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Plank Mask, Bwa people
of Burkina Faso, c. 1960,
wood and pigment,
Wikimedia Commons
The plank masks are danced during initiation ceremonies for young men, and appear at funerals and memorial services in the Bwa society. The masks are part of a costume that is performed at social masquerades for entire villages. The meanings of the symbols on the masks are taught during the initiation ceremony of the young people and play an important role in their education. The young men learn the importance of becoming a respected Bwa, and the dangers of straying from the lessons established by the ancestors. Geometric pattern are used to teach these lessons. The pattern creates an external rhythm, which echoes the internal spiritual energy of the artwork. The double zig-zag line on the plank of the mask represents the path of the ancestors. The crescent shape on the top of the plank represents the moon, and the importance of time in the ceremonial year when masks are danced. The checkerboard pattern on the back of the mask represents the value of learning. Bwa masks are believed to possess special powers, which are controlled by those who wear them. Masks are created by individual artists and can represent several different animals. Each animal has a lesson to teach, however their geometric pattern are all the same.
The boundaries between young people and adults are clearly defined within the Bwa culture. The education of Bwa young people is important to insure the communities have well educated, responsible contributors of the Bwa society. It is only when the young person is fully educated that he/she can cross the boundary into adult society.
of Burkina Faso, c. 1960,
wood and pigment,
Wikimedia Commons
The plank masks are danced during initiation ceremonies for young men, and appear at funerals and memorial services in the Bwa society. The masks are part of a costume that is performed at social masquerades for entire villages. The meanings of the symbols on the masks are taught during the initiation ceremony of the young people and play an important role in their education. The young men learn the importance of becoming a respected Bwa, and the dangers of straying from the lessons established by the ancestors. Geometric pattern are used to teach these lessons. The pattern creates an external rhythm, which echoes the internal spiritual energy of the artwork. The double zig-zag line on the plank of the mask represents the path of the ancestors. The crescent shape on the top of the plank represents the moon, and the importance of time in the ceremonial year when masks are danced. The checkerboard pattern on the back of the mask represents the value of learning. Bwa masks are believed to possess special powers, which are controlled by those who wear them. Masks are created by individual artists and can represent several different animals. Each animal has a lesson to teach, however their geometric pattern are all the same.
The boundaries between young people and adults are clearly defined within the Bwa culture. The education of Bwa young people is important to insure the communities have well educated, responsible contributors of the Bwa society. It is only when the young person is fully educated that he/she can cross the boundary into adult society.
Below is an example of the Bwa Plank Masquerade on YouTube.
Bogolan cloth, mud cloth, is a handmade Malian cotton fabric traditionally dyed with fermented mud. It has an important place in traditional Malian culture and has more recently become a symbol of Malian cultural identity. Women are wrapped in a bogolan cloth after their initiation into adulthood (which includes genital cutting) and immediately after childbirth, as the cloth is believed to have the power to absorb the dangerous forces released under such circumstances.
Bogolan, Bamana, Mali, 20th
Century, cotton fabric, The
British Museum, London,
A History of Art in Africa,
p. 119
Bogolan, Bamana, Mali, 20th
Century, cotton fabric, The
British Museum, London,
A History of Art in Africa,
p. 119
Akua ba, Akan, Ghana, wood painted or stained black, Wikimedia Commons
The Ashanti fertility statue is called an akuaba or akaba. Of polished wood, and stained black, the head is in the shape of a large flat disc. The forehead is high, the nose is flat and the mouth is small. The head is held up by a slender neck, which appears to be composed of a series of rings. The body, neck and arms form the shape of a cross, the arms having no joints or hands. The base is circular, which allows the object to stand free. Facial expressions and markings vary, breasts are small, and some figures have a protruding navel.
The doll is carried on the back of an expectant mother during her pregnancy so that her child will be born beautiful just like the doll.
This stylized piece of sculpture tells us the importance of fertility and the child for Ashanti women. Sterile women who hope, by keeping an akuaba with them, to become pregnant also use the figures. Little girls often learn how to take care of children by playing with akuaba dolls.
The Ashanti fertility statue is called an akuaba or akaba. Of polished wood, and stained black, the head is in the shape of a large flat disc. The forehead is high, the nose is flat and the mouth is small. The head is held up by a slender neck, which appears to be composed of a series of rings. The body, neck and arms form the shape of a cross, the arms having no joints or hands. The base is circular, which allows the object to stand free. Facial expressions and markings vary, breasts are small, and some figures have a protruding navel.
The doll is carried on the back of an expectant mother during her pregnancy so that her child will be born beautiful just like the doll.
This stylized piece of sculpture tells us the importance of fertility and the child for Ashanti women. Sterile women who hope, by keeping an akuaba with them, to become pregnant also use the figures. Little girls often learn how to take care of children by playing with akuaba dolls.