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• W2518526223 abstract "56 afrtcanarts summer 2009 There was great commotion at Zuenoula on Sat urday, February 13,1999.1 The car park was emp tied of vehicles, making room for colorful bunting and a shaded platform from which various politi cal figures could harangue the crowd, offer politi cal speeches, and propose catchy slogans. Among these movers and shakers was a native son, as people call the Minister of Youth and Culture, the Honorable Faustin Vlami Bi Dou, who hails from Bonon (Bouafle). For Guro, that one of their own should be a government minister is received with a mixture of pride and jealousy: one must see, appreciate, and envy the min ister s huge black Mercedes symbolizing his social success, politi cal ascension, and financial power, as well as the gleaming cars of high officials accompanying this dignitary of contemporary life. The Minister knew that contemplation of his success would not retain the crowd in the suffocating heat of a February day. To make himself appreciated and to offer spectators reason to listen to the long speeches to come, he invited Guro masked per formers from villages around Zuenoula. Their promised appear ance would persuade people to stay through the aggravations of political discourse. Implicitly, the minister showed his worth to potential voters by promoting performances that were specifi cally Guro. In such a way, he sought to prove his sincere attach ment to his natal region through an entertainment appreciated by villagers, while demonstrating his capacity to invest some of his wealth beyond the bounds of his own extended family. More specifically, his gesture associated the minister with the late pres ident Houphouet Boigny, who had so appreciated the masked Guro dances such as Gyela la Zauli that he regularly asked that they be performed in his honor.2 The deceased presidents enjoy ment of this mask type made it emblematic of a certain Ivoirity or Ivoirian national identity,3 despite the well-known sovereignty of Baule culture at the heart of the Ivoirian state of Houphouet Boigny s day (Dozon 2000:52). The masked dancers and the musicians accompanying them waited patiently in the blazing sun so that they could perform as they had been invited (Figs. 1-2). Several rural delegations com posed of elder dignitaries in ceremonial dress were also present, recalling that the principles of a specifically Guro political sys tem remained based upon the unavoidable counsel of elders, a sage gerontocracy with values that might be a bit old-fashioned but that were still respected in rural milieux (Fig. 3)." @default.
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• W2518526223 date "2016-01-01" @default.
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• W2518526223 title "Sculpted Bodies Serving Spirits and People" @default.
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