# Sandobele
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{{Short description|Women's society of the Senufo people, who practice divination}}
thumb|Wooden statue used during divination, dating before 1959
{{Paranormal}}
The '''Sandobele''' are members of the [Sandogo](/source/Sandogo), an [authoritative](/source/authoritative) women's society of the [Senufo people](/source/Senufo_people), who practice [divination](/source/divination). The [Senufo](/source/Senufo_people) inhabit the [savannas](/source/savannas) and [tropical rain forests](/source/tropical_rain_forests) of northern [Côte d'Ivoire](/source/C%C3%B4te_d'Ivoire) and the nearby land in [Mali](/source/Mali) and [Burkina Faso](/source/Burkina_Faso). The Sandogo is responsible for sustaining positive relationships with the [spirit world](/source/spirit_world_(spiritualism)) through [divination](/source/divination) and for protecting the purity of each [kinship](/source/kinship) group. The word Sandobele originates from the [Senufo language](/source/Senufo_language).
The Sandobele constitute only a small portion of the members of the Sandogo society. Membership in the Sandogo society is almost exclusively [hereditary](/source/hereditary) as only one female from each [matrilineal](/source/matrilineal) group is [initiated](/source/initiated) into the Sandogo society. All new Sandogo [initiates](/source/initiates) learn the process of [divination](/source/divination) called tyeli (or tyele), but only a small number are able to perfect the complicated method and become practicing diviners. Diviners have great responsibility and are highly respected within the community because of their skills.
The Sando (singular of Sandobele) [divination](/source/divination) process constitutes one of the most important and common [rituals](/source/rituals) in [Senufo](/source/Senufo_people) culture. Leaders of the community must confer with a Sando diviner before making significant choices or performing [sacred](/source/sacred) [ceremonies](/source/ceremonies) that affect the community because the action must be communicated to the spirits. People in the village consult the diviner on an everyday basis to discover what spirits or other forces are causing them grief. Often villagers feel pressure to have regular sessions with the diviners to avoid neighbors and relatives claiming that misfortunes are caused by the villager not following the diviner's directions or not speaking with enough diviners. The Sandobele hold the [authority](/source/authority) to communicate with the [spirit world](/source/spirit_world_(spiritualism)) which helps maintain a sense of balance with the male leaders of the society.
==Initiation==
While the most common route to becoming a Sando is to be [initiated](/source/initiated) through the society, other diviners are said to be “pursued” by a specific spirit. The person will fall ill due to a severe indiscretion committed against the spirit, and must then agree to work with that spirit as a diviner to become well again. In most areas, this must happen for a male to be allowed to practice [divination](/source/divination); he will not be initiated into the Sandogo society although he is taught the [divination](/source/divination) process.[Veirman, Anja. “Art and Conflict Management: Bush Spirits as Mediators and Source of Inspiration in the Art of the Senufo.” The Object as Mediator: On the Transcendental Meaning of Art in Traditional Cultures, edited by Mireille Holsbeke, Antwerp: Ethnographic Museum, 1996. p. 145]
==Conflict==
The underlying theme in [Senufo](/source/Senufo_people) daily activities and [ritual](/source/ritual) practices is based on the conflict between the village and [the bush](/source/the_bush). The village represents culture that is well-regulated and related to order and control, while [the bush](/source/the_bush) remains unpredictable, haphazard, and full of wild animals and mysterious [creatures](/source/legendary_creatures). [The bush](/source/The_bush) begins somewhere past the tobacco fields on the village edge, yet the boundary is always in flux, coming closer at night when [bush](/source/the_bush) spirits can cross the threshold of the village. The [Senufo](/source/Senufo_people) do not believe that they are automatically entitled to be able manipulate the land; they must first make gifts and [sacrifices](/source/sacrifices) to [the bush](/source/the_bush) spirits to obtain the authorization to disturb their realm. [Ancestors](/source/Ancestors), diviners and other mediators are able to communicate with these spirits who dwell in [the bush](/source/the_bush) called madebele (or tugubele). The madebele are the most accessible spirits because of their proximity and relationship with humans.[Veirman, Anja. “Art and Conflict Management: Bush Spirits as Mediators and Source of Inspiration in the Art of the Senufo.” The Object as Mediator: On the Transcendental Meaning of Art in Traditional Cultures, edited by Mireille Holsbeke, Antwerp: Ethnographic Museum, 1996. pp. 147–148]
==Madebele: the bush spirits==
These spirits residing in [the bush](/source/the_bush) are constantly involved in human activities because they are able to move among the village at night and villagers sometimes must travel through [the bush](/source/the_bush). The madebele remain dominant over their particular domains including sources of water such as springs, rivers and creeks as well as rocks and mountains. [The bush](/source/The_bush) spirits resemble small humans, but with feet pointing backwards, a disproportionately large head, stunted legs, big feet and oversized genitalia. They resemble humans in that they have male and female forms who marry, have children, form [initiation](/source/initiation) societies, appear in pairs and live in similar groupings. They are [invisible](/source/invisible) and speak a language unintelligible to humans. Their [invisibility](/source/invisibility) makes them easy to agitate because women need to obtain water, men must hunt wild animals and farmers must clear fields to plant crops. Like humans the madebele enjoy music and dancing and other beautiful objects such as sculpture and [ornament](/source/ornament_(art)). These spirits once held a place similar to humans in the world but were displaced to [the bush](/source/the_bush).[Veirman, Anja. “Art and Conflict Management: Bush Spirits as Mediators and Source of Inspiration in the Art of the Senufo.” The Object as Mediator: On the Transcendental Meaning of Art in Traditional Cultures, edited by Mireille Holsbeke, Antwerp: Ethnographic Museum, 1996. p. 148]
===Origin myth===
The [creator god](/source/creator_god) Kolocolo created madebele and animals as the first residents of the earth; they enjoyed a peaceful existence and spoke the same language. At some point the madebele decided that they should be equal to Kolocolo and allowed to create new worlds, which made the [creator god](/source/creator_god) extremely angry. After this offense, the madebele were forced to remain on [earth](/source/earth) after their death, unseen by the new inhabitants created to rule over them as well as the animals. These new creatures were humans who looked very similar to the madebele except that their feet pointed forward. Humans appropriated the farming methods, social structures and [initiation](/source/initiation) rites of the madebele. According to the [Senufo](/source/Senufo_people) historian Quattara, the humans proceeded to push the madebele and the animals into [the bush](/source/the_bush) which is why a hostile relationship exists between them. [The bush](/source/The_bush) spirits and animals are constantly struggling with mankind for supremacy. Once they enlisted the aid of [sorcerers](/source/magician_(paranormal)) to give humans disease, war and misery, but humans called on the [creator god](/source/creator_god) for help and gained protection. The madebele can be very wily and often mislead humans, but they also gave them secret languages and [initiation](/source/initiation) groups. Now the madebele will sometimes help humans, perhaps because they fear the [creator god](/source/creator_god) intervening. In this way people are able to negotiate with [the bush](/source/the_bush) spirits to influence their behavior.[Veirman, Anja. “Art and Conflict Management: Bush Spirits as Mediators and Source of Inspiration in the Art of the Senufo.” The Object as Mediator: On the Transcendental Meaning of Art in Traditional Cultures, edited by Mireille Holsbeke, Antwerp: Ethnographic Museum, 1996. p. 149]
===As messengers===
The madebele constitute the most important [spiritual](/source/spirituality) messengers because they are more accessible than the other [deities](/source/deities). Unlike some as such as deebele, or [evil spirits](/source/evil_spirits), the madebele are impartial; they are not inherently positive or negative and they can be persuaded to aid humans.[Glaze, Anita J. Art and Death in a Senufo Village. Bloomington: Indiana University Press, 1981. p. 62] These [creatures](/source/legendary_creature) can be exceedingly rash and become incensed quickly by humans, upon whom they can bestow hardship, [sickness](/source/illness) or even [fatality](/source/death). This situation, known as yawige, is feared dreadfully by the [Senufo](/source/Senufo_people) and requires the diviner to resolve the problem. [Offerings](/source/sacrifice) must be made to the madebele with whom people come into contact or they will suffer [retribution](/source/revenge) by the drying up wells and fires, among other disasters. Because madebele prefer to be around trees, [offerings](/source/sacrifice) for them are often placed at the foot of trees. Anita Glaze's research maintains that [bush](/source/the_bush) spirits actually possess the means to give [fecundity](/source/fecundity), vigor, [riches](/source/wealth), and [authority](/source/authority) to those who please them. On the other hand, Till Förster insists that madebele can only act as mediators between humans and other more powerful spirits who can bestow these gifts. Either way these [creatures](/source/legendary_creatures) play a crucial role in the habitual routines of villagers and also in [divination](/source/divination) practices.[Veirman, Anja. “Art and Conflict Management: Bush Spirits as Mediators and Source of Inspiration in the Art of the Senufo.” The Object as Mediator: On the Transcendental Meaning of Art in Traditional Cultures, edited by Mireille Holsbeke, Antwerp: Ethnographic Museum, 1996. pp. 148–150]
==Fo bracelet==
The Sandobele are easily identified by the assortment of Fo [bracelets](/source/bracelets) they wear. These signify them as diviners and further appease the [python](/source/python_(genus)) [deity](/source/deity). The [python](/source/python_(genus)) represents the most important [motif](/source/motif_(visual_arts)) in [divination](/source/divination) practices and the Fo [bracelet](/source/bracelet) is the first object purchased by a new Sando. The three designs on the [bracelet](/source/bracelet) relate to the basic life forces which in turn may illustrate that "Sando [divination](/source/divination) is the only route to health, vitality and life.” Fo is the principal conveyor of messages from the [spirit world](/source/Spirit_world_(Spiritualism)), and is thus a symbol for Sando [divination](/source/divination) as the mediator between humans and [deities](/source/deities).[Glaze, Anita J. Art and Death in a Senufo Village. Bloomington: Indiana University Press, 1981. pp. 76–78] Known as the “multicolored” one of “convertible elements” the [python](/source/python_(genus)) is the one who is able to answer the diviner's inquiries through the madebele.[Veirman, Anja. “Art and Conflict Management: Bush Spirits as Mediators and Source of Inspiration in the Art of the Senufo.” The Object as Mediator: On the Transcendental Meaning of Art in Traditional Cultures, edited by Mireille Holsbeke, Antwerp: Ethnographic Museum, 1996. p. 150] The diviner therefore must try to please him by wearing a beautifully crafted rendition of him on her person and on display in her chamber.
===Mythology===
An ancient story relates that once Fo changed himself into an attractive young man and was almost successful in misleading a young woman into a false marriage; an older woman, an elder, rescued her and the honor of the [matrilineage](/source/matrilineage) was safeguarded. Through this tale, Fo is associated with sexual imagery, male and female relations, and the defensive function of the Sandogo.[Glaze, Anita J. Art and Death in a Senufo Village. Bloomington: Indiana University Press, 1981. p. 78]
===Styles===
The Fo [bracelet](/source/bracelet) takes several forms of which some are more finely decorated or have extra additions with the same basic structure. The [bracelets](/source/bracelets) are curved tubular forms that make an open cuff that are often divided into three sections. The most common includes a stylized representation of a [python](/source/python_(genus)) visible across all three sections of the form. This consists of two round circles representing eyes in the first section, a cylindrical bar on the second and a braided or smooth cord which wraps along the length of the [bracelet](/source/bracelet). The tubular bar represents either the lungs or the male sex organ, while the braided cord represents [arteries](/source/arteries) that lead to the heart that may or may not be represented on all bracelets.[Glaze, Anita J. “Senufo Ornamentation and Decorative Arts.” African Arts 12, no. 3 (November 1978) p. 66] Other [geometric](/source/geometric) [patterns](/source/patterns) may also run along the entire piece. Sometimes a simple wavy line flows along the length of the [bracelet](/source/bracelet) similar to the way a snake appears as it slithers, instead of specific features. The objects are cast using [brass](/source/brass) alloy in the [lost wax process](/source/lost_wax_process) and are therefore unique not [reproducible](/source/reproducible). They are relatively small as they are either solid, thin tubes made to fit the wrist, somewhat larger props used as signifiers of power, or smaller replicas used as [divination](/source/divination) objects.
==Tyeli divination process==
When a member of the village becomes aware of a specific problem or event in her life she will decide to consult one of the diviners to determine the origin of her discord by Sando [divination](/source/divination)[Veirman, Anja. “Art and Conflict Management: Bush Spirits as Mediators and Source of Inspiration in the Art of the Senufo.” The Object as Mediator: On the Transcendental Meaning of Art in Traditional Cultures, edited by Mireille Holsbeke, Antwerp: Ethnographic Museum, 1996. p. 152] She will go to the small chamber called the sandokpanagi in which the Sando conducts her business on certain days of the week.[Glaze, Anita J. Art and Death in a Senufo Village. Bloomington: Indiana University Press, 1981. p. 64] Various [python](/source/python_(genus)) [motifs](/source/motif_(visual_arts)) in [bas-relief](/source/bas-relief) decorate the exterior of the house used only for this purpose.[Veirman, Anja. “Art and Conflict Management: Bush Spirits as Mediators and Source of Inspiration in the Art of the Senufo.” The Object as Mediator: On the Transcendental Meaning of Art in Traditional Cultures, edited by Mireille Holsbeke, Antwerp: Ethnographic Museum, 1996. p. 146]
The whole [divination](/source/divination) chamber is designed to help call the bush spirits to the Sando; the [invocation](/source/invocation) and music constitute the catalyst to call them forth. The spirits hear the music in the bush and feel compelled to come to the chamber to hear it as well as praise. The music makes them friendly and cooperative so the Sando can communicate with them as they possess the sculptures in front of her.[Veirman, Anja. “Art and Conflict Management: Bush Spirits as Mediators and Source of Inspiration in the Art of the Senufo.” The Object as Mediator: On the Transcendental Meaning of Art in Traditional Cultures, edited by Mireille Holsbeke, Antwerp: Ethnographic Museum, 1996. p. 154]
===Establishing the problem===
The diviner sets the objects for this process between her legs and gathers a haphazard group in the cup of her hands and sometimes one of the client's hands as well.[Veirman, Anja. “Art and Conflict Management: Bush Spirits as Mediators and Source of Inspiration in the Art of the Senufo.” The Object as Mediator: On the Transcendental Meaning of Art in Traditional Cultures, edited by Mireille Holsbeke, Antwerp: Ethnographic Museum, 1996. p. 154 and Glaze, Anita J. Art and Death in a Senufo Village. Bloomington: Indiana University Press, 1981. p. 64] The relationship of how the objects land determines the message conveyed by the spirits; for example, when a [cowrie shell](/source/cowrie_shell) with a smaller [cowrie shell](/source/cowrie_shell) set inside it falls inside a [python](/source/python_(genus)) [bracelet](/source/bracelet), it relates to pregnancy.[Glaze, Anita J. Art and Death in a Senufo Village. Bloomington: Indiana University Press, 1981. p. 64, 66] Once the general category of the problem is determined, the spirits can be further questioned.
The diviner must continue to try to narrow down the specific conflict that is distressing the client. While taking the client's right hand in hers she will inquire about the situation aloud to [the bush](/source/the_bush) spirits who have taken residence within the [figures](/source/figurine). The Sando moves her hands in response to the spirits’ replies to her questions. Her hand will make a short horizontal gesture similar to pushing something aside to indicate “no” or a searching movement to indicate uncertainty. When the answer is “yes”, she slaps her upper thigh with her hand or the client's hand once or several times depending on how definite the response. No single answer is ever definite; the resolution comes from continually asking questions and getting related responses. During this time the patron listens silently until the Sando is able to determine the reason for her visit, to ensure that the spirits are cooperating. If she is able to determine the client's conflict, she will continue to use this method to access more information pertaining to the problem and its cause. If she fails, the client may ask to end the consultation. Once the source of discord is discovered, the diviner asks the spirits to explain what the client must do to correct the situation. The spirits guide the Sando's hand to one or more of the objects in the [divination](/source/divination) set that designates the course the client should follow. Depending on the situation this process may be very complicated and involve a series of questions before a conclusion can be reached. The client will now need to heed the advice of the Sando to resolve her problem.[Glaze, Anita J. Art and Death in a Senufo Village. Bloomington: Indiana University Press, 1981. p. 63] The woman would need to go to the person in her village or the neighboring village who works as a brasscaster and solicit him to create the object stipulated by the diviner, such as a vörögö anklet worn only by women who have a special relationship with [water spirit](/source/water_spirit)s. The [brass](/source/brass) worker will cast the object and the client will wear this along with any other objects created to appease the spirits and resolve the issue.[Veirman, Anja. “Art and Conflict Management: Bush Spirits as Mediators and Source of Inspiration in the Art of the Senufo.” The Object as Mediator: On the Transcendental Meaning of Art in Traditional Cultures, edited by Mireille Holsbeke, Antwerp: Ethnographic Museum, 1996. p. 155] These objects are accumulated by the client and contribute to remembering the personal conflicts as well as a means of protection and [ornamentation](/source/ornament_(art)). Some of these objects are similar to those which the Sando keeps on her person or in her chamber.
==Divination kit==
Although the objects utilized in tyeli [divination](/source/divination) can vary to some degree they always include a miniature [python](/source/python_(genus)) [bracelet](/source/bracelet) and other standard pieces. These objects can be divided into four major categories based on what they represent. The first group consists of different types of miniature forged-iron [implements](/source/tools) that are essential to the village's survival, including a farming hoe, a shovel for burials, a blade and an assortment of [blacksmithing](/source/blacksmithing) tools. The Fo [bracelet](/source/bracelet) falls into the second classification of objects which involves tiny representations of equipment related to the Sando [divination](/source/divination) process. For example, miniature Sandobele [gourd](/source/gourd) [rattles](/source/rattle_(percussion_instrument)), twin [cult](/source/cult) baskets, stylized [figurative](/source/figurative_art) forged-iron pairs and other items created in [basketry](/source/basketry), [brass](/source/brass), iron, or wood are part of this grouping. Objects in the third group consist of nonrepresentational symbols typically constructed in fiber, metal and wood. A short iron bar bent on one end is interpreted as signifier of death and makes up part of this category. The fourth classification contains many organic materials that have a specific connotation such as large, shiny red and purple seeds and marked shells. All of these objects are essential to the tyeli process and make up part of the diviner's basic kit.[Glaze, Anita J. Art and Death in a Senufo Village. Bloomington: Indiana University Press, 1981. pp. 64–66]
Not all Sandobele use the same objects, but rather try to make their own kit unique to the spirits with whom they communicate. Diviners who are just beginning and those with few clients often only have the bare essentials, but successful diviners may acquire many objects as well as decorations for their chamber. As they gain clientele, Sandobele are able to designate permanent meanings to a fixed number of new objects they obtain. On occasion the Sandobele may tell their client that the madebele insists that the client purchase a specific, “shiny” [brass](/source/brass) object before they can speak with him of his problems.[Glaze, Anita J. Art and Death in a Senufo Village. Bloomington: Indiana University Press, 1981. p. 66] These new more personal objects derive from communications with the helping madebele associated with that specific diviner.[Glaze, Anita J. Art and Death in a Senufo Village. Bloomington: Indiana University Press, 1981. pp. 67, 69] Also, once the unseen spirits have been lured to the place, they reside inside the [figures](/source/figurine) and “speak” to the diviner through the [divination](/source/divination) objects during the [ritual](/source/ritual). As with the other objects within the chamber, they are meant to be [aesthetically](/source/aesthetically) pleasing to the spirits as well as functional. More successful diviners may have many sets of [figures](/source/figurine) including more exquisitely carved [figures](/source/figurine) that better relate to their particular madebele.[LaGamma, Alisa, and John Pemberton III. Art and Oracle: African Art and Rituals of Divination. New York: Metropolitan Museum of Art, 2000. p. 25] The [figures](/source/figurine) are always displayed in male and female forms as they represent the spirits who come to the diviner as a pair. The female figure always stands slightly taller than the male, emphasizing the importance of women in the communication with spirits.[Veirman, Anja. “Art and Conflict Management: Bush Spirits as Mediators and Source of Inspiration in the Art of the Senufo.” The Object as Mediator: On the Transcendental Meaning of Art in Traditional Cultures, edited by Mireille Holsbeke, Antwerp: Ethnographic Museum, 1996. p. 156] As with many of the other [divination](/source/divination) objects the pleasing visual appearance of the [figures](/source/Figurine) enables them to gratify and help call forth the spirits.
==References==
{{Reflist}}
==Further reading==
* Fisher, Angela. Africa Adorned. New York: Abrahms, 1984.
* Förster, Till. “The Bronze Works of the Senufo.” In Earth and Ore, 2500 Years of African Art in Terra-cotta and Metal, edited by Karl-Ferdinand Schädler, pp. 93–110. Munich: Panterra, 1997.
* Glaze, Anita J. “Women and Power in a Senufo Village.” African Arts 8, No. 3 (Spring 1975) 24–29, 64–68.
* Greary, Christraud M. Review of Glänzend wie Gold. Gelbguss bei den Senufo. by Till Förster. African Arts 23. no. 2 (April 1990) 16, 18, 20, 22.
* Herbert, Eugenia W. Red Gold of Africa, Copper in Precolonial History and Culture. Madison: The University of Wisconsin Press, 1984.
* {{cite book |author= LaGamma, A. | title= ''Art and oracle: African art and rituals of divination'' | location=New York | publisher=The Metropolitan Museum of Art | year=2000 | isbn=9780870999338 | url=http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/42448/rec/1}}
Category:Diviners
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Adapted from the Wikipedia article [Sandobele](https://en.wikipedia.org/wiki/Sandobele) by Wikipedia contributors ([contributor history](https://en.wikipedia.org/wiki/Sandobele?action=history)). Available under [Creative Commons Attribution-ShareAlike 4.0 International](https://creativecommons.org/licenses/by-sa/4.0/). Changes may have been made.