Masks
1. Male Antelope Mask:
Chi-wara
Farming is extremely important to Bamana men and
women, whose agricultural society is devoted to
increasing the quality and quantity of their crops.
According to the beliefs of the Bamana people, Chiwara, represented by the wearer of this head crest
mask, is a half-man, half-antelope spirit who taught
them how to farm.
Male Antelope Mask
(Chi-wara)
made between 1950-1970
wood, metal, fabric
Bamana People,
upper regions of the Niger
River, Western Mali,
Africa
Each year, the Bamana people select two “champion
farmers” who dance in Chi-wara masks during the
annual spring planting festivals. During the dances,
these champion farmers wear a basket-like cap onto
which the Chi-wara mask is attached.
For Discussion:
1. Chi-wara is a half-man, half-antelope spirit. Is there
anything about the mask that reminds you of an
antelope?
1982.018.20
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Copyright © 1998, Ball State University Museum of Art
2. Horizontal Helmet Mask
Bamana masks were used primarily in dances and in
religious societies. These religious societies were
often secret societies, such as the Komo, an
important men’s secret society which produced this
mask.
Horizontal Helmet Mask
made between 1950-1970
wood with fabric, mud, horns,
quills, cowrie shells, animal
hair, feathers
Bamana People,
upper regions of the Niger
River, Western Mali,
Africa
1980.029.02
This mask was made by a Komo society leader, who
is always a blacksmith. The decorations on the mask
symbolize strong and dangerous forces in nature
(called nyama), which the Komo society seeks to
calm and balance. Over time, layers of mud and
additional decorations such as horns and quills were
added to the mask; these additions are intensified the
mask’s portrayal of fierce animal power. These
masks were kept hidden when not in use and were to
be seen only by society members.
For Discussion:
1. Describe the Komo Society mask.
2. What makes this mask seem fierce?
3. For the Bamana, the Chi-wara mask and the Komo
society mask represent visual opposites. How are the
two masks different (in mood and appearance)?
4. Why do you think the makers of this mask chose the
materials they chose? How do these materials differ
from the materials used in the Chi-wara mask? Why do
you think the maker of the Chi-wara mask chose such
different materials?
See also “Animal Imagery in African Art,” page 22.
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Copyright © 1998, Ball State University Museum of Art
Animal Imagery
in African Art
Many of the pieces included in your packet incorporate animal imagery. This imagery is
common in African art, which often uses the visual characteristics of animals to represent the
stories and values of the people. The Komo society mask (number 2) and the Kanamitoho mask
(number 5) are excellent examples of this sort of animal imagery because both make clear
reference to several animals at once.
The Komo Mask
The Komo mask conspicuously incorporates the qualities
of at least three animals, all for specific symbolic reasons.
The jaws of the Komo mask (not visible in the
reproductions) represent a hyena’s mouth; the hyena is used as a
symbol of intelligence. The large size of the mouth is significant
because it brings more attention to the jaws and their ferocity.
The use of feathers in the Komo mask suggests the
qualities of birds. Birds are believed to be the medium between
the sky (heaven) and human beings. They symbolize knowledge
of the heavens.
Finally, the quills incorporated into the Komo mask represent the porcupine. Porcupine
quills, which resemble darts and arrows, symbolize aggressive behaviors used in fighting and in
protection from danger.
By combining all of these animals, the Komo mask refers to the general idea of wild and
dangerous forces in nature.
The Kanamitoho Mask
The Kanamitoho mask also captures the idea of animal
nature and the environment.
Once again, the hyena’s mouth is used as a symbol for
intelligence. In contrast to the Komo mask, however, this hyena
mask includes warthog tusks. The tusks are used to represent
elements of pain and disorder in society.
The Kanamitoho mask also makes use of porcupine quills
and bird feathers. These feathers and quills are believed to have
magical power, and they are bundled together at the top of the mask to illustrate the mask’s
magical significance.
See also numbers 1, 6, 7, 16 and 18 for more animal imagery.
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Copyright © 1998, Ball State University Museum of Art
Materials:
African Art Packet
Paper
Pencils or other drawing tools
Animal Imagery Activity
1.
Go through the images that contain
animal imagery (1, 2, 5, 6, 7, 16 and 18)
and identify the animals or animal
elements you see in each one. Make a
list of the animals you see.
2.
Teachers: Talk to students about the uses of animals in African art,
referring back to the discussion on animal imagery from page 22.
Specifically, discuss the symbolic meanings behind the use of certain
animals in African art.
3.
Brainstorm about other animals that could have symbolic meaning.
For example, a lion could symbolize courage, or a cheetah could
symbolize speed and agility. Based on this brainstorming, add to your list
from step 1.
4.
Using paper and drawing materials, first draw the animals that are
present in the images and, then, draw other animals which you
thought of during brainstorming. Teachers: You may want to bring in
photos of various animals for students to see.
5.
Your drawings can be drawn large and later redrawn as smaller drawings
which can be used in other activities.
6.
You may make your drawings as elaborate or as simple as desired.
7.
Teachers: Please note the other activities in this packet that incorporate
animal drawing (especially the Yoruba crown activities).
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Copyright © 1998, Ball State University Museum of Art