Mask
This oval-shaped face mask was carved from a single piece of wood by a Dan carver from Côte d'Ivoire or Liberia. It features a wide bulbous forehead, projecting chin, and high relief nose and mouth. The slit eyes are arched downwards while the lips of the mouth are slightly parted. The rim of the mask is pierced with attachment holes for a costume.
The border between Côte d'Ivoire and Liberia cuts across several ethnic groups, including the Dan, Wee, Kran, and Grebo. In Dan society, dangerous immaterial forest spirits are translated into the forms of human face masks. Whether or not they are worn, such sculptures are spiritually charged. Male performers, gle-zo, experience a dream sent by the mask spirit that allows them to dance it. In performance, the masks are integrated into the hierarchical system that governs political and religious life.
Dan masks have been documented as the embodiment of at least a dozen artistic personalities. Among these are Deangle, who ventures into the village from the initiation camps to ask women for food; Tankagle and Bagle, who entertain through a range of aesthetically pleasing dances, skits, and mimes; Gunyege, whose mask is worn by a community's champion foot racers in competitions; and Bugle, who historically leads men into battle. Once they are divorced from their performance contexts, however, mask forms are difficult to identify.
The border between Côte d'Ivoire and Liberia cuts across several ethnic groups, including the Dan, Wee, Kran, and Grebo. In Dan society, dangerous immaterial forest spirits are translated into the forms of human face masks. Whether or not they are worn, such sculptures are spiritually charged. Male performers, gle-zo, experience a dream sent by the mask spirit that allows them to dance it. In performance, the masks are integrated into the hierarchical system that governs political and religious life.
Dan masks have been documented as the embodiment of at least a dozen artistic personalities. Among these are Deangle, who ventures into the village from the initiation camps to ask women for food; Tankagle and Bagle, who entertain through a range of aesthetically pleasing dances, skits, and mimes; Gunyege, whose mask is worn by a community's champion foot racers in competitions; and Bugle, who historically leads men into battle. Once they are divorced from their performance contexts, however, mask forms are difficult to identify.
Artwork Details
- Title: Mask
- Date: 20th century
- Geography: Côte d'Ivoire
- Culture: Dan peoples
- Medium: Wood
- Dimensions: H. 8 3/8 × W. 4 11/16 × D. 2 5/8 in. (21.3 × 11.9 × 6.6 cm)
- Classification: Wood-Sculpture
- Credit Line: Gift of Jean and Gordon Douglas, 2014
- Object Number: 2014.750.3
- Curatorial Department: The Michael C. Rockefeller Wing
More Artwork
A slider containing 5 items.
Press the down key to skip to the last item.
Press the down key to skip to the last item.
Baule peoples
early–mid-20th century
Yoruba artist
mid-20th century
Dogon artist
First half of 20th century
Dogon artist
First half of 20th century
Dogon artist
First half of 20th century
Research Resources
The Met provides unparalleled resources for research and welcomes an international community of students and scholars. The Met's Open Access API is where creators and researchers can connect to the The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
To request images under copyright and other restrictions, please use this Image Request form.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.