This remarkable piece is a rare ivory rendering of
one of Africa’s most recognisable fertility idols,
the Asante Akuaba doll. Like most tribes, the
Asante hold fertility in extremely high regard;
those societies that do not grow are doomed to
fail. As a result, women are, from an early age,
constantly aware of the importance of conception
and successful delivery of live children. Any
failure to do so would be construed as a disgrace
and ill-fortune not only for her, but for her
family and tribe. So to negate any ill-fortune, she
may visit the tribal medicine man to commission
a piece such as this.
Endowed with magical properties, these dolls are
treated as if they were real babies – carried
around, dressed, washed, fed and even put to
bed. It is likely that they do have a positive effect
on the prevalence of successful conception, if
only from a psychosomatic point of view. Once
born, the child may be encouraged to play with
the doll, thus promoting maternal sentiment;
while a male child may be wished for, these dolls
are almost always female, partly because of the
matrilineal nature of Asante society. The Asante
are one of six tribes (the others are the Fante,
Aowin, Anyi, Akye and Abron) that go to make up
the Akan group of the former Gold Coast – now
Ghana. Their society, which was founded in the
14th century, has had a very turbulent history
and was involved in the 18th century federation
that took a golden stool as their emblem and
rose up against the European invaders. Their
society is highly ritualised, with numerous gods
under the main deity known as Onyame (“the
Supreme One”), and a host of spirits that include,
for our purposes, the earth goddess of fertility –
Asase Yaa.
Asante iconography and artistic design is among
the most abstract and expressionist in Africa,
and was immensely influential in the
development of European art styles in the early
days of the 20th century. Akuaba dolls are not
especially uncommon. However, the current
Akuaba is remarkable in terms of its material of
manufacture, and also the fact that it has been
unusually – even uniquely – styled. The body is
fairly typical, comprising a single rounded stem
narrowing towards the shoulders; the body is
engraved along the midline with linear
scarifications. She has extremely pronounced
and detailed breasts and nugatory, pointed arms
sloping into a ringed neck. The head is very
unusual. Most akuabas have either round heads
with T-shaped brows/noses, or have elongated
rectangular heads such as is seen in Fante
variants (the Bono people, who live to the North
of the Asante, carve smiling Akuabas with ornate
hair and rather vacuous expressions). The head
is very high, unadorned and domed, swelling
towards the apex. It has high, completely arched
brows that spring from the nose then rejoin the
jawline, encircling diamond-shaped eyes with
pierced centres. The mouth is small and pursed,
and is partially obscured by the band of
decoration that attach to the roots of the brows
where they join the jawline. It may perhaps be
intended to represent a beard, making it a highly
unusual example of a hermaphrodite akuaba.
The value of ivory exceeded that of gold in many
West African nations. Even where this was not
the case, however, ivory was always a luxurious
and expensive material that was reserved for
elite objects and groups. The role of the akuaba
doll is unvarying in the Asante and their
neighbours, so there is no reason to assume that
this had any function beyond that already
described. It is therefore probable that this piece
was carved on behalf of a wealthy family’s child,
perhaps a member of a royal court. The ivory has
acquired a honey-coloured, polished patina
implying long-term usage, perhaps over several
generations of the same family. Out of its
context, it is a beautifully conceived and finished
piece of African art, a credit to any collection.