Used as an amulet credited with apotropaic virtues, this bronze sculpture constitutes, for the Sao, a talisman supposed to protect them from madness. It is therefore worn permanently.
The genius who possesses the madman is represented by the rider, the horse, a rare attribute of prestige in these regions of the Sahel, representing the victim.
The Sao, ancestors of the Kotoko, were established between the 12th and 14th centuries in a geographical area extending over the borders between Chad, northern Cameroon and Nigeria.
Subjected to successive attacks from their neighbors in Kanem and then to hordes from the East, the Sao had to abandon their lands to settle in the North-West of Cameroon where they mixed with the natives, thus giving birth to an ethnic group called Kotoko. .
Lost wax casting was already commonly practiced as early as the 12th century by this African ethnic group, which mainly produced, among the prestige objects, jewelry in copper alloy. The Kotoko still attribute today to the copper metal a mythical origin giving it a protective value.
Source: "Horse and rider in the art of black Africa" G. Massa, ed. Sepia
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