Artwork  >  , >  Calling the Buffalo (small)

Calling the Buffalo bronze sculpture by Scott Rogers, featuring a Native American buffalo caller surrounded by organic forms, capturing the spiritual connection between Plains tribes, wildlife, and the buffalo that sustained their way of life.

Calling the Buffalo (small)

Specifications:
19” H x 13” W x 11” D

Price:
SOLD OUT

Piece Availability
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Scott’s Piece Description

Lewis and Clark record in their journals that upon arriving at a Mandan Indian encampment, they witnessed a Buffalo Dance. The next morning, all arose to see buffalo on the horizon to be hunted. Many of the animals were killed that day – providing food for the tribe.

Many Native Americans had the belief that the buffalo came out of Mother Earth. I can easily see how living on the plains and witnessing millions of buffalo thundering up out of the rolling hills lends credence to that belief.

For this ceremonial dance, the Mandan men would put on a buffalo headdress, hold a shield close to their bodies (representing the buffalo’s hump), place a buffalo tail in the back flap of their loin cloth and mimic the movements and bellowing of this sacred animal.

While sculpting this piece, I had the inspiration to place buffalo moiling in the earth (as if coming out of the ground). I also felt to mass up between the Indians arms and legs, as if he too is coming out the ground.

Curator Review

Curator Review

In Calling the Buffalo, Scott Rogers draws from Lewis and Clark’s journals, which recount a ceremonial buffalo dance performed by the Mandan people. According to their account, buffalo appeared the next morning—validating the deep spiritual connection between ritual and survival.

The figure crouches in a powerful stance, his buffalo headdress, shield, and tail transforming him into something more than human. Rogers sculpts not just a dancer but a living embodiment of the buffalo spirit. His limbs, posture, and the massing of form between them suggest a being rising from the earth—man and beast intertwined.

The terrain beneath him churns with movement, as if the ground itself births the buffalo. Rogers' masterful use of composition—upward motion, dense textures, and flowing lines—imbues the sculpture with raw, kinetic energy.

Calling the Buffalo is not merely representational; it channels the heartbeat of ceremony, belief, and myth. It captures the blurred line between earth and spirit, dancer and animal—a powerful reminder of how deeply land and life are intertwined.

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