features are strongly stylised. Narrow, almost closed eyes are set beneath a broad, domed forehead. A prominent nose projects from the centre of the face, while the mouth and chin form a powerful forward-projecting volume. The combination produces an expression of restraint and concentrated presence rather than naturalistic portraiture. The nearly closed eyes in particular lend the face an inward-looking, controlled quality. Several parallel horizontal incisions extend across each cheek, while larger curved motifs articulate the forehead and temples. Such markings may refer to historical forms of scarification or other modes of facial ornamentation. Related linear facial markings occur in sculpture associated with the Bété and neighbouring Wé and Guro cultural areas. In this staff, the markings are also important as a formal device: eyes, cheek markings, temples and coiffure are integrated into a continuous graphic structure. The sculptural language of the head should be considered within the artistic environment of the Gagnoa region. Works attributed to this area frequently demonstrate affinities between Bété and Guro sculptural traditions, reflecting the proximity and long-standing interaction of neighbouring communities. The pronounced forehead, projecting facial features, carefully organised incisions and emphasis on coiffure all find parallels within this broader regional context. Attribution based solely on stylistic comparison should nevertheless remain cautious, particularly given the considerable local variation within historical Bété sculpture. The designation canne de la chefferie identifies the object primarily with chiefly or political authority. It should therefore not necessarily be understood as an ordinary walking stick. Rather, such a staff could function as a visible emblem of office, rank and legitimate authority. Carried or displayed during public appearances, receptions, assemblies or ceremonial occasions, it would have marked its bearer as acting within the institutional sphere of the chefferie. The documented role of staff-bearers in Ivorian chiefly contexts provides a useful comparative framework. A porte-canne could occupy a position close to the chief and participate in the formal reception of visitors and communication between outsiders and the political leadership of a community. Although such comparative evidence cannot establish the precise use of this individual Bété staff, it supports an interpretation of the object as an instrument of representation, mediation and chiefly authority rather than simply a utilitarian object. The anthropomorphic character of the staff may have reinforced this function. Political authority is given a human and bodily presence: the small legs establish the figure on the ground, the extraordinarily extended body creates vertical elevation, and the enlarged head concentrates identity and visual power at the summit. The disproportion between these elements appears deliberate, directing attention upward toward the face. The relationship between figural sculpture, ancestors and social memory is also relevant to the wider artistic context of the Gagnoa region. Historical sources describe anthropomorphic wooden figures among Bété communities that could represent deceased individuals and participate in commemorative contexts. This makes it possible to consider whether the human form of the staff carried associations extending beyond simple decoration, potentially connecting chiefly authority with lineage, memory or inherited legitimacy. Such an interpretation should, however, remain hypothetical unless supported by more specific information recorded from Bakari Bouaflé or another source relating directly to this object. The available documentation therefore supports a relatively secure interpretation of the work as an insignia of the chefferie, while any more specific ritual function—such as use in ancestor rites, funerary ceremonies or divination—should not be asserted without additional provenance or field documentation. References Holas, Bohumil. L’Art sacré sénoufo: ses différentes expressions dans la vie sociale. Limoges: Lavauzelle, 1978. [For comparative approaches to ritual and political insignia in Côte d’Ivoire; not specific to the Bété.] Holas, Bohumil. Les Bété: une création de l’homme. Paris: Presses Universitaires de France, 1968. Musée du quai Branly – Jacques Chirac, Paris. Collections relating to Bété material culture and sculpture, Côte d’Ivoire. National Museum of African Art, Smithsonian Institution, Washington, D.C. Collection records and research concerning Bété, Wé and related sculptural traditions of Côte d’Ivoire, including discussion of facial markings and scarification. Sotheby’s. Arts d’Afrique et d’Océanie, Paris, 12 December 2012. Published catalogue entry for a work associated with the Bété/Guro artistic environment, Côte d’Ivoire, with discussion of stylistic relationships in the Gagnoa region. Sotheby’s. Collection Marceau Rivière, Paris, 18–19 June 2019. Catalogue entry concerning Bété sculpture and the representation of deceased persons in the Gagnoa region. Vogel, Susan Mullin. African Art, Western Eyes. New Haven and London: Yale University Press, 1997. For the present object: oral information attributed to Bakari Bouaflé, identifying the work as a “Canne de la chefferie Bété, région de Gagnoa, Côte d’Ivoire.” InformantBarari Bouaflé Some of the information is generated by artificial intelligence and is based on published sources from the fields of ethnography, archaeology, and art history. Inv. No. MAZ25189