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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language that is unique to each distinct culture. This essay will cover three different African cultures to include the Senufo, Dogon, and Kuba mask, in which I will give a brief cultural overview of each and discuss the significance of the mask within their society. Senufo Masquerades The Senufo people, who migrated to their current location around the 15th and 16th century, are geographically located in West Africa and live in three countries: northern Cote d’Ivoire, Burkina Faso, and Mali (ART 1). The Senufo have a population of over one million people, speak multiple different languages, and most villages tend to be bigger compared to those of other groups in the Ivory Coast. Additionally, the communities are made up of groupings of different clans which form what one would call districts. A fetish house, where they keep their masks, is located in every village (Planet Doc). Agriculture, for the Senufo people, is the primary means of their source of income producing and harvesting things such as millet, maize, rice, and yams (ART 1). In general, they do not rely on hunting or fishing as a source of income. However, Senufo villages do raise some farm stock like sheep, chickens, goats, and dogs (ART 1). Farmers and trade workers split the work, to include the females in the villages, amongst themselves (ART 1) Figure 1. Geographical location of the Senufo people from: https://www.google.com/maps/place/ Côte+d’Ivoire Masks, in the Senufo community, play a central role in the socialization and initiation of men. Likewise, they are an integral part of funerals. In fact, Kleiner (2016) writes, “at funerals, Senufo maskers attend the corpse and, by dancing the masks, they help expel the deceased from the village.” (p. 1132). Dancing with masks, costumes, and large feast accompanies the funerals of the most prominent members of their society, and with everything combined, an intricate work of art emerges “that transcends any one mask or character.” (Kleiner, 2016, p. 1132). Interestingly, masks in the Senufo culture come in the form of a variety of animals like the antelope, crocodile, warthog, hyena, and are combined to make composite like creatures (Kleiner, 2016, p. 1132). For example, below is a photo of a Kponyungo mask that is made up of “The broad, flat horns of a bush buffalo are combined with a hyena’s powerful jaws and a warthog’s tusks.” (ART 2). The masks represent a sacred art that acts as a “mediators between men and women, youths and elders, initiated and uninitiated, powers of nature and those of human agency, and even life and death.” (Kleiner, 2016, p. 1131). Figure 2.
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
adulthood. Figure 3. A picture of a Nwantantay, which is plank mask made from wood and is approximately four ft. in length from the Bonde family in the village of Boni from: https://youtu.be/ZBXOg30xPaQ Additionally, the mask represents the ethical and moral laws of the culture. For instance, a zig-zag pattern, seen in the above pictures, accounts for the path of the ancestors. The black and white squares represent knowledge versus ignorance and the need for lifelong learning. As well, the black squares represent the elders that have been learning about the spiritual world for their entire life, and the white squares represent the ones that just passed through the initiation (Roy). Most people would not realize the encoded language of the masquerades if only taken at face value. However, with a little history and knowledge of the Dogon culture, people can begin to appreciate all the mask have to offer. Like many of the masquerades and masks in African culture, spirits are the Dogon’s foundation for the masks. However, unlike the masks of Senufo which base the use of them on position within the village and is very secretive, the mask of Dogon belong to the families. Furthermore, their society has adapted to a growing interest in their rituals, which uses music, dance, and costumes to tell the stories of their ancestors for the whole world to enjoy (Jones, 2015). Kuba Masks Figure 4. Geographical location of the Kuba people from: https://www.google.com/maps/place/Democratic+Republic+of+the+Congo The Kuba people are located in the Democratic Republic of Congo, between the Kasai and Sankuru rivers, and migrated there around the 16th century. Unlike the Dogon and Senufo people that rely solely on the use of agriculture, the Kuba rely heavily on the surrounding rivers as well and farm some items such as maize and cassava (ART 4). Many different ethnic groups make up the Kuba. However, all of them recognize one king, and in doing so, it plays a significant role in their culture, rituals, and traditions to include their masks. (Kleiner, p. 1133). According to Bortolot (2003), Kuba’s “political stability and the efficient use of natural resources produced wealth that facilitated remarkable artistic invention. Status-conscious Kuba titleholders commissioned local artisans to produce elegant items for display.” (Bortolot). As a result, their masks are more elaborate than that of the Dogon and Senufo. For example, seen below is the Mukenga mask made of wood, glass beads, cowrie shells, feathers, raffia, fur, fabric, thread, and bells versus the wood carving mask of Senufo seen above. Figure 4. Mukenga, a Kuba mask made of wood, glass beads, cowrie shells, feathers, raffia, fur, fabric, thread, and bells and its size is 22 5/8” x 9 ½” x 8” from: http://kwekudee-tripdownmemorylane.blogspot.com/2014/02/kuba-people-most-artistic-and-highly.html Like Dogon and Senufo, use the masks for a variety of purposes. However, there is three mask which are the Mwashamboy, Bwoom, and Ngady Amwaash that play a critical role in telling the Kuba’s history. According to Kleiner (2016), he writes- Mwashamboy symbolizes the founding ancestor, Woot, and embodies the king’s super natural and political power. Bwoom, represents a legendary dwarf or pygmy who signifies the indigenous peoples on whom kingship was imposed. Lastly, Ngady Amwaash, symbolizes both the first woman and all women. On her cheeks are striped tears. They symbolize the pain of childbirth as well as Ngady’s sorrow at having been forced to commit incest with her father, Woot, in order to procreate. (p. 1133). All three mask, accompanied by elaborate costumes consisting of animal pelts, feathers, and ornament trappings, are used during royal initiation ceremonies. (Kleiner, 2016, p. 1133). Conclusion To summarize, the masks of the Kuba, Dogon, and Senufo play a vital role in their culture to include their initiations, ceremonies, and funerals. Furthermore, the masks represent a part of history, traditions, and acts as a symbol of identity in an ever changing world with many external influences. Every mask, whether it be a representation of a spirit, a daughter, or whatever the case might be, tells a specific story. As a result, the rest of the world, which adores many of these masks, must look beyond the intricate designs, wood carvings, and layering of beads and shells to understand the full meaning and purpose of these masks. If people can do that, then the world will have a better understanding of the importance of diversity and cultures.
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,
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.
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.
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.
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.
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
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.
Angeles, Los. (2009). African arts. Volume 28. Published by African Studies Center, University of California.
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...
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).
In sub-Saharan Africa, thousands of languages, cultures, and geographical regions helped influence our African society. The ways in which we produce our artwork, spiritual ideals, and ritual performances are organic and raw. From the tropical regions of Congo and Ghana, to the arid regions of Mali; I pass through the global gateway into a domain where the Western world lost its roots and artistic imagination and grandeur. Africa appeals most to me for its ability to create a realm where the living, dead, and artistic ideals come into a single unit of tranquil philosophy.