Introduction
In the basement of many minds, there is a space for things that have not been explored. It is a storage space for ideas that have not been fully investigated, but are still considered precious, so they are tucked safely away. Likewise this mask has literally been in storage at an art museum. It is important enough to keep, but unsuitable for some reason to be displayed in the upstairs gallery. This website is moving this mask from the unknown space it currently inhabits into the forefront of this digital site.
Although this particular mask remains obscure, by finding information on similar artifacts, I have compiled an interpretation of these masks within the context of movement. Masks, such as this one, receive and impart motion physically and conceptually, through interactions with geography, time and bodies.
Firstly, it is important to begin with this mask in particular before exploring the larger spans of this “online gallery” interpretation. The mask was made in the area of West Africa, what is now known as Burkina Faso. Even more specifically, the color palette and styles indicate origins in the Black Volta River Basin. In this region, wood from the ceiba tree is preferred because of its lightweight and carving qualities. The lightness of the wood means that this mask, which is approximately 30”x8”x8”, is relatively easy to manage while performing dances. Unfortunately ceiba wood is prone to bug infestations, a problem addressed elsewhere in terms of time. (Roy “The Art of Burkina Faso” 4)
The structured design of the mask however denotes a resistance to devastation. Instead it rejects organic chaos for controlled form. The form is smoothly carved, with horns or ears extending from the crown, a large beak or nose emerging from the front of the face and a beard lowering from the chin. Each protrusion, is carefully placed for literal and visual balance. The patterning is also symmetrical and extremely geometric, similar to other masks in the region. (Voltz 39-40) Rings encircle raised eyes at regular intervals. Similar target markings are on the outer sides of the ears. More shapes and lines are neatly painted on both sides of the large-eared mask, with carved lines enunciating some of the painted marks.