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Old Worn Mask, attributed on purchase near Man as Dan from Cote d'Ivoire. It is unlike any other Dan mask that I have seen and appears to resemble more the Guro masks of the region. It was collected along with Item No: 160100217243 It is an interesting mask with a weathered blackened patina, carved from hardwood and in good condition. It was collected in 2000, measures 25 x 16cm. and can be supplied with stand pictured. Shipping weight is 2kg (see pictures). Guro Masks: Used by the societies of the Guro and Baule of the Ivory Coast at their ceremonial dances these masks show delicacy and immense care for the smallest detail. The black, or painted and polished human masks may be richly tattooed with different patterns according to the clan. The face is often framed by a zig-zag border. Various types of masks appear in ceremonies dramatising village life. Kpan, with its elaborate crested coiffure, represents the senior female in the “Dance of Rejoicing” Dan sculptors mainly produce masks which deal with virtually every element in Dan society, including education, competition, war, peace, social regulation, and of course, entertainment. Masquerades in which Dan masks appear often survive many generations and may be assigned new functions by subsequent owners. For example, at some time in its history, a fire prevention mask may have appeared in the Gunyege, or "foot-racer," masquerade, which had a purely entertainment function. In all cases, the identity of a Dan mask is determined not only by its facial features but also by the headdress and costume it wears, its musical accompaniment, and the way it behaves in the context of its appearance The dark colour of the masks is attained by insertion in mud baths. For the dance the masks are decked out with feathers, beads and bells and the dancers wear cloaks of cloth and raffia. Each has a name, is used at poro society rituals and represents the ancestors in the function of a teacher. The innumerable wooden masks incarnate the supernatural, spiritual force called gle, who lives in the forest and wishes to participate in the life of the village. Yet, as it is invisible, it must appear in its full form and function in the dream of a male initiate, who will indicate this tothe council of elders. It is up to them to decide whether it is advisable to have a mast created and worn by the dreamer. The masks' presence is required at any significant event. Fischer (1978) counts eleven types of masks, which may have similar formal elements, even though they are meant for different functions. For example, the deangle is a benevolent female mask, oval in shape, with slitted eyes, and covered with a white band of kaolin. The forehead is divided by a vertical strip that runs down to the nose; there are protruding tips, often half-open and showing a few metal teeth. When it plays the role of intermediary between the young people undergoing initiation and the village, it is called the bonagle; it neither dances nor sings, but comes to look for food from the women, with whom it jokes around. Other masks appear only during celebrations, such as the bagle, with its tubular eyes, low forehead, mustache, and horned skull-a mask that is meant to make people laugh due to its grotesque pantomime. The hagle, with triangular holes for eyes, arched eyebrows, and high cheekbones, plays at attacking the public with sticks one must evade. The gunyegd, a masculine mask, is distinguished from the preceding one by its round holes for eyes; it rule over the footraces for young initiates. The weptirkirgle, with its protruding tubular eyes, is always asymmetrical, and regarded as deformed; one is forbidden to laugh at it, even though its gestures are funny. The blua gle's function is to escort and bless the warriors. He dances with a fiery spirit. Bearing someone on his shoulders, he demonstrates his strength. He is identifiable by his blua, a huge headdress of black feathers, and his fan, the maan, which he holds in his hands. There are also stone masks and the little so-called passport- masks, which are attached to the arm. The Dan have a unity of style that approaches uniformity.
For images of some more items in our collection go to: http://www.flickr.com/photos/sidewalk_tribal_galleries/sets/ When buying in Africa we use fair trade practice. For more information about Sidewalk Tribal Galleries please check the following links: Sidewalk Tribal Galleries African Art How old are these artefacts? Our ethics policy (We do have a new web site under construction and it is taking a little time to launch. Our wonderful web designer is working into the nights to get it done. So thank you for your patience and may we suggest that you check again in a few weeks). Please feel free to email me for further information: ann@sidewalkgallery.com.au Check out my other items Be sure to add me to your favourites list Since
its inception in 1989 Sidewalk Gallery has become a renowned Tribal
Arts Gallery. Specialising in Antique & Traditional African
Sculpture representing more than 85 separate cultures collected from 26
countries across Africa. Ethnic
jewellery and other items of adornment , both antique &
contemporary, from every continent continues to astound all who enter
the gallery. The collection is spectacular. On 27-Mar-07 at 09:59:49 AEST, seller added the following information:
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