While anthropomorphic in feel, this headrest can also be seen as an abstract interplay of strong solids, bands of colour and definitive voids. The tall central panel consists of two adjacent, rectangular forms which arise from the circular base. Both these rectangles are penetrated by two square holes, creating the impression of two broad ‘legs’ and a smaller central column, which is deeply grooved to reinforce the sense of bilateral symmetry. A central section with a hole through it emerges organically from the top of the abutting rectangles. The same configuration of rectangles is mirrored above the circle. These two emerging from the central body appear to be the ‘arms’ and ‘head’ of the figure.

The powerful, spread-eagled silhouette can also be read as part crocodile, part man, part lizard, a design ubiquitous across much of Sub-Saharan Africa. Moodley writes that, however widespread the use of this symbol is, it needs to be understood within localised knowledge. Her study amongst the Northern Sotho confirms its association with the male initiation school (koma) and the secret rites of passage into manhood, with virility, rainmaking, and procreation being of primary importance.

The rounded base is striking, with a series of wedges cut out in relief. The wedges that have been chiselled out are darkened with pokerwork, giving an even greater dynamic to this already vital form. Pokerwork is also applied to part of the central circle, while the upper part of the central section suggesting head, shoulders and arms, is in the lightest wood of all. An application of red ocher and fat is evident over the whole headrest surface. The oval sleeping platform ‘rests’ on the arms of the enigmatic central figure, its warm golden-reddish patina matching that of the ‘lower limbs’.

As with the previous example, a thong of leather is still attached to it.