Staff finial c. 1930

Editor: Here we have a "Staff Finial," dating to about 1930, crafted by the Bamum people. It's made of brass. The figure’s elaborate headdress and posture give it a real sense of authority. What can you tell us about this work? Curator: This piece truly underscores the inextricable link between art and societal power structures. Brass, itself a valuable material obtained through trade and labor, signals prestige. Consider the casting process, the expertise required—a testament to specialized craftspeople and their social standing. Editor: So, the value lies in the brass and the labor to make it? Curator: Precisely. This isn't just decoration; it’s about controlling resources and means of production. A staff like this denotes leadership; the finial broadcasts power. Notice how the details of adornment–that elaborate coiffure, the facial hair – these signify rank and lineage that have been materialized through design. Editor: It's fascinating to think about the societal impact embedded in what seems like a decorative object. Curator: Absolutely. What does this staff signify when carried, displayed, used? And furthermore, what does the loss of that functionality—viewing it now in a museum—what kind of transformation does that enactment create? What happens when it's divorced from its performative capacity? Editor: That makes me reconsider the value assigned to artworks like this. I was initially drawn to its aesthetics, but understanding its material history and use adds a whole other layer. Curator: Indeed, thinking about the extraction of the brass, the crafting techniques, and its role in Bamum society exposes a network of relationships tied to materiality and control. That's something museums often overlook. Editor: It reframes how we should analyze this staff finial. Thank you for sharing that materialist perspective.