BATAMMALIBA
The history of Africa though often portrayed as a sequence of indigenous
tribes statically conceived in time and geography, is actually a series of small and
sometimes larger scale movements making the historical connection between the
large scale and local realities often hard to trace. The Batammaliba, for example,
who reside in Togo east of the town of Kante are thought to have migrated into
the area in the seventeenth and eighteenth century. But whether their
architecture was brought with them or developed in contact with other peoples
is not clear. Their architecture revolves around the direct relationship between
grain, family structure and the universe.
For the Batammaliba, architecture is deeply rooted in the concept of the
universe and in their understanding of what it means to be a human. The house
in fact is treated like the anatomy of the human in that it has eyes and doors and
front and a back. Houses are also aligned to the sunset of the winter solstice.
When the sun entering the house through the west-facing door symbolizes the
return of Kuiye, who is considered the sun deity and who is also understood as
the first architect who built the earth and constructed the first domicile here for
himself and his first sons. He is both male and female. Kuiye’s village is placed in
the western sky as well as the village of the dead. Each house in the village of the
living is a replica of that house. In addition to the door alignment a hole is put in
the roof of the second floor which allows Kuiye to enter the bedroom when the
sun transits the zenith directly over head. Kuiye is also understood as the first
architect who built the earth and constructed the first domicile here for
him/herself and his/her first sons.
The hole is known as tabote hole under which take place funeral rites and
birth. The tabote is sealed with a flat circular stone (kubotan) which symbolizes
the continuum of life, death and rebirth, the power of the gods Kuiye and Butan,
and the life force of the house. Butan is the complementary power of Kuiye. She
provides coolness and moisture and has both a corporal and a spiritual essence.
She has an important role in house nourishing, protection, fertility, human
pregnancy and delivery. She is also closely identified with the circle derived
from the shape of the earth.
The corners of the facade are marked by two elevated, straw-covered
granaries, each supported by a tall, earthen support tower. The main interior
chamber, “the cattle room”, is a dark, low-ceiling room that serves as a sleeping
place for elder men and as a chapel and barn. The house altar is positioned at the
back of this room along the wall that joins the two granaries. This place is
defined as “the place of the dead.” The roof is supported by a forked post and
beam framework covered with wooden crosspieces and earth, forming a roof
terrace. The remaining rooms are used for storage and for housing the domestic
animals. The central sleeping room for women and children is located on the
upper level. The kitchen is placed to its left. The roof level positioned above the
cattle room incorporates at its center the tabote hole. Besides the hole is a dryseason
fireplace. Here the family usually eats dinner. The rest of the house
terrace is employed for work and recreation. Smaller terrace roofs above the
kitchen and other rooms are used for drying crops and for sleeping during the
hot months of late winter. During cold nights, a fire is lighted in the downstairs
cattle room with the tabote hole serving as a chimney.
Daily life in the house reinforces the overlapping symbolisms. The
bedroom is the womb that provides the house with children. After birth the child
is brought to this secure space and will spend most of its first two years there.
Whenever a person visits a friend, he or she must greet that person’s house by
offering a salutation to the mouth of the house. The house’s two drainage pipes
are conceived as penis and anus and direct potentially dangerous rain water
outside during a rainstorm and during daily terrace baths.
Just as the interior is identified with the inner self and the ancestors, the
front of the house represents the projection of the person in the community with
the. There, near the door, one finds an earthen altar called lisenpo mound
dedicated to Kuiye, Butan, and the village ancestors, and it is said to contain the
essence of Batammaliba knowledge, history, economy, religion, and life,
embodies food, divinities (Butan), future children and women necessary for life
to continue. Near the door there is an open-sided, flat-roofed shelter, used for
informal meetings and for daytime naps as well as drying sorghum. The northsouth
gender division within each house is reinforced by gender-related
activities, rituals, and the placement of the deities’ shrines. The second house
division is the use of upstairs, female space and downstairs, male space. Finally
the house is divided into the front and outside, men part and into the back and
interior, women part. What becomes clear is that, in this spatial inversion, the
house is defined primarily as a residence of the gods and deceased elders. Only
secondarily is the house identified with humans.
The village is perceived as an oval, though it is designed as such and seen
to represent a person through the distribution of shrines to Butan. The village
landscape is ordered by paths which represent the pathways of the gods. The
cemetery is modeled on the settlement and the tomb locations correspond to
those of the house in the village. The tombs are similar to the house, but are
carved into the earth as opposed to being built on top of it. Like the house it is a
raised and plastered terrace with a circular roof defined by an overturned jar.
They also have a west-facing portal and an interior sleeping chamber.
Each house is constructed by a master architect called otammali which
manes “one who creates or builds well with earth.” An otammali undergoes a
lengthy apprenticeship. And only someone who has overseen the construction of
more ten structures oversees the design of the ground plan of every new
structure in the community. These masters, can even demand that part of a
structure be rebuilt. House construction is generally undertaken between the
dry-season months of December and February with an architect usually
undertaking one house per season. Apprentices and even the house owner might
help, but the architect is responsible for the layout and all its associated ritual
significances. The house is only ready for occupation once the doorstep has been
ritually installed.
https://sites.psu.edu/mszczesniakeportfolio/analysis-of-batammaliba-architecture/
The history of Africa though often portrayed as a sequence of indigenous
tribes statically conceived in time and geography, is actually a series of small and
sometimes larger scale movements making the historical connection between the
large scale and local realities often hard to trace. The Batammaliba, for example,
who reside in Togo east of the town of Kante are thought to have migrated into
the area in the seventeenth and eighteenth century. But whether their
architecture was brought with them or developed in contact with other peoples
is not clear. Their architecture revolves around the direct relationship between
grain, family structure and the universe.
For the Batammaliba, architecture is deeply rooted in the concept of the
universe and in their understanding of what it means to be a human. The house
in fact is treated like the anatomy of the human in that it has eyes and doors and
front and a back. Houses are also aligned to the sunset of the winter solstice.
When the sun entering the house through the west-facing door symbolizes the
return of Kuiye, who is considered the sun deity and who is also understood as
the first architect who built the earth and constructed the first domicile here for
himself and his first sons. He is both male and female. Kuiye’s village is placed in
the western sky as well as the village of the dead. Each house in the village of the
living is a replica of that house. In addition to the door alignment a hole is put in
the roof of the second floor which allows Kuiye to enter the bedroom when the
sun transits the zenith directly over head. Kuiye is also understood as the first
architect who built the earth and constructed the first domicile here for
him/herself and his/her first sons.
The hole is known as tabote hole under which take place funeral rites and
birth. The tabote is sealed with a flat circular stone (kubotan) which symbolizes
the continuum of life, death and rebirth, the power of the gods Kuiye and Butan,
and the life force of the house. Butan is the complementary power of Kuiye. She
provides coolness and moisture and has both a corporal and a spiritual essence.
She has an important role in house nourishing, protection, fertility, human
pregnancy and delivery. She is also closely identified with the circle derived
from the shape of the earth.
The corners of the facade are marked by two elevated, straw-covered
granaries, each supported by a tall, earthen support tower. The main interior
chamber, “the cattle room”, is a dark, low-ceiling room that serves as a sleeping
place for elder men and as a chapel and barn. The house altar is positioned at the
back of this room along the wall that joins the two granaries. This place is
defined as “the place of the dead.” The roof is supported by a forked post and
beam framework covered with wooden crosspieces and earth, forming a roof
terrace. The remaining rooms are used for storage and for housing the domestic
animals. The central sleeping room for women and children is located on the
upper level. The kitchen is placed to its left. The roof level positioned above the
cattle room incorporates at its center the tabote hole. Besides the hole is a dryseason
fireplace. Here the family usually eats dinner. The rest of the house
terrace is employed for work and recreation. Smaller terrace roofs above the
kitchen and other rooms are used for drying crops and for sleeping during the
hot months of late winter. During cold nights, a fire is lighted in the downstairs
cattle room with the tabote hole serving as a chimney.
Daily life in the house reinforces the overlapping symbolisms. The
bedroom is the womb that provides the house with children. After birth the child
is brought to this secure space and will spend most of its first two years there.
Whenever a person visits a friend, he or she must greet that person’s house by
offering a salutation to the mouth of the house. The house’s two drainage pipes
are conceived as penis and anus and direct potentially dangerous rain water
outside during a rainstorm and during daily terrace baths.
Just as the interior is identified with the inner self and the ancestors, the
front of the house represents the projection of the person in the community with
the. There, near the door, one finds an earthen altar called lisenpo mound
dedicated to Kuiye, Butan, and the village ancestors, and it is said to contain the
essence of Batammaliba knowledge, history, economy, religion, and life,
embodies food, divinities (Butan), future children and women necessary for life
to continue. Near the door there is an open-sided, flat-roofed shelter, used for
informal meetings and for daytime naps as well as drying sorghum. The northsouth
gender division within each house is reinforced by gender-related
activities, rituals, and the placement of the deities’ shrines. The second house
division is the use of upstairs, female space and downstairs, male space. Finally
the house is divided into the front and outside, men part and into the back and
interior, women part. What becomes clear is that, in this spatial inversion, the
house is defined primarily as a residence of the gods and deceased elders. Only
secondarily is the house identified with humans.
The village is perceived as an oval, though it is designed as such and seen
to represent a person through the distribution of shrines to Butan. The village
landscape is ordered by paths which represent the pathways of the gods. The
cemetery is modeled on the settlement and the tomb locations correspond to
those of the house in the village. The tombs are similar to the house, but are
carved into the earth as opposed to being built on top of it. Like the house it is a
raised and plastered terrace with a circular roof defined by an overturned jar.
They also have a west-facing portal and an interior sleeping chamber.
Each house is constructed by a master architect called otammali which
manes “one who creates or builds well with earth.” An otammali undergoes a
lengthy apprenticeship. And only someone who has overseen the construction of
more ten structures oversees the design of the ground plan of every new
structure in the community. These masters, can even demand that part of a
structure be rebuilt. House construction is generally undertaken between the
dry-season months of December and February with an architect usually
undertaking one house per season. Apprentices and even the house owner might
help, but the architect is responsible for the layout and all its associated ritual
significances. The house is only ready for occupation once the doorstep has been
ritually installed.
https://sites.psu.edu/mszczesniakeportfolio/analysis-of-batammaliba-architecture/
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