The Akuaba fertility doll is perhaps one of the most memorable and recognisable forms in African art. 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 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.
The reductivist proportions of the Akuaba tradition are particularly visible here. The figure has an expression of unusual intensity on its round/oval face, with a strong T-shaped eyebrow and nose complex over small, prominent eyes. The mouth is small and firmly incised, giving way to a neck comprised of four distinct rings. The figure also has non-naturalistic proportions below the neck, with nugatory arms, a columnar torso – with small, sharp breasts – and a solid base rather than legs. However, this adds rather than detracts from the figure’s impact, which is aesthetically added to by the deep golden and brown patina achieved through generations of usage. This is a powerful yet charming piece of Asante art, and a worthy addition to home or collection alike.
