Art/ Collection/ Art Object

Face Mask

Date:
19th–mid-20th century
Geography:
Côte d'Ivoire, western Côte d'Ivoire
Culture:
Dan peoples
Medium:
Wood, fiber, pigment
Dimensions:
H. 12 x W. 5 13/16 x D. 3 7/8 in. (30.5 x 14.8 x 9.8 cm)
Classification:
Wood-Sculpture
Credit Line:
The Michael C. Rockefeller Memorial Collection, Bequest of Nelson A. Rockefeller, 1979
Accession Number:
1979.206.70
Not on view
The border between Cote d'Ivoire and Liberia cuts across several ethnic groups, including the Dan, Wee, Kran, and Grebo. In Dan society, dangerous immaterial forest spirits are translated into the forms of human face masks. Whether or not they are worn, such sculptures are spiritually charged. Male performers, gle-zo, experience a dream sent by the mask spirit that allows them to dance it. In performance, the masks are integrated into the hierarchical system that governs political and religious life.
Dan masks have been documented as the embodiment of at least a dozen artistic personalities. Among these are Deangle, who ventures into the village from the initiation camps to ask women for food; Tankagle and Bagle, who entertain through a range of aesthetically pleasing dances, skits, and mimes; Gunyege, whose mask is worn by a community's champion foot racers in competitions; and Bugle, who historically leads men into battle.
Once they are divorced from their performance contexts, however, mask forms are difficult to identify. Performances of Bete and Wee masks may span the careers of many generations of wearers, contributing to the increasingly sacred status of these objects. A masquerade's vitality may also be transferred from one mask form to another. Over time, any respected Dan mask may eventually be elevated to the category gunagle, the mask that represents a village quarter, or gle wa, a judicial mask.
[Merton D. Simpson, New York, until 1957]; Nelson A. Rockefeller, New York, 1957, on loan to The Museum of Primitive Art, New York, 1957–1978

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