Every mask carries its own specific interpretation and disguise.  Interestingly, all interpretations can be subjective due to the fact that we all come from different backgrounds, environments, and unique situations.  Despite the array of explanations, one can conclude that masks present a powerful image because they engage the mind to think beyond what materialistically surrounds us.   When I came across the African mask that I chose for this paper, I was captivated by its simple accentuation of the facial features.  The entire mask stood underneath a coating made up of cowry shells.  The tall, protruding, rectangular frame that stood at the top of the mask added to my curiosity as to its purpose.
The face of the mask is widest at the top and gradually narrows towards the bottom to create a peak at the chin.  The top of the head has a smooth, slight round shape but cuts down sharply at the corners until it reaches the chin.  At the top of the mask, stands an upright rectangular frame which holds five bars within it.  At first glance, one notices the seven vertical bars (two of which compose the frame) and a horizontal bar to close off the frame at the top.  The frame stands erect at approximately the same size as the face of the mask.
The most outstanding quality of the mask are the white cowry shells that cover the entire surface.  On some of the parts of the face, the shells are arranged in a disorderly way while on others, there seems to be a purposeful alignment of horizontal lines.  Each bar of the headpiece is carefully covered with the cowry shells.  Each one on the bars is placed upright with the opening of the shell face-up.  The shells are key to distinguishing the facial features.  The protruding eyebrows and a horizontal line of cowry shells along the brow line accentuate the forehead.   The eyes appear to be deep-set.  Each eye is represented by an absence of a cowry shell.  The long, slender nose continues downward from the forehead with shells covering every inch of it.  The mouth is simply a dark space of emptiness.  The mouth is open and looks as if the mask is speaking.
This African mask is an impressionistic mask yet some may argue that it is altogether abstract.  The shape of the face, with the features being proportionally placed, gives the appearance that it is representative of a human face, thus an impressionist mask.  Yet, its key abstract feature is the protruding rectangular frame that stands erect at the top of the mask.  This can be the deciding factor.  If it is regarded as part of the face, the mask should be referred to as being abstract, however, if the frame is seen simply as a headpiece, then the mask should be seen as impressionistic.  Some masks may fall into this category of ìIdealized Featuresî in which they are neither naturalistic nor abstract (Segy, 39).
This African mask portrays an emotionless look.  Many of the African masks give off an impersonal feeling (Segy, 39).  The eyes are defined as small slits which are hidden away under the brow line.  When one stares at the mask, one eludes to engage in spirituality with the mask because of the blank look.  Perhaps the personal characteristics have been deliberately avoided and the structure of the face is formed by simple shapes which form its essence.  The elongated nose gives the mask a somber and dark look.  This mask is characteristic of African masks because of the long, thin nose and slits which represent the eyes and mouth (Segy, 39).
The cowry shells that cover the entire surface of the mask lavishly adorn it.  This helps to intensify the expressiveness and the deep feelings that it covers up.  Although
the mask has a simplistic look, the cowry shells serve to unveil the purpose of the mask.  A shell can be attributed to a hard and outer covering which provides protection to that which it holds.   In the nítomo society of the Bambara group, these cowry shells represent human skeletons and humanity (Monti, 12).   In this case, I firmly believe that the cowry shells are used to hold the spirit of one that has passed on.  The mask can serve as a faÁade or as a medium between the human world and the spiritual world.  It could have been used in burial ceremonies that focused on communicating with ancestors.  The tribe could then introduce the newly deceased to those in the spiritual world.  By using a mask, one could be identified by an ancestor.  In some African tribes, the use of a mask allowed one to become part of the driving forces of the universe and in return achieving a kind of hypnosis (Monti, 16-17).
The tall, protruding frame that lies on top of the head gives an intimidating effect to the mask.  At first sight, the mask is striking.  One canít help to notice the top of the mask and wonder about its significance.  Perhaps its fearful appearance is to be able to successfully communicate with the gods without the evil gods causing harm to them.  Being that tribes regard the gods as powerful, the large mask can serve as protection.   Also, the larger the mask, the more obvious they would be to their gods, hence, catch the attention of the gods and perform their rituals or ceremonies.  Large masks allowed the mask wearer to be more ìvisible and dramaticî (Segy, 34).
The Bambara people of Mali are an ethnolingual group and the largest group in Mali (Monti, 69).  Agriculture and religious practices play a dominant role in their life which has inspired their high quality art.  Their community is regulated by secret societies.  These secret societies are the trustees of their ancient traditions particularly the symbols and rituals. This particular group is noted for large headdresses such as the antelope headdress used for re-enacting the birth of agriculture (Fagg, 23).  These masks were believed to be able to embody gods of fertility, thus, provide for a large harvest.  Masks are the art forms most often linked with these [Ntomo, Komo, Nama, Kono, Chi Wara, and KorË] associations, and each of the six most well known societies makes use of at least one distinctive type of face or helmet mask.
Upon researching similar masks to the one I chose for the purposes of this paper, I frequently came across the nítomo society which is part of the Bambara people in the upper region of Mali.  In Montiís book, African Masks, a similar mask was described as being an initiation mask and of the nítomo society.  The nítomo society consisted of young uncircumcised men.  This group of men are responsible for protecting the living from sickness and evil spirits, to intervene I disputes and to organize communal work in the fields.   This mask was used in an initiation ceremony to introduce them to the adult association.
Nítomo masks usually have a row of horns (anywhere from two to eight) which stand at the top of the mask and topped with a horizontal bar.  Their masks are usually covered with either cowry shells and/or red seeds which are stuck on with vegetable gum.   The mask I chose had seven ìhornsî and was also topped off at the top with a horizontal bar.  Interestingly, the entire surface of mask was covered with cowry shells.   Contrary to my interpretation of the intimidation factor, the frame with the bars on top of the head, are seen as horns and representative of knowledge and teaching.   The cowry shells which decorate the mask portray human skeletons and humanity.  Similar masks with protruding headpieces were regarded as ìimpressive and colorfulî.   Bodrogiís Art in Africa revealed that the nítomo mask is an ordinary human face which represents a ìbenevolent demonî with several horns.   Nítomo societyís masks are usually decorated with cowry shells and glass fragments.    Its mask [Nítomoís]  has a flattened, oval face, which tapers into a pointed chin, and a long, straight nose which leads down the wispy or even non-existent mouth.
In the African culture, not any kind of wood may be used to make the masks.   Many of the rituals have limitations.  The tribes must be careful that they choose those plants that are acceptable for the ritual so that the gods will not harm them.  Not using the correct wood could also inhibit the power of the mask.  The sculptor of the mask must find a discreet place where he will work on the mask to avoid any ìonlookersî.  The objects that he utilizes to make the masks are considered to be sacred objects.
Indeed, African masks carry many qualities that could classify them as ìsacredî.  It is in the creator of the mask in which the duty is laid upon to produce something that will essentially bring about a response.  In researching the uses of the African masks, I have been made aware of how such intricate details have an enormous importance to the purpose of the mask.  Perhaps it may be said that Africans value the major changes of a humanís life such as the transition from adolescence to adulthood.   Their art of mask making is just not for beauty purposes, but to provide more of a transcendental experience and to celebrate the stages of a human life.   Masks should not be viewed simply as forms of sculpture, but as a collective arrangement of meaningful art that is engaging to a particular act.  If one can see beyond the mask and engage in spirituality, one can endure the power of the mask.

BIBLIOGRAPHY

Bodrogi, Tibor.  Art in Africa.  Hungary:  Corvina, 1968.

De Rachewiltz, Boris.  Introduction to African Art.  New York:  The New American Library, 1966.

Fagg, William.  Tribes and Forms in African Art.  New York:  Tudor Publishing Co., 1965

Monti, Franco.  African Masks.  London:  The Hamlyn Publishing Group Limited, 1969.

Segy, Ladislas.  Masks of Black Africa.  New York:  Dover Publications, 1976.
 

  Ezra, Kate.  A Human Ideal in African Art. Washington, D.C.:  Smithsonian Institution Press, 1986.
  Monti, Franco.  African Masks.  London:  The Hamlyn Publishing Group Limited, 1969
  Monti, Franco. African Masks.  London:   The Hamlyn Publishing Group Limited, 1969.