Tribal Art

Witnesses to the traditions of the Hopi Indian peoples of Arizona, Katsinam sculpted objects (song. Kachina) are used during traditional dances organized for the annual rain festivals. This Hopi-type mask, flanked by movable ears and a bird "beak", is topped with statuettes representing masked dancers. The polychrome matte patina, abrasions and small chips.

Very graphic mask, whose curved jaw would evoke the "sucking" of knowledge. The deep oiled patina is raised by geometrical patterns carefully incised on the surface. Erosions. Established in central and southern Mali, in a savannah area, the Bambara, "Bamana" or "unbelievers", as the Muslims have named them, belong to the large Mande group, along with the Soninke and Malinke. Mostly farmers, but also breeders, they make up the largest ethnic group in Mali. Groups of Bambara artisans nyamakala , more specifically the blacksmiths named numu , are in charge of sculpting ritual objects, endowed with nyama , occult energy. Using fire and magical objects, the role of healer and diviner is also attributed to them Six male associations, the Dyow , using Bambara masks, structure the Bambara ...

Ex-collection of French African art.
Named bitengi (sing.: itengi) this type of mask was used during funerals and initiations of young boys. Among the variety of African masks Punu, this version offers a face topped with two parallel shells framed by quilts. The traditional scarifications in relief "mabinda" adorn the face. Abraded matte patina. Erosions, gaps.
Height on base: 46 cm.
The masks of the Punus were associated with the various secret societies of Gabon, including the Bwiti, Bwete, and the Mwiri ("to lead"), the latter spanning several levels of initiation. These powerful societies, which also had a judicial function, included several dances, including the leopard dance, the Esomba, the Mukuyi, and the Okuyi dance, on stilts, remaining the most widespread. . ...

Emblem of feminine beauty, always worn by initiates of higher rank, this ancient African mask embodying an ancestor is embellished with a curly hairstyle representing that, modeled in clay, of Tschokwe women. The features offer great expressiveness, curls originally adorned the ears. Deep nuanced, satin patina. Abrasions, losses. Height on base: 46 cm.
The African Chokwe pwo masks, among the numerous akishi masks (sing: mukishi, indicating power) of African Chokwe art, embody an ideal of beauty, Mwana Pwo, or the Pwo woman and appear today during festive ceremonies. The pwo are believed to bring fertility and prosperity to the community. The characteristic patterns present on the forehead, and sometimes on the cheekbones, are part of the Chokwe aesthetic canons but also served ...

A mutation of the Fang Ngil mask, the African masks Bikereu caricatured European settlers and appeared after the colonizing government banned the Ngil mask of justice, but have an analogous function. The eyebrows form a prominent arch which extends into the bridge of the nose, under which a mustache-shaped shape surmounts a toothed grin.

Abraded matte patina, old restoration, cracks and erosions. Height on base: 75 cm.
Among the Fang, the male brotherhood of Ngil had the main task of fighting against sorcerers and evildoers. These masks were also worn for the initiation of its new members. Their white color, a reference to the deceased, means that the mask embodied an ancestral spirit. The mask has forbidding features, meant to surprise, accompanied by numerous ...

This African mask Songye, the kikashi, offers here an almost vertical plane of the cheeks, giving a rather compact impression. The arc of the half-closed eyelids is underlined with red ochre, while areas of arcuate streaks and oblique grooves alternate on the face. The crest outlined in black is present but modest. The mouth treated in cube has an internal curve. Damaged edges, abraded matte patina.


Three variants of this mask Kifwebe ( pl. Bifwebe) or "chasing death" (Roberts), from the society of the same name, are distinguished: the masculine (kilume) generally with a high crest, the feminine (kikashi) with a very low or absent crest, and finally the tallest embodying power (kia ndoshi). This type of mask, still used today, seems to come from the border zone between ...

This relatively flat mask was made in a certain type of turtle shell by the Ndaaka, a tribe of farmers living in contact with groups of pygmy hunters Mbuti within the ituri forest, north of umaniema . The latter's artistic productions have thus greatly influenced the ethnic groups in the region. On this mask, if the artist did not take advantage of the natural relief of the shell, volumes could be created at the cheeks, geometric scarifications enhancing their bulge. Frontal wrinkles are in pyrogravure, other lines highlight the facial features, a thin horizontal groove also divides the face through the nose. The natural contours of the lower part of the shell, almost jagged under the chin, evoke a small beard. Like many peoples, the Ndaaka have sought to appropriate the qualities of ...

Thick, slightly convex in shape and quite frustrated except for the detail of a regular metal dentition, this rare mask comes from the forested regions of Ituri in the north of Umaniema. A number of small groups of farmers in the clearings live in contact with the Mbuti pygmies of the forest, these are the Bali, Ndaka, Mbo, Lombi, etc. Most often flat and pigmented with white in reference to the animal world, these masks associated with their raffia costumes perform during ceremonies nkundi seed to initiations and circumcisions of young people. The sculptor's tool marks the surface of this monochrome mask carved into the bark. The arcades have an asymmetry.
Nested Dark Eye.
Hightop on a base: 32 cm.
Ref.: Congo masks Ed. M.L. Felix

Helm mask surmounted by a figure of a dancer wearing a mangam zoomorphic mask symbolizing the buffalo. The ceremonial mangam masks of the "Mama", who make up within the same region a group of different origins and languages, are used by the members of a men's association responsible for maintaining the social order and to increase or promote agricultural production. Two-tone crusty patina. Desication cracks.
This mask whose horns symbolize fertility is danced during festivals in relation to agricultural fertility and sometimes human fertility.
The Mama buffalo masks are kept in the sacred wood and are brought back to the village to accompany the deceased into the world of the beyond or to participate in the enthronement of a chief.

Traditional mask of large Tatanua type, from the north of the island of New Ireland, in Papua New Guinea, Oceania. It was used as part of Malagan rites, commemoration of the dead, or for semi-secular ceremonies. This type of mask was not necessarily worn, but exhibited. Framed by pendant earrings, the face, of great expressive force, offers an immense toothed mouth developing under largely hollowed features. The impressive crest is based on a wicker frame, sheathed in skin or canvas, on which, emphasizing a raffia crest, a network of raffia mats are artfully arranged. The hairstyle refers to that, partially shaved, of young boys during the period of mourning. A matte polychrome paint comes in various patterns on the surface of the mask, contributing to the visual effect. Small alterations ...

Ancient African mask bakrogui, Simogui, or Angbaï, of the Toma of Guinea, relating to the ancestors. This mask intended to impress is equipped with a thick skin hood, lined with various elements, mirrors, cowries. It is extended by a heavy cape made of embroidered textile and velvet with colored patterns, edged with red fabric. Metal bells adorn the contours of the mask. Only members of the Poro were allowed to contemplate the bakrogui mask.
The Toma of Guinea, called Loma in Liberia, live within the forest, at high altitude. They are renowned for their landai board masks intended to enliven the initiation rites of the poro association that structures their society, and which represent spirits of the bush. As soon as the landai mask appeared, the initiates would go to the ...

This Baule African mask, a portrait mask or ndoma, has many careful details illustrating Baule refinement. It is also embellished with fine scarifications named " ngole". Dark brown glossy surface.
Acquired at the Hotel des Ventes Giraudeau, ex. Parisian private collection.
Height on base: 39 cm.
Splits.
These portrait masks of the Baule, ndoma , which are part of one of the oldest Baule artistic traditions and frequently represent an idealized character, have the particularity of appearing at the end of ceremonies of entertainment dances.These are named, according to the regions, bedwo , ngblo , mblo , adjussu , etc.... Each of these masks differ in hairstyles, placement and choice of scarification. They perform during danced events accompanied by ...

The polychrome mask is surmounted by a basketwork structure draped in textile painted with geometric patterns. This headdress ends in four lobes arranged in a corolla. A handle, concealed by the thick raffia adornment, allows you to carry everything.
Neighbors of the Yaka and the Kongo in the west of the former Zaire, the Zombo fear, like the Kongo clans, the god named Nzambi. Their diviners use fetishes similar to those of the Kongo, the ceremonies associated with the initiation rites, however, stem from Yaka traditions. Hierarchical and authoritarian, made up of formidable warriors, Yaka society was governed by lineage leaders with the right to life and death over their subjects. Hunting and the prestige that results from it are nowadays an opportunity for the Yaka to ...

Canadian African Tribal Art Collection.
Baga religious practices and African art.
The Baga use various crest masks in the image of young girls, the tiyambo evoking a young puberty and the yombifissa or "beautiful hair". These masks are often escorted by women singing songs in susu, on the occasion of harvests, weddings, visits of dignitaries.

Dark oiled patina, abrasions of use and cracks.
Native restorations.
Mixed with the Nalu and the Landuman, the Baga live along the coasts of Guinea-Bissau in areas of swamps flooded six months a year . They believe in a creator god called Nagu , Naku , whom they do not represent, and who is accompanied by a male spirit one of whose names is Topup . Apart from the famous Nimba mask, they created a powerful ...