Near my village of Sayaga, that night, the moon was bright and very high. Young boys and girls stayed out late, some drinking tea or dolo (millet beer), others discussing the year's harvest and next season. When the whole village was asleep, a little before dawn, a deafening noise awoke the inhabitants. They rushed out of their huts and headed to the spot from whence the noise had come. The loud noise they had just heard came from the fall of the baobab tree, which had stood at the entrance to the village. It was lying on the ground. The village chief, the chief of land, and other heads of families were all shocked and puzzled. The village chief asked how a healthy seventy-one-year-old baobab that was so solid could have fallen so easily. Immediately emissaries were sent to neighboring villages to inform them of the situation and to consult...
Christopher Damon Roy 1947–2019 Unavailable
Boureima Diamitani was Christopher Roy's former student at the University of Iowa. Diamitani received his PhD in art history from the University of Iowa in Iowa City and is a specialist in the art of the Senufo. A native of Burkina Faso, he served as the Director of the National Museum of Burkina Faso and more recently as the Director the West African Museums Programme (WAMP). Since 2000 he has worked with Christopher Roy in various projects including the filming of cultural events and traditional ceremonies in villages across Burkina Faso. [email protected]
Boureima Diamitani was Christopher Roy's former student at the University of Iowa. Diamitani received his PhD in art history from the University of Iowa in Iowa City and is a specialist in the art of the Senufo. A native of Burkina Faso, he served as the Director of the National Museum of Burkina Faso and more recently as the Director the West African Museums Programme (WAMP). Since 2000 he has worked with Christopher Roy in various projects including the filming of cultural events and traditional ceremonies in villages across Burkina Faso. [email protected]
Boureima Diamitani; Christopher Damon Roy 1947–2019. African Arts 2019; 52 (4): 7–8. doi: https://doi.org/10.1162/afar_a_00496
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