Mask

Carved from a single piece of soft wood, this oval face mask by a Dan carver of Côte d'Ivoire or Liberia features a wide forehead, large circular eye holes, and nose and mouth in high relief. The wood has been darkened and appears black with a shiny surface. Around the eyes are residue of an unknown material that might have once decorated the openings. The elliptical mouth exhibits a narrow slit separating the mask’s lips. The mask's rims are pierced with irregular holes for attaching the rest of the costume.

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; Bugle, who historically leads men into battle; and Gunyege, whose mask is worn by a community's champion foot racers in competitions. The present example might be identified as Gunyege; once they are divorced from their performance contexts, however, mask forms are difficult to identify.