Crest mask

Object Details

Label Text

Few objects are so generally identified with African art as the Bamana "antelope" crest mask. It is actually a complex object, with tremendous variations in style and technique, but share the same symbolism. The differences are usually attributed to the regional styles set forth in 1960 by Robert Goldwater, whose work relied on museum-based research and the 1934-35 field data of F. H. Lem.

Most African sculptures are carved from one piece of wood, but the horizontal style of antelope mask uses two: one for the head and neck, and one for the body. The mask has a strong silhouette with a spiral tail and sweeping horns. The surface is textured with incised geometric designs.

Most African artists use depictions of animals to convey lessons. An appropriate animal is selected according to well-known distinctive physical or behavioral traits. The physical features of different animals are often combined to create mythical creatures whose symbolic powers are greater than ordinary beasts. These masks combine the horns of a large antelope; the body of an aardvark with its big ears, short legs and thick tail; and the textured skin and curling ability of the pangolin--all animals who dig up the earth. This makes them fitting representations of Chi Wara, the supernatural being who the Bamana traditionally believed taught people to farm. Earrings, of red fiber or cowrie shell, reinforce the idea that these are not ordinary animals.

Young men once wore male and female pairs of masks in a dance performance that taught, praised and encouraged good farmers. Ceremonies were held in the fields. Today, because of conversion to Islam and modern changes in employment and school attendance, the masquerade has become more a popular entertainment and less a performance associated with a men's initiation society. Many replicas of the mask can be found for sale in urban markets; it is even copied in other parts of Africa for the export trade.

Description

Wood crest mask composed of a male composite animal with two sets of horns, curled tail, open mouth with long tongue and overall chip carved surface. Red cotton fiber is visible in the pierced ears.

Provenance

J. J. Klejman, New York, 1962

Ernst Anspach, New York, 1962 to 1991

Exhibition History

African Cosmos: Stellar Arts, National Museum of African Art, Smithsonian Institution, Washington, D.C., June 20-December 9, 2012; Newark Museum, February 26-August 11, 2013; Los Angeles County Museum of Art, August 23-November 30, 2014; Michael C. Carlos Museum at Emory University, Atlanta, January 31-June 21, 2015 (exhibited at NMAfA)

Genesis: Ideas of Origin in African Art, Metropolitan Museum of Art, New York, November 19, 2002-July 4, 2003

Published References

LaGamma, Alisa. 2002. Genesis: Ideas of Origin in African Sculpture. New York: The Metropolitan Museum of Art, p. 109, no. 64.

National Museum of African Art. 1999. Selected Works from the Collection of the National Museum of African Art. Washington, D.C.: National Museum of African Art, Smithsonian Institution, pp. 20-21, no. 5A.

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Data Source

National Museum of African Art

Maker

Bamana artist

Date

Late 19th-early 20th century

Credit Line

Gift of Ernst Anspach and museum purchase

Medium

Wood, metal, cotton fiber

Dimensions

H x W: 54 x 59.1 cm (21 1/4 x 23 1/4 in.)

Type

Mask