Art of Africa
--The Yoruba People of Nigeria--
ìThe sculpture... of the Yoruba suggest important people,
both earthly and celestial, sacred and profane,
monarchic
and common. The clarity and tranquillity of
the represent-
ation makes the reader realize, by contrast, to
what extent
human beings the world over err on the side of anger,
impatience, and jealousyÖThe world, consequently,
is
forever richer because of their works.î
--Robert Thompson, 1971
(Yoruba, Sculpture of West Africa)
One does not have to have a deep knowledge of African art in order
to see the profound influence masks have on its society. The exact
history of masks is unknown yet their existence is evident in many cultures
throughout the world. When analyzing, researching, and reflecting
upon a specific mask from a culture or area, many interesting
historical facts can be learned. An example of a historical
culture to learn about is the Yoruba people of Nigeria. Much can
be absorbed from their beautiful pieces of art; not only in technique,
but also in their significance uses and history. Yoruba masks are
not only admired for their aesthetic beauty, but also for the rich
history each one provides. Admiring a Yoruba mask from a far is fine;
however, you are missing an enriching experience if you fail to grasp the
deep culture it also provides. The Yoruba area in Nigeria is
a mysterious place which has many secrets waiting to be revealed
in its art work and it is up to each individual to broaden their
horizons and uncover its secrets.
When analyzing and describing a specific Yoruba mask it can be
difficult, yet fascinating. African mask number 20 from Professor
DeLucaís C.D. collection is very interesting and mysterious.
Also, the simplicity and naturalism of the sculpture is something to admire.
There are many distinctive features on the mask which demands attention
from the viewer. This is evident in the overall roundness of
its features such as the eyes and eye balls, nose, mouth, head, and neck.
Thus, the overall outstanding quality or area of the mask is its circular
face. Much like its round features, it also tends to have many large
features which are exaggerated, giving it a sense of fullness and abundance.
The Yoruba mask has large, elongated eyelids which promote a bulging
appearance. Thus, its large opened eyes draws a lot of attention
to the overall face of the mask. The eyes take up much of the
sides of the face and its wide, rounded nose takes much of the central
area. The wide, full lips of the mask look very realistic and
natural; a somewhat sensual appearance. Another outstanding quality
has to be the maskís texture. The mask seems to have
a rigid and bumpy feel to it. Also, the orangeous color appears to
look like it was sculpted from a terra-cotta like material which allows
it to appear quite heavy in weight. The terra-cotta material also
gives it a semi-dark quality illumination or color.
In general, the mask appears to be very balanced and symmetrical.
The weight of the mask looks to be very centered and not off balanced.
There are many symbolic features on the mask such as the elongated, vertical
lines on the cheeks and forehead. They appear to be the same length
and are deeply indented into the face, causing it to be extremely noticeable.
The headpiece of the man looks somewhat like a fish tail or maybe a
spine which falls from left to right. There are also solid
like pieces on top of the headpiece which adds dimension and variety.
Lastly, on the end of the fish tail piece, there appears to
be a solid like a triangle or possibly an arrow like piece.
This also adds balance of weight to the mask, thus taking weight pressure
off the center of the mask.
On the bottom of the mask there are midsize holes around the
base of the headdress. Each hole appears to be large enough to stick
your smallest finger into it. The neck of the mask again gives it
a heavy appearance because of its thickness and roundness. Much of
the stylized features of the mask take up the large portion of the space
leaving a small chin and forehead. This overall balance and broad
features once again gives it a solid, heavy look.
When analyzing the symbolism of the mask according to its aesthetics,
at first glance of the face it appears to look like it is a dazed and maybe
confused warrior. The natural style of the mask leads the viewer
to believe it is quite simple; thus, not scared, worried, or angry.
Its overall rounded features such as the eyes, eyelids, eyeballs, nose,
mouth, lips, neck, etc. express a form of balance; thus implying contentment
although he is dazed or in a trance. The peacefulness of the
piece also is seem in the simple, elongated headpiece on top of the head.
It is well balanced and doesnít appear heavy or much of a burden to wear.
The lips of the mask are also very naturalistic, showing no immediate emotion
or implication of any sort other than a normal state. The fullness
of the lips and the unconstrained form of the upper and lower lip also
show simplicity. The trance like look of the face is stable and well
balanced because of its overall features.
However, the most intriguing feature of the face has to be its
eyes. It draws a lot of attention due to its round eyeball which
appears to be a circular dot in the middle of the eye.
The Yoruba mask also appears to look like a warrior due to its
facial scar like marks on the two cheeks and forehead area. The headpiece
also appears to look somewhat like a shield or head protector due to the
ridges and solid circular pieces on the
helmet. The headpiece is carefully placed so that the ìwar
scars or paintî are evident and easy to see and identify. The end
of the head piece also has a pointed like arrow on the end which again
may symbolize a warriors headdress or a ranking official. The
holes on the bottom of the mask also may have been used for attachment
of more armor, etc. By using the holes, it would be easy to attach
more gear or possible a body shield or neck protector.
The texture and material used for the mask also helps to infer
that the mask was possibly used or symbolized a warrior. The heavy
appearance of the mask due to the use of terra-cotta may show a type of
protection from war or sun heat, etc. In general, there are many
features of this Yoruba mask such as the expressions, eyes, scars, and
head piece which infers a dazed warrior.
After analyzing an African mask, it is equally important to research
more about the area and culture in which the mask originated from.
After finding specific details about the beautiful art work of the Yoruba
people, it is essential that we also find out about the uses of the mask
for the society. The Yoruba people of Nigeria have a lot of enriching
culture and ancestral beliefs which can help educate each and everyone
of us about ancient mythological stories and culture. From one simple
yet intriguing mask, there is a world of history behind it.
Although there are many books of research on African masks, there
is still so much to learn. Masks which are dated back to the beginning
of time are now being discovered and learned about. When researching
African mask number 20 from Professor DeLucaís C.D. ROM collection, it
was evident due to its distinguishable facial features, that there were
many more similar masks from the Yoruba area. Many of them had similarities
such as the materials used to make the mask and also their large, rounded
features such as the eyes, lips, noses, etc.
The Yoruba area of Nigeria consisted of many different communities
which were close on the map. Thus, many techniques and artistic traditions
have been shared, creating similar types of art work which has enabled
their art to flourish. Another reason their art has lasted
over the years is because "[Although Yorubaland is] one of the two largest
African tribesÖ[they've been able to] maintain conservative institutions."
.(Fagg p. 22) thus allowing their traditions and arts to be preserved.
Due to these traditions of preservation, it has enabled researchers the
ablitity to conduct studies regarding Yoruba art. In turn, many have
been able to write books about Yorubaland masks. So, when conducting
research on Mask number 20 was easy to find information because of not
only the well preserved history and art work of Yorubaland but also
because of the wide spread artistic similarities among the different tribes
surrounding each other. So, when conducting reasearch for Mask 20,
it was fairly easy to do, due to its distinct facial features and
headpiece. When looking through art books, especially African ones,
it was easy to see that the mask was from the west coast of Africa.
Another intriguing fact about Yoruba art work is their usage of
expressions which provide an overwhelming sense of human culture
or oneness.
ìThe quality which stands out above all in Yoruba sculpture is
its
humanism, its humanity, the strong tendency of the artists to
perform
their artistic service to the gods through the natural human form,
restoring only very rarely to abstraction, surrealism, or expressionism...
the artists [expresses] their tribal values through homely scenes
of daily
life.î (Fagg 27).
Another important aspect of Yoruba life is their
belief in past spirits and ancestors. Mask number 20 is an
example of this because it was a ì...headdress of Egongun society...The
dancers, believed... [they were] possessed by the spirit of the deceased,
[and] spoke in disguised voices.î (Segy 157). Much of Yoruba society
was religious or believed in mythological beings. ì...[T]he egungun secret
society of the Nigerian Yoruba, w[ere] members [who] perform[ed] ... rituals
to commemorate dead ancestors.î (Herold 13). Thus, it was natural
for them to celebrate the life of respected ancestors through the usage
of masks. The mask was used to promote fertility rituals along
with funerals. Mainly though, the masks were designed according to
legends. ìSome headgear [such as mask 20] had a tuft of hair descending
from the left... but according to legend it was associated with a mythological
ìmaster of the huntersî and the buckteeth of the hare.î (Segy 157).
It was also evident through research that each society dedicated their
own mask to particular ancestors or spirits. (Segy 247).
Although the mask I examined was from the Yorubaland it is unclear
what exact area within Yoruba, the mask is from. By examining other
mask which appear to have close similarities, the mask seems to be from
the Efe village or a close neighboring one. Masks such as plate 26
from Segyís book, Yoruba, Sculpture of West Africa, is very similar to
mask 20. The eyes are not as round however, it still has a dazed
like expression along with the dramatic eyelids. The nose is round
and elongated as well as the mouth. The lips are protruding with
a natural appearance. The chin and forehead are small which allows
the eyes, nose, and mouth to take up most of the space of the face.
The cheek and forehead scars are evident as well as a similar head piece
which is rigid and long forming to the left. These similar characteristics
inform me that mask 20 may be from the same culture or regional area.
According to the information given for plate 26, it is an Egungun headdress
finial. Thus, it is used for ì...masquerades and rituals associated
with Egungun
honor lineage ancestors. A distinctive subtype is the hunterís
Egungun, called Egungun layewu.î (Segy 104). The masquerade was probably
for the privileged class of hunters for some sort of celebration.
ìEgungun means masquerade, but it is universally identified with the masquerades
for the ancestors, those who founded the lineage and who, as the living
dead, continue to affect the life of the living.î (Segy 199). Through
the art of masks, the superstitions of the Yoruba can live on from one
generation to the next.
When analyzing the features of the masks, it is important to
examine the symbols it has and their important features. Segy states
that ì...the most distinctive feature of the headdress is the great tuft
of hair extending from the upper left side of the head.î (Segy 104).
Due to the fact that in past history, the long braided hair was used to
cover an incision which was used to insert medicine to protect them
from the dangers of the woods. Also, the facial scars on the mask
helped with identity. ìThe fraternal bond of the hunterís society,
which transcends lineage groups, defines the self-awareness of one
who is a hunter.î (Segy 104). Thus, the headdress of the hunters
and their distinctive features are essential to the history of the culture.
The Yoruba people in general were very religious and believed
in the gods who watched over them. The uses of masks within the society
assisted in allowing the gods to participate and reciprocate, too.
Services such as fertility rituals, funerals, rituals for increase, ancestral
cults, initiations, etc. were times in which many people wore these
prized masks. Not only were these rituals and masquerades interesting,
but they also allowed their culture to live on through the usage of masks
(Monti 99).
When analyzing, researching, and reflecting upon African masks,
it is easy to use your imagination because of their aesthetic qualities.
The beauty of the art of masks have lived for generations and are still
being discovered and researched. The continual usage of masks will
be long lived and the stories each one has to tell will be cherished.
Mask 20ís enriching culture is just one small mask which is so deeply rooted
in history. As much as ascetics and beauty is important, so is the
history, culture and life it also provides. The history and culture
of a society can live for many years, if we take the time to dig deep into
its roots. Masks are one way to accomplish this enduring task.
Bibliography
Abbate, Francesco. ed. African Art -- 92 Full Color Illustrations.
London: Octopus
Books, 1972.
Fagg, William. Yoruba-- Sculpture of West Africa. New York: Alfred
A. Knopf, Inc.,
1982.
Herold, Erich. The World of Masks. London: Hamlyn, 1992.
Monti, Franco. African Masks. London: Hamlyn, 1969.
Preston, George Nelson. Sets, Series and Ensembles in African
Art. New York:
Harry N. Abrams, Inc., 1985.
Segy, Ladislas. African Sculpture Speaks. New York: Dover
Press, Inc., 1976.
Segy, Ladislas. Masks of Black Africa. New York: Dover Press,
Inc., 1976.