Max Dashu of Suppressed Histories Archives blocked from Facebook for 3 Days

Here is the "offensive" post:

The Senufo "speak at least four distinct languages (Palaka, Dyimini, and Senari in Côte d’Ivoire and Suppire in Mali), which belong to the Gur branch of the Niger-Congo language family. Within each group, numerous subdivisions use their own names for the people and language; the name Senufo is of external origin. They left the internal delta of Niger —around the town of Mopti (Mali)— in the search of good grounds, the Senufos arrived thousand years ago in the area where they currently reside. At the end of last century when the famous mandinka conqueror Samory threatened the country, Senufo, the chief of Korhogo declared: "We are not warriors, but farmers"."

Like the Amazighen (Tuareg), the Senufo women play water drums. The picture shows the magnificent cowrie headdress worn in womanhood initiation ceremonies.

You have to read down this page a ways before they mention that the Senufo are matrilineal have an important women's sacred society, the Sandogo. At first we're only given the impression of marginal female status in the Poro Society: a sodality that west African oral histories describe as having been taken from women by men.

They say, "Maleeo and Kolotyolo ("Ancient Mother" and "Creator God") represent a dualistic deity. Kolotyolo is not approachable and can only be reached through Yiriigifolo or Nyehene. In the region of Kufulo, Maleeo is represented by the sacred drums before whom all thieves and murderers are brought for trial." [url for quotes given in Comments, with more info]

There is a deeper female stratum to Kòlotyölöö, as Anita Glaze illuminates for us: “Central to Senufo religion is the conception of a bipartite deity called Kòlotyölöö in its aspect of divine creator, and Màlëëö or Kàtyelëëö in its aspect of protective, nurturing being.” The last two names mean “Ancient Mother” and “Ancient Woman.” The creator divinity is remote and cannot be approached directly, only through other deities. [“Woman Power and Art in a Senufo Village,” African Arts, Vol 8, No. 3 (Spring, 1975) p 29]

Linguistic indicators points to a shift that masculinized this creator: “There is some evidence to suggest that Kòlotyölöö was originally considered female in nature (työlöö wii, for example, means ‘woman’ or ‘wife’ in Tyebara), although present usage suggests a neuter or even a paternal image.” [Glaze, 64]