Face Mask (Kpeliye'e)

19th–mid-20th century

Not on view

Finely carved face masks were popular in northern Côte d'Ivoire by the early twentieth century. The Belgian art historian Albert Maesen collected a comparable mask when he did fieldwork on Senufo arts in northern Côte d'Ivoire just before the outbreak of World War II. Maesen identified the form as kulié, or "face of the dead." He observed that families owned kulié masks and used them in public dances during agricultural celebrations and funerary ceremonies. Poro associations then also maintained similar face masks to honor deceased members in performances restricted to men. Maesen contrasted the restrained movements of the masqueraders at the events open to all to the more energetic dance of the poro masks in front of select audiences. Sculptors in the region carved face masks throughout the twentieth century. The term kpeliye'e, or "face of the jumping performer," refers to the dynamic performances audiences have continued to associate with the mask. Often centerpieces of entertaining theaters, face masks offer a counterpoint to the region's larger, more combative zoomorphic helmet masks.

Artwork Details

Overview

Provenance

Exhibition History

References

Title: Face Mask (Kpeliye'e)
Date: 19th–mid-20th century
Geography: Côte d'Ivoire, northern Côte d'Ivoire, Korhogo region (?)
Culture: Senufo peoples
Medium: Wood
Dimensions: H. 15 3/16 x W. 6 x D. 3 3/4 in. (38.7 x 15.2 x 9.5 cm)
Classification: Wood-Sculpture
Credit Line: The Michael C. Rockefeller Memorial Collection, Bequest of Nelson A. Rockefeller, 1979
Object Number: 1979.206.216
Curatorial Department: The Michael C. Rockefeller Wing

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Male pombia (child of Poro) figure, Tyebara-Senufo artist, Wood, Senufo peoples, Tyebara group — Male pombia (child of Poro) figure
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