Descourtilz and Haitian Antiquities of the Indians

Naturalist Descourtilz sketched some examples of figures he called cemis from what is today Haiti. Shown them by Desdunes-Lachicotte and presumably coming from the Artibonite region, one of the pieces ir rather remarkable. According to Descourtilz, a turtle cemi figure's shell included a Sun, Moon, and star depicted on it. Given the symbolic role of the turtle in some of the myths recorded by Pané, the turtle cemi figure may be connected to the cosmology of the indigenes.

Force Your Way (FF VIII)

 

We found this jazz interpretation of one of the best songs from Final Fantasy VIII quite interesting. The Consouls consistently bring a unique jazz interpretation of some of the musical gems from the series. Even this Final Fantasy, far from our favorite, had a few great moments on its soundtrack.

Dunama Dibalemi and the Tubu?

  

While rereading parts of Maurice Abadie's La colonie du Niger, we came across a garbled and problematic reference to Dunama Dibalemi from the Kecherda. According to an informant, Issa Maini, the earliest known Kecherda chief was a man named Kourei Koullougoni. Given an eastern origin, this figure's community included a Mai Doumouri, son of Debellemi (Dibalemi). This is almost certainly a garbled reference to Dunama Dibalemi of the Sayfawa (c. 1210-1248). However, the Kecherda tradition heard here at N'Guigmi by Captain Martin makes it the descendants of Dunama Dibalemi who moved to Kanem and then migrated further into Borno (while the Kecherda stopped in Kanem). One wonders if Dunama Dibalemi is being used anachronistically here to refer to the distant past. On the other hand, this Sayfawa ruler was remembered for having fought a war with the Tubu for several years. It is possible that some of the Daza in Kanem might recall traditions of being forcibly relocated during this poorly understood conflict. 

This also brings to mind Kreda songs translated by Henri Carbou. According to one song, Mai Dena was the Arab prince who led the ancestors of the Kreda into Kanem (possibly Sayf?). Despite being described as an Arab prince,  Mai Dena ("master of the world") was also described as "black" (azreq) in color. We wonder if Mai Dena here and the "Mai Doumouri" mentioned by the Kecherda elder may be a reference to the same figure. If so, then there may be a confused echo in these traditions of Dunama Dibalemi's relations with the Tubu in the 13th century. 

Jerma Melei and Assakélé

Another thing we have been contemplating is the question of the identity of the captor of Assakélé, a Bulala princess remembered in a Kanembu song partly recorded by Henri Carbou. Although we have written about our speculative thoughts on this figure and her possible connection with the Aisa Kili of Borno traditions, we should consider other possibilities. For instance, the song identified the Borno official who seized Assakélé as Kaléa djerma Meleï. Kaléa means captive, djerma or jerma (sometimes spelled zerma) was an important officer in the Sayfawa court and Meleï is probably Mele, a Kanuri form of the name Idris sometimes seen in Kanuri girgam lists and other sources translated by H.R. Palmer. Thus, Kanembu tradition remembers a jerma named Idris whose actions here sparked or contributed to the war between the Bulala and Borno. 

Is it possible that the song is actually remembering the Ngizim jerma of Idris Alooma? When mentioned by Ahmad b. Furtu in the context of the Kanem campaigns, his title had risen to wazir. Furthermore, we know from Ahmad b. Furtu's account that women related to the Bulala royal family were indeed seized during the conflict. Perhaps Kanembu tradition here is actually recalling an event right before the Kanem wars of Idris Alooma or one of those seizures of Bulala royal women during the war? Carbou claims that Kanembu tradition remembered Idris Alooma's vizier as Idris b. Harun, but that does not necessarily preclude the possibility of Idris b. Harun also being remembered as a jerma or jarma in other Kanem traditions. 

Of course, without the full song this conjecture remains pure speculation. For all we know, there was a jerma named Idris during an earlier period in Borno who may have seized a Bulala princess. Assuming Kalo, Assakélé's father, was Dunama b. Salma, then we would think Melei was a jerma during the reign of Idris Alooma's grandfather. But it is still possible for the song partly translated by Carbou to have been actually referring to the Ngizim jerma, Idris b. Harun.

The Bulala Sultan of Fitri

Whilst recently perusing a book on Chad, we saw the Bulala sultan of Fitri in Les treize préfectures de la République du Chad by Pierre Gentil. Although we could not find his name in the pamphlet, we wonder if it is Oumar since the book was published in the 1960s. Or perhaps Hassan Absekin who became sultan in 1967 according to Hagenbucher.

La Gonave Snuff Tube

 

Whilst perusing once again L'art précolombien d'Haïti, we were struck by this marvelous object. Supposedly, it is a bifurcated snuff tube from from the indigenous peoples found in La Gonave, Haiti. The female wood carvers of La Gonave were famous for their skills at the time of contact with Europeans, leading one to wonder if this marvelous piece was an example of their work. When Peter Martyr d'Anghiera did allude to them, it was in the context of stools and wooden platters and other objects considered part of the treasure of Anacaona. 

A snuff tube likely used in cohoba rituals was almost certainly tied to the upper-crust of society, as the fine detail that went into this piece demonstrates. We are unsure what the figure depicted in the tube is (a kneeling figure with zoomorphic traits?), but the quality and level of detail in it are highly suggestive of an object used by the elites. Given the proximity of La Gonave to the center of the Xaragua cacicazgo, this object may have been used by caciques and indigenous elite groups tied to Xaragua. 

Indian Antiquities in Saint Domingue

  

Whilst taking a second look at Nicolson's Essai sur l'histoire naturelle de Saint-Domingue. Avec figures en taille-douce, we realized that we did not note the origins of some of the indigenous artifacts illustrated in his book. Figure 1 was found in the Cul de Sac plain region, a likely contender for the political center of Xaragua. Stylistically, it is similar to some of the works of sculpture or statuary found in the "Taino" period. What we have not heard of before, however, is the inclusion of human faces on the arms or shoulders of such a figure. It is kneeling as Nicolson wrote, and the inclusion of the human faces bring to mind some of the trigonolito cemis featuring two faces on opposite sides. Unlike one of the most famous surviving examples of indigenous art from Hispaniola, the figure does not appear emaciated (though the sketch may not be entirely reliable). Figure 2 was found at a Leogane plantation (La Yaguana) and Figure 4 sketches were of artifacts found in Grand-Goave.