Clay & The Holy Bull

Written by Prof. Osman Elamin Shibir

My early childhood has had a remarkable impact on my present artistic expression. I used to construct an intimate, fanciful world out of clay. The various forms fascinated my imagination, especially when sculpting the bull, a sacred creature among the Nilotic tribes, particularly the Shilluk in Malakal. Those childhood creations continue to influence my contemporary artistry, now infused with considerable abstraction.

Among these communities, the bull holds deep spiritual significance. Even their dances, performed on various social occasions, reflect this reverence. The shape of the dancer’s horned headpiece, the impressions it creates, and the movements themselves convey symbolic meanings. The obtuse angles, spiral curves, and small circumferences all carry traditional significance for different congregations.

The Shilluk tribesmen cover their lean bodies with ash, mixing it with indigenous ointments to dye their hair crimson or orange. Their oily skin and colorful hair are regarded as symbols of beauty. The bull, which first captivated my childhood imagination, continues to emerge in my present artistic achievements whether carved or painted.

Almost all my completed works feature the grandeur of this revered animal. It is worth noting that, in Sudan, plastic artists rarely depict wood reliefs or clay sculptures as their neighboring African counterparts do. Silt sculpture is rare, except for sporadic attempts, such as the tobacco pipe with a spiral stem ending in a miniature animal head, where tobacco is packed. It was my first realization that these people had identified the harmful effects of nicotine. They crafted a filter from palm leaves, soaked them for several days, and then shredded them into fibers, which were placed between two wooden pieces to purify the smoke. This small carved animal, resembling a lion, remains an enigma to me. Perhaps this phenomenon can be attributed to the prevalence of clay depictions in neighboring African cultures.

Since my early boyhood, I have been captivated by the animals that frequently roamed my surroundings, appearing and disappearing in herds or as individuals. Domesticated animals, such as cows, sheep, and goats, have remained deeply embedded in my consciousness. Cattle were treated like cherished children within breeding families. They held a spiritual presence in the lives of those who relied on their milk and blood.

I recall a conversation in Berlin, where Professor Felix Jacob found it extraordinary that Africans coexisted so intimately with animals yet had not documented this relationship through books or paintings. He encouraged me to visit a zoo and produce a reference on animal painting. That endeavor led to my comprehensive study on the subject.

My sculptural explorations often depict herds of animals, particularly bulls, utilizing a variety of colors, textures, and shapes. The compositions contrast solid and hollow forms, reflecting natural environments where these creatures exist inseparably.

My artistic treatment of the bull delves into deep personal dimensions, rooted in my childhood experiences and aesthetic connection to clay, silt, and the animal itself. Over time, my sculptures have evolved to depict the bull with a remarkable human face.

The bull has assimilated human life, and this transformation is evident in its shared expressions. The Shilluk people live in peaceful coexistence and sincere harmony with their natural surroundings. Their villages, filled with countless herds of cattle, operate under an organized and consistent social system, comparable to any well-established civilization. Thus, it is unfair to label them as primitive. Their social norms are well-structured, fostering a community built on shared solidarity.

In their society, boys aged 7 to 17 are responsible for herding cattle into enclosures and collecting dung, which is dried and burned at night to repel flies and other insects. Young men aged 18 to 35 oversee cattle rearing and protect them from wild animals, armed with spears and canes for defense. The elders, aged 40 to 70, serve as a reservoir of wisdom. They form the village council, advising and making communal decisions to ensure harmony and stability.

A strict feeding hierarchy is observed: fathers eat first, followed by children, and women eat last. Their diet primarily consists of fish and milk, either fresh or fermented. They have two meals per day—one in the morning and another in the evening. Evenings are filled with vibrant social interactions, where young men and women engage in cheerful conversations and dancing in an atmosphere of love and amicability. The ultimate goal of these gatherings is marriage.

When a woman becomes pregnant, the tribe rejoices if the child is female, as she will later attract suitors who will compete by offering cattle as dowry. A Shilluk girl is considered a valuable treasure. However, in the event of divorce, the woman's father must return all the cattle, compensating for any lost livestock by providing hides as documentation.

Traditionally, a groom must offer at least five cows, with contributions from his closest relatives. In addition to these five to seven cows, he also provides sheep and goats. Among the Shilluk, the eldest son inherits all of his deceased father’s wives, except his own mother. Like other Nilotic tribes, the Shilluk treat their daughters with tenderness while subjecting boys to rigorous discipline to instill resilience, decisiveness, and dignity.

Men also engage in elaborate grooming rituals. They dye their hair using a mixture of cattle urine—rich in salt and the silt from termite mounds, which contains natural gum and minerals. Their huts are plastered with a blend of bull dung and ash, creating a coal-like surface akin to fresh cement, known for its adhesive properties. Women demonstrate deep respect for their husbands, never presenting food or water without a gesture of reverence. This bowing gesture is also found in some Asian cultures.

Art has played a transformative role in human civilization, shaping attitudes and refining cultural practices through addition and subtraction. Southern Sudan’s tropical and savannah climates nurture thick forests and lush grasslands, supporting a rich variety of wildlife. The landscape bursts with fruit-bearing trees, offering nourishment and fuel. The intricate cycles of nature sustain human, plant, and animal life in perfect harmony.

Even after years of being away, the memories of these serene landscapes remain vivid—shady trees sheltering both humans and animals, and the ever-present moons casting their intimate glow.

The Nilotic tribes maintain a wealth of traditions and taboos that enrich their lives. Their faces, adorned with well-set teeth as white as their cows' milk, reflect natural beauty. To clean their teeth, they use ash from cattle dung and plant charcoal, the same materials they apply as ointments to repel mosquitoes.

Their culture is deeply intertwined with music and poetry. Nostalgia and romanticism form the essence of their songs, often accompanied by the melancholic sounds of the harp. The lyrics, sung in a simple yet powerful language, express love and longing.

They also wear brass bracelets on their wrists to ward off the damp weather’s effects. Their approach to adornment is instinctive yet globally recognized. Through natural intuition, they harmonize with their environment, reflecting the essence of a Southern Sudanese citizen.

As someone who shares their heritage, I still bear their features, innocence, and physical traits in an authentic fusion. Their profound influence is unmistakable in my sculptures, paintings, and architectural designs.

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© Prof. Osman Elamin Shibir, 2021