THE MASKS OF SENUFO, DOGON, AND KUBA
Most American’s who hear the term masquerade will find a mental image of a ballroom dance floor with men and women dancing in a small mask that conceal one’s identity. Or they might find pictures of a Mardi Gra celebration and the famous parades rolling down the streets of Loisanna strolling through their memory. While both the masquerade dance and Mardi Gra celebration have their traditions, history, and cultural influences, yet, other masks garner many people's attention, and that is the masks of Africa. The art of the masquerade is a critical part of the culture in many African societies. Moreover, the masks are enriched with history and form a means of communicating their past with a somewhat secretive
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Kponyungo, which is a funeral head mask comprised of wood that is 32 7/8” in length from: The University of Iowa Museum of Art, The Stanley Collection, X1986.327 and X1986.250
Dogon Masks
The Dogon relocated to their present location, Mali and Burkina Faso (see figure 1.), around the 15th century. Eventually, they settled in the Bandiagara cliff region so they could avoid the Calvary of Mossi as the cliffs provide excellent protection from the horsemen (Art 3). Similar to Senufo, the Dogon people rely on agriculture for a source of food and income. In particular, they grow onions to sell all through the Sudan region and grow millet and sorghum for their local communities to consume (Art 3).
The Dogon’s are some of the most notable and captivating people in all of Africa because of their masks and rituals. In the video, African Art as Theater: The Bwa Masks of the Gnoumou Family of the Village of Boni, Roy Christopher makes available lots of information into the exact meaning and purpose behind the Bwa masks. Roy (2007) describes the masks, as seen below, and gives the viewer a much deeper understanding as to what they are watching. For instance, the patterns seen on the masks are part of a coded language that will be taught to initiates as they make the transition into
Renee Stout’s “Tales of the Conjure Woman,” currently on exhibition at Spelman College’s Cosby Hall, puts on display the culturally mysterious nature of African folklore. In the exhibition, Stout presents with utter brilliance the depth of the culture through her artistic manifestation of ceremonial traditions, magical hoodoo, and spell-related practices. In her works, Stout uses a unique personification, an alter ego of sorts, named Fatima Mayfield, to explore the African folkloric world of which her exhibition represents. Ranging from simple recipes to intricate descriptions of the aforementioned magical practices, Stout takes on her work with her alter ego in an attempt to demonstrate both the past and contemporaneous dimensions of her work. Additionally, it would seem as if Fatima exists as a sort of special source of understanding and clarity for Stout given her vast knowledge and countless abilities. The exhibition is home to various pieces that allow one to “jump inside the pages” and interact with Stout’s rendition of the African folkloric community.
Art is also used for ritualistic purposes. Men's loincloths were painted and decorated with tassels to symbolize falling rain. Men also wore elaborate costumes that include special headdresses, masks, and body paints during ritual ceremonies and dances.
In the early sixteenth century, the Oba, on the hip or neck, wore the Benin pendant mask during sacred ceremonies. The pendant represents Queen Idia, mother of Oba Esigie, who ruled the Benin court. The pendant is an ivory mask decorated with heads that represent the Portuguese men with beards, symbolizing the Benin’s alliance and dominion over Europeans. The pendant’s forehead was decorated with a pair of metal strips to indicate scarification marks. Below the chin, the pendant has bands of coral beads and carved mudfish are on the crown and collar. Due to their ability to live both on land and in water, mudfish symbolized the king’s double nature as human and divine. Since the Portuguese came from across the seas, they were considered people
head which was wrapped in buckskin on a wooden handle. They also used the common bow and
Leading up to the celebration the girls are taught a certain dance that must be performed at the ceremony. “the new initiates are brought into town for the first time since the initiation process began…” At the ceremony the Mende girls wear a Sowei mask and costume which is considered to be the embodiment of the river spirt Sowo. Once the mask and costume is on the person transforms and her actions are no longer hers but are the actions of the spirt Sowo. A sacred dance is performed and dance moves represent the strength and power of woman as members in the Mende community. “Sowo mask are divided into three structural components- the neck, face, and coiffure. Carved from a single block of lightweight wood, the masks weigh only two to four pounds. The mask displays a shiny black surface representative of the value assigned to smooth dark skin.” The rings around the masks neck demonstrates a trait that is considered beautiful in Mende cultures. Every mask has a different hairstyle, representing the style of the woman the mask is made for, you can see items such as shells, metal and claws on the coiffure.
Regardless of the origins, regardless of the propriety? the existence of the masquerade as a part of popular urban culture in the eighteenth century cannot be denied. The masquerade was a much needed outlet for the people of this time who constantly had to keep their behavior within the strict confines of what was socially acceptable. By putting one mask on, the masqueraders were able to take a more fundamental mask off.
Kandiyoti, Deniz. Invisible to the World? Rep. no. 49842. London: School of Oriental and African Studies, 2009. Print.
The title itself directs readers towards a sense of assimilation by wearing a mask. Wearing a mask indicates hiding an original identity in order to please the mainstream one. This is exactly the case in “We Wear the Mask”. In this case, blacks had to hide their humiliation and suffering from their white counterparts by wearing a mask that lies. When Dunbar wrote, “With torn and bleeding hearts we smile” (646), it is evident that African Americans were forced to hide their pain by showing a fake smile. They suffered emotionally on the inside but could not express it. In addition to showing a fake smile, African Americans did not care about their heritage. The third stanza reads, “But let the world dream otherwise, / We wear the mask!” (14-15). The lines do not celebrate cultural heritage because the slaves had to show pleasure while they are being tortured. Letting the world dream otherwise shows the slaves’ carelessness when it comes to expressing their identity.They are concealing their true self by hiding their pain. Hiding their pain also means hiding their cultural
Masks have been mentioned in Venetian history dating back to the thirteenth century. They are formed out of paper-mache and decorated with various paints, gems, feathers, and other decorations (Magic of Venezia Mask Story). The Venetian Republic was composed of intensive social and economic inequality, making for a unique culture. Such inequalities resulted in the use of masks for the purpose of concealing an individual’s identity. Venice, being such a small city, made it difficult to keep secrets but the use of the mask helped make it a bit easier. The masks served the social purpose of keeping all citize...
A person’s identity develops from birth and is shaped by many components, including values and attitudes given at home. We all have a different perspective about who we want to be and what fits better with our personality. However, is our identity only shaped by personal choices or does culture play an important role here? It is a fact that the human being is always looking for an inclusion in society. For instance, there is a clear emphasis in both, “Masks”, by Lucy Grealy, and “Stranger in the Village”, by James Baldwin that identity can be shaped by culture. Grealy does a great job writing about the main issue that has made her life so difficult: her appearance. Cancer has placed her in a position where people,
The book of Confessions of a Mask is written by Yukio Mishima. This book is talked about Kochan, who is a homosexual, he always wears a mask and act like a normal man in front of his friends or women; he learns to mimic the inherent qualities of “normal” individuals by his peers, but he fails to do so at the end. He is able to appreciate the feminine beauty whole, but not being sexually aroused by that woman. There have some examples to prove that he is a homosexual and he has no lust with women.
Paul Laurence Dunbar’s “We Wear the Mask” is a lyric poem in which the point of attraction, the mask, represents the oppression and sadness held by African Americans in the late 19th century, around the time of slavery. As the poem progresses, Dunbar reveals the façade of the mask, portrayed in the third stanza where the speaker states, “But let the dream be otherwise” (13). The unreal character of the mask has played a significant role in the lives of African Americans, who pretend to put on a smile when they feel sad internally. This occasion, according to Dunbar, is the “debt we pay to human guile," meaning that their sadness is related to them deceiving others. Unlike his other poems, with its prevalent use of black dialect, Dunbar’s “We Wear the Mask” acts as “an apologia (or justification) for the minstrel quality of some of his dialect poems” (Desmet, Hart, and Miller 466).
For example, the Chi Wara is a ceremonial object. The Chi Wara is from the Bamana people, who used the visuals of dance as well in their art. The Chi Wara is a mystical, zoomorphic, animal headpiece that encompasses an antelope, anteater, and human. It is said to bring favors of fertility, agri...
The Concept of the veil has been a significant symbol of clearly differentiating from the whites, in aspects of political, economical and social prospects. Durkheim explained symbol as “something that stands for something else”(pg. 135). It is a symbol that calls up shared notions and values. In the example of the Blacks in the south, the veil symbolized an “iron curtain” separating the two races, separation and invisibility, of the black and white. The veil had previously been worn because of previous traditions demanding a clear separation of the sexes. The veil is seen as a social barrier to prevent the “others”, black African Americans, from surpassing into the clean and pure white world. Nonetheless Du bois also states, that its possible for one to, lift up the veil when one wishes, and he can also exist in a region on neither side, white nor black, which shows Du bois’ many different meaning and function with the symbol of the veil.
Angeles, Los. (2009). African arts. Volume 28. Published by African Studies Center, University of California.