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Rauwolfia is an herbaceous plant of Asian and South American tropical forests, and it is in a family known to contain powerful alkaloids and medicinal species. Native to India, Rauwolfia has been used as a traditional Ayruvedic medicine for many ailments, including anxiety, headaches, and snakebites and as a general sedative for >1000 years. It is reported that Gandhi regularly drank Rauwolfia tea for its calming effect.

Woven from hand spun local cotton and dyed with indigo, these cloths varied in design, with some such as the above example combining the snake motif with others such as stylized animals and birds, the rectangular Koran board etcetera. They date from between about 1900 and 1950.

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All at once the sky was darkened, and the hut was suddenly filled with a rushing wind. In a moment the storm ceased, and Kazi saw that a great snake with five heads was close beside her. In each of the five heads gleamed a pair of fiery eyes, which were fixed upon her.

Night fell, and presently there came the sound of a rushing wind, and the snake with five heads came forth. He glanced first at the bride and then at the cakes, and into his fierce eyes came a gentler light.

The snake had been making slow progress and I was the only one with the patience to stay to watch its endeavours, standing mostly motionless with my camera in my hand. Every now and then I would slowly look around behind me to see if any birds were visiting the birdbath in the garden below the deck. I was amused to find that in turn, I was being observed by a motionless African Olive-Pigeon, watching me from an appropriately named Pigeonwood tree above the bird bath.

There are five species of Green Snake in South Africa, and all are known to be good climbers. Green snakes do not have fangs but are often killed by people when mistaken for venomous snakes. As the large eye indicates, they have excellent eyesight and they hunt during the day for small prey animals.

This snake was active on a very hot spring day last week, ahead of an approaching cold front that moved in rapidly in the late afternoon. Perhaps the snake was seeking a high protected spot to shelter in during the cold night ahead?

Thanks Gunta. I do feel wary about the large monitor lizards (they can be up to 2 metres in length) but I am fond of the striped skinks in the garden. I prefer to be able to identify any snakes that I see around, although I should think that there are far more around then I will ever be aware of! Luckily they are wary too!

Thanks Abrie. I gather that the Boomslang tends to be comparatively shy. It has a much blunter face or snout and the eye colour is slightly different. Juvenile Boomslangs are usually brownish and so only larger Boomslang are green usually with black markings. Adults are thicker than the Natal Green Snake. I sent photos of an adult Natal Green Snake in our garden to snake expert Johan Marais and he confirmed the ID.

Thanks Margaret. Maybe this snake was caught short with the wildly swinging temperature variations this spring. Previously we had a resident adult that hung around the same spot for months. I have read that they usually spend the night in the branches of trees from where they can drop to the ground to escape predators. They have adapted to using high places in buildings too, where they seem to find regular spots if they can.

According to local myth, Napolo is a giant many-headed snake that lives in a deep sacred pool under the mountains in southern Malawi. When it emerges from its hiding place and moves, devastation ensues. Its movement causes huge floods and landslides as the sound of drumming echoes across the region.

The story of Napolo in a greater way is matching Cyclone Idai that washed and killed away mainly people in Chimanini in Zimbabwe. While of course there was no snake but the violent nature of floods, coming down mountains, producing heavy mud matches. I kindly request more information about Napolo, with experiences witnessed during Freddy Cyclone. I am developing an interest to look at commonalities of the two tragedies.

The upper part of the headdress is decorated with a colourful spiralling snake. The body of the snake is incised with triangular and diamond motifs. These motifs are painted in red, green, blue and yellow. The head of the snake is not raised, but positioned in sympathy with the human face. The snake has its mouth wide open and painted in bright red. Sharp teeth are visible.

Snakes are generally associated with positive forces in African art. As opposed to the Western negative symbolism in art, snakes are presented with transformative and creative powers. Snakes are among the animals that often provide the most useful associations and comparisons to human situations in much African lore and symbolism.

According to "Giants, Monsters & Dragons: An Encylopedia of Folklore, Legend and Myth" by Carol Rose (a research member at the University of Kent and a lecturer at Canterbury College in England) The traditional belief system of West Africa's Dahomey people contains Aido Hwedo, the "Rainbow Serpent" or cosmic snake who "assisted the creation of the earth by transporting the god Mawu through the cosmos." It fed on iron to sustain itself and its secreted excrement became the mountains. After the creation of the earth the cosmic serpent was instructed by Mawu to become its support and allow it to rest upon its back. The oceans were created to cool Aido Hwedo's body when the heat generated by this endeavor became too much, but his occasional writhing in discomfort produces earthquakes. When the iron under the sea, the cosmic serpent's food source, is depleted the serpent will consume its own tail and the earth will lose its support and collapse. According to Rose, "Other Rainbow Serpents are named Da in the legends of the Fon people of Dahomey, and Oshumare in the legends of the Yoruba people of Nigeria." The peoples of the Congo have their own rainbow serpent, however he is a "malevolent being who resides in lakes and rivers, where his reflection may be seen in waterfalls." (Rose)

A dragon more similar to those found in European folklore can be found in the Soninke and Fulbe epics as recorded by the German ethnologist Leo Frobenius and published in a volume entitled "African Genesis". They tell of a "great snake" known as "Bida" that inhabited the ancient kingdom of Ghana (known to the indigenous people as Wagadu) who lived in a deep well. He was periodically offered a maiden (or maidens) of Ghana in exchange for making it rain gold three times a year. Eventually a maiden was chosen that a hero was in love with, and Bida went the way of so many other dragons of mythology. Before life completely left him, however, he put a curse on Ghana that withheld the rains of gold for seven years. His slayer was forced to skip town.

The most well known of the African "dragons" is of course Apep or Apophis, a monstrous, evil and primordial serpent within the traditional Egyptian cosmos. According to Rose's encyclopedia, he could be depicted as a "a snake with a human head, as a contorted crocodile or in the more familiar form as the vast cosmic reptile. Living deep in the Nile and symbolizing all the dark features of existence such as storms, night, and death, he became a co-conspirator of Set, the god of evil." Apep continuously tried to swallow the sun-god Ra on his cosmic journey but was, of course, always thwarted- in part due to Ra's own guardian serpent (Mehen). Apep did have near successes, however, which resulted in solar eclipses that ended as soon as he was made to forcibly regurgitate Ra. (Rose) In her encyclopedia, Rose speculates that Apep was "probably derived from the Babylonians myth of Belmarduk and Tiamat".

The cultural significance of the cockerel-crowing snake varies across different regions in Africa. In some areas, it's seen as an embodiment of power and strength due to its unique ability to mimic the sound of a bird.

The cockerel-crowing snake holds a special place in African folklore. It serves as a reminder that not everything is as it seems, and that even the most familiar creatures can surprise us with their abilities.

The vocal snakes of East Africa, the dwarflike water sprite called Tokoloshe, and other rare beings like Ninki Nanka embody both awe-inspiring and terrifying aspects of nature. These narratives not only entertain but also serve as moral compasses and historical records for communities.

Shamshur notes that snake plants are believed to absorb negative energies and eliminate bitterness and jealousy. She suggests placing them in a room where people tend to argue or near appliances that emit harmful radiation.

Provenance

Purchased from Fred Harvey in 1917

A New Mexico Collection

Taylor A. Dale, Santa Fe, NM

The Collection of William Dana Lippman, acquired from the above July 31, 1997

Literature

For a similar pair of Snake Dancer figures, see those featured in the Aspen Center for the Arts' 1979 exhibition Enduring Visions: One Thousand Years of Southwestern Indian Art (illustrated in the exhibition catalogue, p. 15, fig. 13).

See also Wright, Barton Classic Hopi and Zuni Kachina Figures, 2006, Museum of New Mexico Press, Santa Fe, p. 19, plate 25. When the Chusona, Snake Dancers, come, they dance in pairs. The lead person holds a snake in his mouth, and the one behind him uses a feather wand to distract the snake if it becomes too active." Ibid. p.134

See also Sotheby's, New York, NY, Important American Indian, African, Oceanic and Other Works of Art from the Studio of Enrico Donati, 14 May 2010, lot 13: A large Hopi polychrome wood kachina doll, depicting a Snake Priest. Notes accompanying the lot include the following observations:

"Snake Priest kachinas first appeared in the late 1800s, probably to satisfy the desires of Euro-Americans who 'discovered' the Hopi Snake Dance ceremony in the late 1870s. Colorful descriptions of the ceremonies were written and tourists, as well as eminent anthropologists and academics of the day, flocked to Hopi.

The ceremony which so attracted their attention was an ancient petition to the gods for rain, in which snakes, the supernatural messengers to the divine, are danced while carried in the mouth. The ceremony, which occurs in August of each year, also commemorates and gives thanks to Ti'yo, the ancestral snake youth and patron of the Snake Priesthood order. In addition, the ceremony bears both military and memorial aspects, as the dancers are marked with the symbols of Pookanghooya, the Little War God, and deceased members of the society are represented on the Snake altar. Ritual footraces and the snake dance occur on the last day of the elaborate ritual observance which originally spanned nine days.

On the day of the dance, lines of Antelope and Snake Dance Priests face one another and sing. At the conclusion of the song, the Antelope Priests remain in position singing and shaking their rattles while the Snake Dancers pair off. The rear man in the pair places his left hand on the left shoulder of the one in front, and together they dance forward to a covered bower. Here the forward man (the Carrier) kneels and receives a snake, which he holds between his lips as he rises and continues to dance. The rear man (the Hugger) follows behind the carrier with one or both hands draped over his shoulders, and calms the rattlesnake by fanning it with a feather wand. A third Snake Priest, a Gatherer, picks up the snake after the Carrier releases it, returning it to the ceremonial bower, or kisi.

Snake Priest kachinas (Chusona) are found depicted as either a Carrier, with a snake in his mouth, or a Hugger with a straight mouth and one arm outstretched. Up until the 1930s, kachina dolls retained the plank-like attributes of the indigenous Tihu (small dolls given to young girls, to teach them about the Hopi deities). Snake Priest and Clown kachinas were the earliest kachinas to be created in more active poses, with separately carved arms and legs." e24fc04721