FROM THE COLLECTION

RICE LADLE UNKNOWN MANO ARTIST (PORO SOCIETY), FROM LIBERIA

This rice ladle is more than just a big spoon, it is a symbol. These ceremonial ladles, known as wunkirmian or wakemia, which translate to “spoon associated with feasts,” are badges of honor acknowledging an individual woman for her unsurpassed generosity. These spoons or ladles are often oversized, symbolize status, possess spiritual powers, and are not actually used for cooking.

When a woman has been selected as the main hostess of such a feast, she parades through town carrying the large ladle as an emblem of her status.

The Mano people of Liberia, along West Africa’s coast, honor one woman in each village quarter with the title of the wunkirle. When a wunkirle ages, she chooses her successor from among the young women of her quarter and passes down her wunkirmian. With that honor comes a great deal of responsibility. The wunkirle must be of a generous disposition, gladly offering her hospitality to anyone at any time, organizing and providing important meals, and feeding travelers.

In addition to being emblems of honor, wunkirmian also hold spiritual power. They are a Mano woman's chief liaison with the power of the spirit world and a symbol of that connection. Each wunkirmian is given a name. When a new wunkirmian is carved to replace an old one, sacrifices are made to empower it. In many instances, wunkirmian are featured in the same ceremonies as masks.

In that context, one of the wunkirle’s responsibilities is to prepare the large feast that accompanies masquerade ceremonies. The excellent farming abilities, organizational talents, and culinary skills of the wunkirle are called upon to properly welcome and celebrate the masquerade spirits. When a woman has been selected as the main hostess of such a feast, she parades through town carrying the large ladle as an emblem of her status. She is followed by a line of women from her quarter, each carrying a pot of cooked rice or soup. With help from her assistants (usually female relatives or friends), she distributes grains and coins to the children of the community while dancing and singing. The event creates a profound visual analogy that honors the hostess, and women in general, as a source of food and life.

The Curious Curator

Two unassuming, unsigned, and unframed paintings, created in similar style and palette, are sitting anonymously in our vaults. Believed to be the work of a regional artist who may also have been a veteran of war—or perhaps close to one—there are no supporting documents to reveal the identity of their artist or the purpose of the art. As always, Curator Katie Dillard is curious and would like to know more about these painterly works, especially if there is a story to go with them. If anyone knows their history, we’d like to hear it and share it.

Right:RiceLadle,Unknown Manoartist(PoroSociety),from Liberia,wood.GiftofDr.Michael L.Schlossberg,83.002.002.

LeftandAbove:TheAMAwould liketolearnmoreaboutthesetwo untitledpaintingsinitscare.

Dec 22, 2022 – April 1, 2023 | Haley Gallery

Highlighting

Contemporary Art

In Georgia