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Mask :: E - K
Ekoi Headdresses
 The Ekoi of Nigeria carve cephalomorphic and zoomorphic headdresses which tend to be covered with antelope skin; consisting of applying a fresh skin atop a wooden core, then adding hair and details. The varnished antelope skin substitutes for the previous use of human skin. The Ekoi have produced these works as far back as 200 AD. These headdresses were used to watch over the behavior of members of the tribe. The wearer, with mask tied upon head and attached to a long flowing raffia costume, during certain ceremonies, would approach and challenge troublemakers and punish wrong doers openly. The large, prominent, protruding, antelope skin covered braids are a main characteristic of the Ekoi headdress.
In African life and sculpture hair has received a lot of attention. Hair is a cultural element of social communication and an expression of identity, social status or profession. The production of this type of mask was initially attributed to the Ekoi but the work is also encountered, with some variation among the Efik and Banyang in the northeast. Ibibo in the west and as far as Cameroon among the Banwa peoples. The Ekoi or Ejagham were into slave and palm oil trading with the Europeans and maintained contact with them from about 1668. This contact may help to explain the naturalism of their artistic output. The base is constructed from a heavy fiber and enables the structure to stand on its own.
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Fang Prosperity Masks
 The Fang of eastern Guinea and northern Gabon are a proud people with a very rich history. The Fang were great elephant hunters and traded ivory with other Africans. Europeans feared them because it was rumored that they were cannibals and practitioners of sorcery. The Fang having tremendous fortitude and foresight did not trust the Europeans nor did they participate in slave trading. Artistically, the Fang were highly developed.
This type of mask common to this region is used during special dance ceremonies wherein the ancestors are asked to bless them with prosperity. The mask itself exudes richness. From the many imbedded cowry shells and lustrous bronze inlays to the 8 genuine Nigerian coins dated 1973 and 1974! The contrasting black background color is made from wood dust and other ingredients.
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Goli Mask
 The Baule resisted the invasion of French colonials longer than any other West African people. They managed to uphold their practices, traditions and beliefs during this dark period. Today the proud Baule people of the Ivory Coast number well over a million strong. Artistically they are responsible for 3 groups of masks: the "gba gba, bonu amuen and the goli." Each mask grouping is associated with a corresponding ceremony.
The Kple kple pictured here belongs to the mask group of Goli. The most popular Goli, made in a variety of sizes is used as a symbol of fertility during agricultural and commemorative ceremonies. The Goli is also paraded during the occasions of a new harvest, the visit of dignitaries, or at the funerals of notables. Borrowed from the Wan tribe after 1900, the face is round and flat, the eyes oval and the pigmentation a traditional red and black painted on a light tan hard wood.
The Kple kple is topped by a crown of two horns. The round head represents the nurturing sun and the horns represent the powerful buffalo. During rituals masks are believed to be a conduit for supernatural forces to interact with the members. These spirits can either have a negative or positive affect on the tribes affairs. This large mask as with all Baule masks are only worn by men.
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Grebo War Mask
 The Grebo arrived from the southern Sahara around 1550. They settled on the coast of Liberia, west of the Cavally River. The area was made up of several frequently warring tribes. The Grebo were soon engaged in constant battles. To strengthen their courage, combatants wore war masks that were constructed to invoke terror in the enemy.
Several protruding pairs of tubular eyes characterize the long, wooden abstract masks. The “all seeing” eye groups were believed to be spiritually connected to protective ancestors. The eyes were often polychromed with the mask itself enchanted with protective white kaolin powder. Feathers crowing the top served to enhance the magic. The wood color of this mask is exceptionally beautiful, front and back.
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Guro Ceremonial Mask
 Between the Baule and Yaure tribes to the west, the Malinke to the north and the Bete-We to the south, the Guro people live surrounded by forest and Savannah in the Ivory Coast. Originally the Guro were known as the Kweni until they were violently colonized from 1906 to 1912 and were given the Baule name Guro by the invading French colonials. Guro daily life was dominated by secret societies and by the belief in protective bush spirits called zuzu. The Guro have a very pronounce masking art style in which they portray an animal linkage to most of their polychrome facial coverings. Their well known masks generally are carved from light wood and fashioned with elongated faces with slit eyes. The subject matter varies greatly as does the animal parts which can surmount, surround and or lie beneath the central semi-human face.
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Hemba Mask
 About 90,000 Hemba people inhabit the right bank of the Lualaba River in southeast DRC. Their land is surrounded by hills and bordered by streams, rocks, and marshes. They recognize a creator god Vidiye Mukulu and a supreme being ShimuGabo. The Hemba offer prized tribal statuary that is coveted by collectors worldwide. Fortunately a few rare mask forms are just beginning to hit the market and gain recognition. Unfortunately much of their function and meaning remain obscure.
The mask on the left designed in a native hardwood, presents an abstract human face with a slim, narrow, grin that takes up half the facial circumference. A sleek exaggerated tapering nose which sets between two small slanted eyes highlighted by tribal scarification underneath completes the simplistic composition. The Hemba see the serenely closed eyes as a reflection the ancestor’s interior calm and the grin as a reflection of satisfaction and power.
The mask on the right is known to the Hemba as a mwisi wa so’o. It is used in important rituals performed by the So’o, a semi-secret society. Artistically the mwisi wa so'o combines humanoid features with that of a chimpanzee. Religiously, the reference to the chimpanzee is not a positive one, for the Hemba do not admire that animal, but rather regard it as one that can be aggressive and predatory toward people. The mask suggests an untamed, uncontrolled, frightening presence. Pelts from both domestic and wild animals, along with materials of both village and forest, comprise the costume for the intimidating mask.
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Igbo Mask
 There are eight million or so Igbo who occupy the thick forest and marshland in Nigeria on both sides of the Niger River. In the seventeenth and eighteenth centuries many were forced into slavery and formed a formable amount of the slave trade to parts of the New World. In the nineteenth century they became major providers of palm oil and almonds and accepted the name “Igbo” from the Yoruba people which means “people of the bush.” The Igbo managed to retain their language, social organization and beliefs. The Igbo believe in one creator, Chi and numerous invisible spirits and the founding ancestor, Ale the earth goddess.
The Igbo use thousands of masks for cult concerns, initiations, funerals, agrarian festivities and entertainment. This mask represents a beautiful woman. The long vertical tribal beauty mark that runs down the center of her forehead indicates that she is from the north. The elaborate hairdo is one of a variety of hair styles practiced by young Igbo women. On special occasions such as weddings or the birth of a first born they would take their hair and mold it outwards holding it together with clay or charcoal and oil and form long twisting curving horns. Hair pins, combs and bells served as ornamentation. When a woman exhibited such a style it showed that her family was wealthy and could afford for her to take off from work. Normally, a woman would wear her hair close cropped or in small bundles thus allowing her to carry large loads upon her head. This facial mask has modest coloration and has many typical signs of use such as the worn edges along the facial cover from which the adjoining costume was attached.
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Kanaga Mask
 The Dogon people are one of the most celebrated and fasinating tribes in all Africa. They live in villages that are situated on cliffs in the northern and eastern Mali. Dogon ladders, used to gain entrance into cliff side dwellings, statuettes of Dogon Primordial ancestor couples and Dogon granary doors are held in high acclaim throughout the world. The Dogon people also create a wide variety of masks; over seventy are known though few are privy to their actual ritualistic purpose. This knowlege is held by tribal elders and passed on to the village members during highly engaging ceremonies.
One of the most famous mask is the Kanaga, a large towering wooden structure with black pigmentation. A box-like angular face mask with a classic sharp, slender nose is surmounted by two pairs of "double L" shaped arms; one extending downwards towards the earth the other reaching towards the heavens. The arms of which are tied to a central wooden post by heavy binding. Kanaga masks are used during several Dogon rituals after which they are left on the ground and exposed to the elements which cause a quick deterioration. The completely intact mask on display was saved before any damaging effects took place. This selection has a Primordial couple on the top end giving rise to more symbolism. Kanaga mask can also be found on Dogon granary doors.
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Kono Baga Mask
 This magnificent over sized headdress is used exclusively during large important festive gatherings where the entire Baga community, elders, royalty and visiting neighboring dignitaries attend. Crafted from a single piece of beautifully grained hardwood and decorated heavily with bold elaborate tribal markings and four lizards a tribal symbol of fertility.
The mask is an extreme version of smaller masks used in seasonal rituals. The majority of this headdress is presented in a natural unpigmented state that flatters the wood. Subtle brown coloration decorates the concentric eye rings and the line of raised detailing that stretches along the front of the long beak. The underside features whitened kaolin pigmentation.
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Kwele Antepole Mask
 Harassed by their neighbors the Kwele were forced to reside in the northern region of the Congo and in the country of Gabon. Artistically they are known for the famous heart shaped “Ekuk” mask and the stylized "antelope" mask that are used during their important Beete festival. This ceremony serves to reinforce the unity between the 12 Kwele families that occupy the village. The week long gathering opens with the departure of all able bodied men into the forest to hunt for antelope. The meat would later be seasoned with special medicines and eaten by all during the closing ceremony.
Women and children would stay in the village and prepare for the festivities. After about a day or two simultaneously with the return of the first hunters, the women would start to hang the Ekuk and antelope masks outside their dwellings and around the village. The masks announced the commencement of the celebration and to invite all to join in with song and dance! The mask on display is an authentic antelope mask that was actually used during a Beete fete. The mask is in excellent condition and has a beautiful shiny cream colored finish on top.
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Kwele Enuk Mask
 Harassed by their neighbors the Kwele were forced to reside in the northern region of the Congo and in the country of Gabon. Artistically they are known for the famous “Ekuk” mask. The word ekuk means “forest spirit and children of Beete.” This unique mask is characterized by having a whitened heart shaped face with coffee bean eyes which is framed by either two protruding abstract horns that in some cases are joined together at the ends forming a circular design that encases the face.
The Ekuk is used during an important Beete festivity that serves to reinforce the unity between the 12 Kwele families that occupy the village. The week long ceremony opened with the departure of all able bodied men into the forest to hunt for antelope. The meat would later be seasoned with special medicines an eaten by all during the closing ceremony. Women and children would stay in the village and prepare for the festivities. After about a day or two simultaneously with the return of the first hunters, the women would start to hang the Ekuk masks outside their dwellings and around the village. The masks announced the commencement of the celebration and to invite all to join in with song and dance!
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We are thankful to Authentica Africa for providing us African Art content to promote art of africa. To know more and buy African Art - visit Authentica Africa - The premier on-line african art and traditions gallery. No part of following contents or images can be reproduced without permission of Authentica Africa.
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