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Equestrian warrior figures are objects of prestige for Sando diviners and signify their ability to communicate with the spirit world. In general terms the horse and rider represent power and authority throughout western and central Africa. The level of abstraction in this example is extraordinary, as relationships of size and positive and negative space have been exaggerated to create a unique and harmonious whole.

During the 15th and 16th centuries the Senufo (population estimates range from 600,000 to 1 million) migrated south to their current location, spreading across Ivory Coast, Mali and Burkina Faso. Their metal work, masks and figure are all created by specialized artisans who live separately from the rest of village life. The Senufo live in traditional farm dependent villages ranging in population from 50 – 2000.

The terrifying visage of this mask is created by combining the fangs of a crocodile, the nose of a human, the horns of an antelope, the tusks of a wart hog and the head of a buffalo surmounted by a chameleon. The mask's powerful and violent nature is so great that the Senufo believe that if the mask were to touch someone in the crowd during a ceremony it could be fatal. These masks are still worn by the Poro society (a male only society who ensure a good relationship between the living world and the ancestors). At funerals this mask would help the deceased person's spirit find the ancestor realm. In the west these masks are sometimes referred to as “firespitters” because dancers occasionally blow sparks from the mouth of the mask, producing a dramatic effect, especially at night.

Like the above wanyugo helmet, this Jasniform (meaning 2-faced) example would have been worn at Poro ceremonies including funerals and would also have fought sorcery (dee bele) and harmful spirits (nikw’abele). At the top of this helmet is a small cup held by two chameleons. The mask was not complete until magical substances (wah) were placed into this receptacle.

(Spirits speak p162)

The image of a seated man and woman (sometimes referred to as a primordial couple) is a common theme among many African cultures (see also VMAD Dogon primordial couple). For the Senufo, his sculpture resonates on many levels, representing both the original ancestors, ancestors in general, the ideal couple and continuity through time. Sculptures like this are displayed at celebrations, rites of passage and funerals. This carving came from the village of Niofoin in the Ivory Coast.

Small, delicate and feminine, Kpelie masks are worn by members of Poro society in public and secret performances and funerals. The projections at the side of the face refer to traditional hairstyles of Senufo women. The sharp pointed teeth depict the practice of beautification by filing teeth to a point (rarely practiced today). The graceful dance of a kpelie dancer along with the small serene mask is a dramatic contrast to the aggressive wanyugo helmet mask to follow.

Large and heavy sculptures of men and women are used during funeral ceremonies of Poro society members. In the southern area of Senufo they are carried and rhythmically pounded on the ground giving rhythm to the dancers (hence the western name rhythm pounder)

Each Kpelie mask is surmounted by an object that symbolizes a specific sub-group with in Senufo Society. In this example the beak of the hornbill gracefully arches over the human face. The hornbill here represents blacksmiths. (p128-129 African Art by wassing)