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UNIVERSITY OF MICHIGAN
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UNIVERSITY OF MICHIGAN
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UNIVERSITY OF MICHIGAN
CONTENTS
Pfl'£FACE
SPIRtTS SP£A.K 21 PETER STEPAN
PLATES JJ
{ ETHNIC GROUPS IN ALPHABETICAL ORDER)
BAG.A 7. 9
&A.MANA 3l-39
BENIN KINGDOM 46. 47
CHOKWI 97. 1op. 102
,ANG 78. 79
'
LUCHAZI 99
URHOBO 55
n
IANGWA 76. 77
UTE 15
DK>t.A l 2
BANYANG 66
Bl~OGO 3--6
DOGON 40, 4 1
GUAO 19. 20
HIMBA Ill. n.i
IBl&IO 59
KU8A 104·)()6
KWlll $2•$4
WNGU (RUNGU) .12$
NA.LU
OVlMIUNDU 102 VILI 8'1. 88
a. n
MAHOt4GWl/NGAAI $0
NOMKA/8£KI 1$
PEND£ 94·96
WI 13
KNUllO 25·2$
VAKA 8~91
YOMBE 86
I.AULi 2l-24 80A n7
tGBO 52· S4
KWIRI: 12$
MAKOt.iM 121o-124
LIOA
UO 56-58
ns
IOMOYE )()6-no
IUKU 92. 93
80KJ 63
MARK.A 29
HKI: 8S
MBU~ l03
TUSYAN 4 5
YORUBA 48·51
IRJS HAHNER
Sl8UOGAAPKY 182
MAP OF AFRICA
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WIA lTI. 112
NUNUMA (GURUNSI) .. J
CATALOGUE tH
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•WA 44
KANTANA (MAMA) 68
LISl/BIRA t20
MAM.BILA 69. 10
NOOUNll RIVD 81
aEM8E· 1\6
EIC.ITI (YOAUllA) SO
11.JAGHAM 61. 62. 64. 65
IR 48
NOUN.DI -07
8ATl80 74
BIRA/LaH/KOMO 1l8
DYULA JO
KRU/ G-.0 ll. 14
MINDI: 10 ' MOSll 42 OGONI 60
llNUI RIGION
DAN 17. 18
GUIRE l6
KONGC>OtNGA 101
llAMILIKI 72. 1.1 75
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PREFACE
THE AJM OF THI$ BOOK is ldmitt.Oly not & MOdt:st one..
a10 still eothU-si.Mtic:ally d&ncfd today, the Pt!fformances often
h IS to ,provkl• a c:om.,..heMlvt 00ttrvkw of the tll\t:lt Attican
make conc:.sslons to ~ltttalnl"Mflt a~ touriil:s' •x-Ptci..Uons:.
mli$kt-tho molt comotflr"9 In t«ms of btaucy Of tculpturel
Only e f~ Afrle.n communitJff havo ~ntged to ket.P tlieir
conceot. the most awesome. and oerhaps most magical. masks
m asauerade performances hidden fTom t he inquisitive eyes ol'I
ever aiea ted by African a rtists. For modi too long now, masks
white visitOfs.
heve bll!en treated as mere tC..ns of tlw " s~" ot ce'taln tltWc vrouos: or re;~s. and their itll$he quaky hM frequently been
APA.RT FROM FAMO US ICONS OF tM Afl"bn tNisk·
negletted. The present selection is different. having Plltposefy been
making art. th.is book includes masks that seem well on the way
made on the basis o f the aesthetic rank of these creations.
to becoming such. Its selection of "Mona Llsas" ot •master
At most people oro now owaro. thl fnllkl In Wt1t1rn
mosKs· I' Ri0Pltmtnt·tc1 b)' an oot1ln1 or tht brOOd ronee Of ~
museums end 't$0M Mtrt trcigments.ltl(j that tn two
tnaJk tyQfl. With thl$ in mW'ld, thil c91..brotion ot Afrie.n IT\3W
tapectS. A$ fac.e. cap ~ helmet mas.ks. Ui•y wete originally P6tl
can begin..
of often voluminous mesque..-ade co11utnet, usuatly macM by • whot.e te..-n of •rtiwiM, ot r•ffi• •nd oth•r m.llerials. Thes.e whole-lbody costwnes. in tum were sir'!¥>1y the viw.t components
ol & com~ performMCe in wl'llCl'I musk &!"Id pettlon of
m.'lternit;y," and hW i ts opPQSite PG6e in tt\.e ert of the Sout h Sus.
AJriCltl art. Offpit• ill undout>ttYe·
5')irit they embodied needed no great IMoquence to communicate
ments. all the way down ~o mock copulation. Yet there are also
its meaning. and even Its eyes were nearly gazeless-(ndkatots
repotts of sa'wfish and hfppopotamus mas.ks, even of oock or rooster
of t he superior metaphysical power of the spirit effective In
dances performed by four young fellows "Who were dress.ed as
t hem.10
cocks,. in costumes made of palm leaf strips. They Imitated thes.e
By comparison to the deadly earnest and power embodied
bltds by bending forward from the hips and mincing around with
In such mas.ks. others give the Impress.ion of b cheerful .kinder·
short steps in time to the musie. Occastonally they interrupted
gal'ten. HU90 A. Betnatil.k once deSC:ril>td a masauorade ht s,.aw
their t ripping st•.ps with b few dust·raisin9 stamps, then resumod
in il930- 31 on orango Grand• (BiSStgOS ts.lends). It w.s accom·
nun•rk1g arouf\d. Chirping end crowing the while ,,_""
14 I ~'' ""$ 1P(AI(
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THIS MULTIFARITY· OF VISUAL FORM REVEALS A MU LTIDIMENSIONAL REALITY IN WHICH D IFFERENT . WORLDS LITERALLY INTER PENETRAT E •
A.s t he $&mt observer relates. tht BiefJ090 vs~ to tta¢h their adolescents such dances in the seciuded domain
or a bush
the
habiUi~ t hat
r9Prfftnt$ the true homo of the m.sk spirits:
These, W9 temombtr, inc:lvded for est, bush and water spirits. and
camp, vet an i mal masks nonetheless r&mained a feature o f publ ic> when g irts and boyt (in di fferent camps) are sepa1a ted from their
village c e1ebrations as welL Eamest choreograph;c imitat;ons of
,,.;others and families to speod a key phase in their li\lff in a forest
ani mal behavior, frank sexual anusions in g rote-sque form, and
dlearing with tNChefs and wise men, sorcerer hunt ers and medical
the repeat ed appearance o f female clowns who caricatured t he
c.aretakers, the adolescents are recei~ by and given into the
men's lust, all lubricat ed with plenty o f palm wine. maintained a
care of mask s. ·Among the Dan in 1...ory Coast. for instance, their
balance• between a,;lt and play, sacred and profane.
care begins with the masks' dafly entry into the village to collect
food for their pupils from t he women- not silently or seriously MASK PIRFORMANCIS AR& NOT necessarily associated
but wit h earthy wit and charming insistence. The wearers disguise
with village dance spectacles a&one. There ar e many an d diverse
their voices to conform with t he mask, uttering anlmal.flke sounds
oocasbns fOf' them. and t heir range of meaning Is broad. In many
tl!\at ,t ransform them Into •spirit vokes"-a kind of "acoustk:
traditlonal convnunaies, rites of PilssaQe' and Initiations are virtually
masking; as It were."' When t he c hildren return from t he camp
unthlnkeble without the presence of masks. Thelr essential task
to the s~eplng hut In the village eve1t
from ehHdhOOd to edult hOOCI, wlth Its plttalls and uncertainties.
mom1ng (OIMts 17t.).
stands undor the PtOtectiOn of masks. wtllct\. among, other t hings, ~P evil
spirits at bay. Such bush e&rrios. w~ usually IM:l stvtral
Hbni Himm~htbt'r. who in 1976 had the
pri...i1eg e of 04fti·
Ciii>ating, os a whit9 mon. in an initiation camp of the Don in Libcll'ib.
weeks. a,.. not only the place where bOy$ bl"ld teenagers ate Cire\.lm-
reported on a ritual W91corne of the arriving boys on the part of
c iS4'1d but the site of instruction in dancing and cratts skills, in the
a:n invisible fore-st spirit by the name of Nana. who functioned as
commun ity's praverbs and basic rules. Here yooths are taught
spiritual supervi.sor from a COl"ICffled shelter in the sacred woods.
the use o f medicinal herbs and the ~bliatina. and thtir acpffranet- especially ttie tNSks of tho koino
what Qurpose they were made a.nd performed. After having gail'l9d
(plates 31f.)-~lls that ot ·fetiShts" which.have been "'charget A similar
authority. The effectiveness of these masks does not depend on
charging of masks was already seen Jn the case of the Bamana,
artist ic adornment, since It is already assured by t heir ass.oclation
whose komo·masks beat an amazing slmllarlty to 'fetish' altars
with magic medicine, one reason W'hy Grasslands masks have
(plates ! I f.). In contrast , In the Grasslands the gris-g.ris are not
maintained thell slgniflcance down to this day. Masks without
dir ectly attached to th~ wooden part of t he mask but to the
wooden face portions conslU ol an artfully woven or crocheted
dancer's costume. nor are offerings made to masks In this region.
material t hat.I$ pvlJed t:Ner the head.like a large stocking, and a
Whlle t he variety of masks among the Bamana may be o.artllllly
tei. their offlelels and reti nue. The
mtntionted above (plate 17>. serve as mediators between the bush
memot'y of an epoch of mighty rulers In Ea.st An901a _ finds an
camp and the villagers, especially the mothers of the circumcised
eixDteulon In the mask traditions. Sometlmtt. It ~ou\d aP0tar,
boys. ChihntJO is a matt ancestor sl)irlt who embodlff l)OWor
Nrfitt n.ilers thernstlvts "'e eommemo.rated In ma.k rorm, for
an·d WQl tt\ &nd accordingty Is da.nced only by a king or his sons.
instance in the Chokwe masks eua.inu ... and Kalelwa .... In th_,.e
The likt'Wise male mas.It figure Chiu~ appears at tht condu- •
two n\6SkJ, Chokwt kings ol ea111er eenturitt are d•Pieted."2'
sion of the initiation, which lasts Hvtral months. In many uses a lUS MA.SI< ti aditions com·
' chisaluke determines whether t hey haw in fact mastered the
Pelis us to 1eviso our notions of what the term "mask" signifie$ in
dances they have practiced. Thi s mask concfudes the bush camp
Africa. Tll9 rewlts may swprise especially those wtio have become
w.ith occasion.ally ~entric p@rformances on houMt r oofs or termite mounds. behaving like a trickster:
~1n
hi s performances
acevstomed to a uniform picture of African culture. This pictune
reflects the colonial viewpoint of "forced collectivizatioll." when
c.htsal uke i ncites the crowd by running around the village reek•
blankei judgements were passed C?n Africans and art negre. In
Jessl'y. c l imbing on houses, granaries. amt tr ees. and dancing
t he appearance ol masks. representatives of the colonlal power-s
sug~stively
with his phallic appendage, called a lwifwi, with
which h e 'impregnates' ewf\lthing and everybody.",.
The Chokwe and t hf f n~t>Ors have a good hu~red mask figures, which are·\liewed as embodiments of ancestors even when
they bear European features (Including abundances of facial hair)
tended to see an unleashing of elemental insti"H:ts and s1.4>«st1tlons rather than expressioris of a highly complex cultural system, 9\''ftr· changing and futt of MJanc.es from r egion to region. Ac:cotdlng to a more recent ethnologJeal ln.terpretatlon of these cultutal systems. the perfOfmance of masks Is also a meeins
• $01Rlt $ SPIEAll
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UNIVERSITY OF MICHIGAN
I 29
to counterbalance t he discrepancies and social asymmetries-
realistk renderinsi of t he human face is the except ion in Africa,
especially In the relationship of the sexes-that exist in every .
and wtien suc.h iealism does ~ear, it likely can be traced back to
scxlety. By selsmc)graphlcafly reacting to shifts In t he social status
European influences (piate 86). Nothing could be further frorp an
Quo and group dynamics, mask cult ure Is reput egle
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UNIVERSITY OF MICHIGAN
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