People / african masks

Location: Central Cote d'Ivoire

Population: 20,000

Arts: The Yaure, of Akan descent, are known mostly for their striking masks. Though they display elements of their neighbors, the Baule and Guro, there are some distinctive features which make these masks particularly appealing. The most common of these elements are the serrated edges surrounding the border of the face. The Yaure produced two types of masks, those that were black and those that were brightly painted. The darker ones were used in funeral processions, and are highly-prized by collectors for their stark beauty. Known as "lo" masks, their purpose was to appease supernatural powers known as "yu." The "yu," though vital for life, could also destroy, so veneration was important to ease the understandable social and spiritual tension present after the death of an elder.

Masks could not be seen by women, and were treated with caution even by the men who danced them. The ritual significance of masks in the Ivory Coast has been diminished by Western influence and civil unrest, but are still used for special occasions. The more colorful masks are difficult to differentiate from those of Guro, and probably have similar functions, which are many, from judicial proceedings to magical ceremonies.

History: Yaure history is closely linked with that of the Baule, since they were part of the migration of the Akan peoples from Ghana as the Ashante Kingdom rose to power during the 18th century. The Yaure, depending on where they live, speak both Mande and Baule. In addition to their language, their art and culture varies based on whether they are located near the Baule or Guro. For more detailed historical information, see the Baule write-up on our site.

Location: Northeast Coastal Tanzania

Population: Less than 200,000

Arts: Zigua art, like most art from Tanzania, is poorly understood. Though they surely have a vibrant tradition of ritual carvings, many of their pieces are undoubtedly misidentified. There is so much overlap in styles from east to west in Tanzania that further research is vital, given the sheer volume of pieces now emerging from the country. Even the form most identified with the Zigua, the so-called "mummy" figures thought to be protective in nature, have been attributed to numerous other culture, mostly the Pare. These small carvings have a curious, quizzical face and a body virtually "shrink-wrapped" by soaking the cloth wrappings in secret liquids. There are masks and divining objects linked to them also, but again, they are all subject to a range of interpretations and origins.

History: The Zigua are thought to have fled east to their current homelands to avoid the slave trade. They are now credited with the establishment of Goshaland, which was granted autonomy in the 19th century. Of Bantu origin, the Zigua, like all Bantu peoples, can trace their origin back thousands of years. The Bantu have since spread throughout Africa to account for two-thirds of its current population.

Location: Southeastern Democratic Rep of Congo

Arts: The elegant art of the Tabwa has only been considered distinct for about 30 years. The majority of pieces collected prior to the 1970's were identified as Luba, who are their neighbors to the west. Tabwa art is produced primarily to venerate ancestors, and in that respect it reflects one of the most predominant of Congo ideals. The Tabwa produce small to mid-size ancestor statues, which often feature beautiful triangular scarifications thought to represent the new moon; long, braided hairdos which can extend down the back almost to the waist; and a curious mouth posture with protruding tongue. Often the face appears to be looking slightly skyward, eyes wide open. These ancestor carvings, called "mikisi, and the rituals associated with them, allow certain families and traditional leaders to consolidate their power, using the"special" knowledge of the ancestors to their advantage. It boils down, in many ways, to the politics of fear, West African-style. Unlike the Luba, whose statuary is predominantly female, the Tabwa carve both male and female figures. Another reflection of their recent Congo heritage is the production of small prestige objects like combs, stools, and small ivory and bone figures. Though a few impressive helmet masks do exist, their purpose is unknown. Their appearance strongly parallels that of their statuary. Tabwa statues are among the most charming in all the Congo, though masterpieces are rare. History: The distant history of the Tabwa is lost. Even their presence in the Congo and their consolidation as "one people" under the name "Tabwa" is poorly documented. It is thought that they originated somewhere in East Africa, perhaps Tanzania, and fled across Lake Tanganyika in small groups to escape famine and wars. Once in the Congo, small villages popped up along the western shores of the lake, and over time they came under the power and influence of the Luba. It is ironic that unrest in the eastern Congo, brought on mostly by refugees from the Rwandan civil war, has led to so much chaos that many Tabwa now find themselves crossing back across the lake into Tanzania, in yet another search for peace.

Location: Southern Gabon, Republic of the Congo

Population: 40,000

Arts and History: The arts of the Punu reflect the area in which they live, where the veneration of ancestral remains is the source of much of the art. Masks are the primary mode of expression for the Punu. Like their neighbors the Fang and Kota, there are some impressive statues thought to have a "guardian" function. Though rare, these statues can be extremely beautiful. The famous, one might even say ubiquitous, face masks are worn with a colorful full-body costume. Though many have an Asian-like expression, no such connection has been established. Known as "duma" or "mvudi," masks represent a female guardian spirit, and are danced at the initiation of young girls, funerary rites, and ancestor rituals. In the "Mukui" society, the masked performer, sometimes on stilts, performs at a dance of the full moon. Punu masks are characterized by a white, kaolin-covered face, a diamond shaped scar on the forehead, and full lips. These masks are highly-stylized and strikingly three-dimensional, though there is little variation in appearance from mask to mask. History: Little is known of Punu history, though they are thought to have moved into the area from the north. They are of Bantu stock, and bloodlines of the Bantu, in general, can be traced back at least 2000 years. The Bantu, who perhaps arose in the far eastern portion of modern-day Nigeria, displaced hundreds of indigenous cultures in their rapid expansion to become the dominant linguistic group in all of Africa.

Arts: Though the Bwa are not related by lineage to the Mossi, their wood carvings follow similar stylistic guidelines. with soaring vertical plank masks and animal masks, associated with the "Cult of Do." Roy writes: " The Bwa believe that the world was created by God, named Difini, or Dobweni, who abandoned man and left the earth when he was wounded by a woman pounding millet with her pestle. To act as his representative among man and as an intermediary between man and the forces of nature, Dobweni sent his son, Do. Although Do is androgynous, both male and female, it is most frequently represented as male. Do represents the bush and its life-giving force, for the Bwa still depend on the bush for game and gathered food. He shows himself as the source of plant life and the power that gives fruit to man's work in the fields. Do is concerned with ceremonies that insure the renewal of life." Plank masks employ the dramatic geometric incising found throughout the region. Dance masks fall into two categories, the extraordinary face masks, which feature an abstract round face with a triangular or diamond-shaped mouth, through which the dancer sees, an impressive downward-sweeping hook, and painted circular and checkerboard decorations. All of these patterns have ritual and totemic significance. The face masks include a soaring vertical plank, likewise decorated with a variety of curving and geometric motifs. The topmost portion of the mask is often a graceful downward curve, not strictly horizontal. The second type of mask, of which there are many individual types, are the animal masks. Unlike the rather static, two-dimensional plank face masks, these can be quite dynamic, even stunning. A variety of animals are rather realistically depicted, and including the antelope, buffalo, serpent, rooster, hawks, butterflies, fish, hyenas, and crocodiles. These serve to teach and inspire initiates. The familiar winged "butterfly" masks have a series of eight circles spread four to each side. They are often confused with the hawk mask, which replaces circles with colorful triangular and linear patterns. About the significance of the geometric decorations, Roy adds: "Initiates learn the meanings of the geometric signs that cover the masks from the elders, who use the masks themselves as models, and also use rectangular boards on which the same signs have been painted. Initially, each of the signs is explained independently of other signs, using didactic boards. Then the meanings of the assembled signs on specific plank masks are explained. Here the combination of signs communicates a moral or historical lesson that is an essential part of the initiation. These lessons describe the virtues of the ideal, respected member of the community, and the dangers of straying from the path of social behavior marked out by the ancestors. They also illustrate the myths of the founding of the clans." Another significant mask form, the "leaf" mask, is used by the Bwa, but since it is made entirely of vegetal materials, never survives long enough to be collectible. Like wooden masks, they are associated with the Cult of Do. Geography plays a significant role in mask type, the northern Bwa use mostly leaf masks, while southern Bwa lean towards the many wooden forms. Though figures have been reported, they haven't been seen on the market in years. Attribution of Bwa masks is not difficult, if studied carefully, section by section.

History: Though their distant roots are unknown, this Voltaic group has resided in central Burkina Faso and eastern Mali at least three hundred years. They have been repeatedly invaded, primarily because they live in scattered small villages not easily defended. In the 18th century, the Segou Bamana occupied large areas of Bwa territory. This was a difficult period for the Bwa, who were forced to pay taxes and tributes to their Bamana captors. The decline of the Bamana Empire was replaced by the infamous Muslim Fulani cavalry, who destroyed crops, slaughtered animals, enslaved both men and women, and forced many of the men to join their army. The arrival of the French brought little relief to the Bwa, as they conspired with the Fulani to tighten their grip. By 1915 the Bwa as a people were virtually extinct, yet somehow the few who survived managed to reestablish themselves. They continue to be a vibrant culture to this day, and produce masks treasured throughout the world.