This particular work is one of a small handful of significant ancestral hook figures of the Sawos people.
It has the personal name of Kipma tagwa which refers to the earth, or ground, and she is shown with her hands clasping drawn up knees in the act of giving birth. This sculpturewas displayed from high up in the rafters of the ceremonial house tied to one of the main house posts.

Kipma tagwa was likely made during the mid to late nineteenth century as only non-metal tools have been used to create the figure. Sculpturally, it is the work of an accomplished master carver who understood the visual power of giving the head a slight tilt to one side.

This female figure represents a powerful type of spirit who is encapsulated within a framework of seemingly abstract forms. The curvilinear designs couple with an openwork section before becoming two hornbill birds, all of which contribute to a cosmological conception of mythical identity. On this framework are two hooks directly below the ancestral figure believed to be for the suspension of human heads taken in tribal warfare. These and other offerings would be ritually given, or rather ‘fed’, to the spirit to ensure good relationships with the ancestor spirit and garner her aid, especially in times of hardship.

This particular work is one of a small handful of significant ancestral hook figures of the Sawos people.
It has the personal name of Kipma tagwa which refers to the earth, or ground, and she is shown with her hands clasping drawn up knees in the act of giving birth. This sculpturewas displayed from high up in the rafters of the ceremonial house tied to one of the main house posts.

Kipma tagwa was likely made during the mid to late nineteenth century as only non-metal tools have been used to create the figure. Sculpturally, it is the work of an accomplished master carver who understood the visual power of giving the head a slight tilt to one side.

This female figure represents a powerful type of spirit who is encapsulated within a framework of seemingly abstract forms. The curvilinear designs couple with an openwork section before becoming two hornbill birds, all of which contribute to a cosmological conception of mythical identity. On this framework are two hooks directly below the ancestral figure believed to be for the suspension of human heads taken in tribal warfare. These and other offerings would be ritually given, or rather ‘fed’, to the spirit to ensure good relationships with the ancestor spirit and garner her aid, especially in times of hardship.