| DAN - Masks Liberia and Ivory Coast |
| Masks Long, long ago people made a law that the word of the mask be decisive.—Zlan, the carver (Himmelheber, Negerkunst, 1960,143) Masks are the most important art form of the Dan. Many of the other forms of sculpture are derived from the mask and what the mask symbolizes. Numerically, more masks are created than any other form of sculpture. Spiritually, masks are perceived to embody the most powerful of spirit forces. Socially, masks are the means of bringing control and order to village life. Masks provide the strongest impressions of a young Dan person's earliest experience, as their importance is reinforced by their presence at all significant events. Masks are empowered by the strongest of supernatural spirit forces, called gle. Like dii, gle inhabit the dark forest, particularly where the trees grow high and dense. Gle long to enter into and participate in the ordered world of the village but, being invisible, cannot until a visible form for each is made. The nature of that form, a mask and complete masquerade ensemble meant to represent the personality of the gle, is seen in a dream. In addition, the gle must reveal its intended function in the dream or that dream is considered useless. The dreamer, who must be an initiated member of the men's society, reports the dream to the council of elders. They then decide whether the masquerade ensemble should be created for that man to wear and perform. The carver carves the wooden face, and this is accompanied by attire that includes forest materials such as raffia, feathers, and fur. It is believed that each gle has its own personality, character, dance, speech patterns, likes, and dislikes, and it is given a personal name. The wearer of the mask takes on all these characteristics and qualities when he wears the mask ensemble. Having come from the unknown realm of the dark forest, a gle is thought to be unpredictable. Therefore it always has an attendant with it to control it as well as to interpret its speech. There is a LOT more information about DAN masks below the pictures! |
| I currently do not have any Dan masks is my collection Below are some examples for reference purposes |
| Sotheby's - New York African, Oceanic and Pre-Columbian Art Auction Date : Nov 11, 2004 Lot 66 : A SUPERB DAN MASK Description of delicate proportions, the sensitive face with a fiber beard attached to the pointed chin beneath the full, slightly parted protruding lips with a prominent philtrum and naturalistic nose framed by circular eyes and a gently sloping forehead, the perimeter pierced for attachment, decorated at the eyes with small nails and a single nail at the crest; fine aged deep brown surface with areas of kaolin. Dimensions height (without beard) 9 1/4 in. 23.5cm Estimate: $ 20,000 - $ 30,000 Price Realized: $ 0 Provenance Roger Bediat, Paris Acquired before 1972 |
| Sotheby's - New York African, Oceanic and Pre-Columbian Art Auction Date : Nov 11, 2004 Lot 65 : A FINE DAN MASK Description of exceptional age and finely carved, pierced at the perimeter for attachment, the pointed chin beneath the full, downturned lips and thin nose leading to a medial ridge bisecting the slit eyes, '4230' in white pigment at the reverse; fine aged and encrusted medium brown patina. Dimensions height 9 in. 23cm Estimate: $ 12,000 - $ 18,000 Price Realized: $ 0 Provenance PROPERTY FROM THE ROSENBERG COLLECTION |
| Christie's - Paris Arts Décoratifs du XXe siècle, Art Africain, Tableaux et Sculptures du XXe siècle Auction Date : Oct 27, 2004 Lot 46 : MASQUE DAN Description Côte d'Ivoire Le visage aux yeux circulaires et à la bouche aux lèvres proéminentes percées, la lèvre supérieure percée pour insertion de dents, barbe en fibres nouées, coiffe en tissus, fibres et plumes. Patine sombre et brillante Hauteur : 21 cm. (8 1/4 in.) Estimate: Price Realized:€ 4,000 - € 6,000 $ 2,123 € 1,762 Provenance Galerie Jean-Jacques Dutko, Paris. |
| Christie's - Paris Art Africain, Océanien et Précolombien Auction Date : Dec 8, 2004 Lot 214 : MASQUE DAN Description Côte d'Ivoire Le visage aux yeux percés d'une fente sous des sourcils incisés, une bande verticale en haut relief au milieu du front rejoignant l'arête du nez aux narines sculptées, la bouche ouverte ajourée aux lèvres saillantes, la lèvre supérieure percée pour insertion de dents, bandes de rectangles percés sur tout le pourtour du masque pour attachement. Belle patine sombre et brillante. Restes d'anciennes étiquettes. Socle Inagaki. Hauteur: 24.5 cm Estimate:€ 15,000 - € 20,000 Price Realized: $ 62,289 € 51,700 Provenance Paul Guillaume, Paris |
| Sotheby's - New York African, Oceanic and Pre-Columbian Art Auction Date : May 14, 2004 Lot 39 : A DAN MASK Description of broad proportions and hollowed at the back, the thick sides with an angular perimeter supporting the sloped facial plane with a broad stylized mouth and the nose leading to a raised medial ridge framed by slit eyes; blackened surface with areas of kaolin. Dimensions height 9 1/2 in. 25cm Estimate: $ 3,000 - $ 5,000 Price Realized: $ 5,100 Provenance PROPERTY FROM THE JO AND ESTHER DENDEL COLLECTION Acquired from Dr. George Harley in Ganta, Liberia, 1943 Published Warner (Dendel) and Dendel 1948: frontispiece and 302 Dendel 1995: cover |
| Sotheby's Nov 2003 LOT 35 PROPERTY FROM ANOTHER EUROPEAN COLLECTION A FINE DAN MASK Estimate 10,000—15,000 USD Lot Sold. Hammer Price with Buyer's Premium: 7,200 USD MEASUREMENTS height 9 3/8 in. 23.8cm DESCRIPTION of hollowed oval form and tapering gracefully at the chin, the perimeter encircled with three incised ridges and pierced around the rim for attachment, the face sensitively carved with full parted lips pierced through, beneath a pronounced philtrum, the hooded slit eyes set slightly asymmetrically beneath a broad brow; very fine, extensively layered, blackened patina. PROVENANCE Guy Piazzini, Paris |
| Sotheby's Nov 2003 LOT 33 PROPERTY FROM THE COLLECTION OF OLIVIER AND MYRIAM COHEN, GENEVA A SUPERB DAN MASK Estimate 25,000—35,000 USD Lot Sold. Hammer Price with Buyer's Premium: 24,000 USD MEASUREMENTS height 10 5/8 in. 27cm DESCRIPTION of large proportions, the pointed chin beneath the sensitively carved mouth with full lips, the elegant facial plane with high cheekbones intersected by the triangular nose with a medial ridge extending to the sloping forehead and framed by slit, upturned eyes, surmounted by a transerve ridge and pierced around the rim for attachment; exceptionally fine, encrusted and blackened patina. PROVENANCE Robert Duperrier, Paris Drouot-Montaigne, De Ricqlés, Paris, May 28, 2000, lot 308 |
| Masks Long, long ago people made a law that the word of the mask be decisive.—Zlan, the carver (Himmelheber, Negerkunst, 1960,143) Masks are the most important art form of the Dan. Many of the other forms of sculpture are derived from the mask and what the mask symbolizes. Numerically, more masks are created than any other form of sculpture. Spiritually, masks are perceived to embody the most powerful of spirit forces. Socially, masks are the means of bringing control and order to village life. Masks provide the strongest impressions of a young Dan person's earliest experience, as their importance is reinforced by their presence at all significant events. Masks are empowered by the strongest of supernatural spirit forces, called gle. Like dii, gle inhabit the dark forest, particularly where the trees grow high and dense. Gle long to enter into and participate in the ordered world of the village but, being invisible, cannot until a visible form for each is made. The nature of that form, a mask and complete masquerade ensemble meant to represent the personality of the gle, is seen in a dream. In addition, the gle must reveal its intended function in the dream or that dream is considered useless. The dreamer, who must be an initiated member of the men's society, reports the dream to the council of elders. They then decide whether the masquerade ensemble should be created for that man to wear and perform. The carver carves the wooden face, and this is accompanied by attire that includes forest materials such as raffia, feathers, and fur. It is believed that each gle has its own personality, character, dance, speech patterns, likes, and dislikes, and it is given a personal name. The wearer of the mask takes on all these characteristics and qualities when he wears the mask ensemble. Having come from the unknown realm of the dark forest, a gle is thought to be unpredictable. Therefore it always has an attendant with it to control it as well as to interpret its speech. Gle Gle can be divided into two broad categories: that ofdeangle, gentle, peaceful gle, which have no gender, but whose qualities are thought of as feminine; and that of bugle, gun or war gle named after the sound of the gunshot (Tabmen 1971,18), whose qualities are thought of as masculine. A third category, gle va, are "big" or "great" gle that have risen to importance, and can be either deangle or bugle in form. Apart from these general statements, it is difficult to classify the many forms of mask gle to correlate form with function. The individuality of gle make this so. A gle in mask form, which might look very similar to another, could have different characteristics and therefore different functions, even in the same village. Furthermore, there might be changes in function during one gle's lifespan, which is often several generations long. A new face mask could be carved to replace a worn out or damaged mask for the same gle. Confusion also enters with the many different names given to each gle. A gle is given a personal name (e.g., Slii, "Hawk"; Ble, "Termite"; or Korto, "You don't make farm," meaning the gle distracts one from normal work) and one or more praise names (e.g., Zuku, "Amazing"; or Sadhoplo, literally, the palm leaf funnel that enables one to pour palm wine, meaning that the gle enables one to achieve success). The gle also may be called various names that denote its functions or physical characteristics, or even names that distinguish it by the traditional implements it carries. One gle may have seven or eight names. In spite of the possibility of such variations, the following range of known functions may be assigned to the most common mask forms of the Dan. Deangle The deangle mask-being has the oval face with slit eyes. Its character is gentle and graceful, and it represents an idealized Dan form of beauty. Slit eyes, or eyes that barely show below lowered lids, are thought to be beautiful, as are the expressive protruding lips with a few teeth showing, the curve of the forehead, and the oval face. Deangle's function is to teach, entertain, and nurture; in other words it supports peaceful activities in the village. Although it has no gender, its qualities are thought feminine by both Dan and outsiders. The deangle mask often has raised tattoo markings forming a vertical pattern or line in the center of the forehead, representing a discontinued practice of the Liberian Dan still seen on some older people. A horizontal band of white across its eyes is also often seen, representing the continuing cosmetic practice by women and girls of painting white kaolin on the face for special occasions. Among the northern Dan of the Ivory Coast and Guinea, deangle masks tend not to have the forehead line and instead sometimes have an incised pattern around the periphery of the mask, also representing tattooing. Bonagle The most frequently made and used mask in the deangle category is the bonagk, which serves the ban, or bush school. Every boy enters the bon at or near adolescence for one to four months, to be circumcised and initiated into the men's society. The bonagle acts as an intermediary between the bon and the village. It transmits messages back and forth, and carries food from the mothers to the boys. Entertaining Deangle Other deangle entertain and teach in the village. Singing deangle entertain and teach by singing accounts of history or memorable recent events; dancing deangle entertain and sometimes teach correct behavior. Deangle whose function it is to entertain tend to be dressed more elaborately than the bonagle, wearing richer garments and sometimes a more elaborately carved face mask. One type of gle in this category is the sohngk, named for its tall conical hat that looks like a basketry fish trap, sohn. The sohngle is said to be the best dancer, but it jokes, sings stories, walks with great dignity, mysteriously drinks water or palm wine with face mask in place, and imitates the birds of the forest as well (Kerser 1986, Tabmen 1986). Weplirkirgle Weplirkirgle, the "fun-making" gle, is another form deangle may take. Because it sometimes has projecting tube eyes, weplirkirgle may also be a form of bugle. It is distinguished by its distorted asymmetrical features, usually representing a physical deformity. Although it is against the law to laugh at it, this gle is purposely very funny, thereby collecting fines. It makes fun of people with deformities, assuaging their feelings of being cast out, and alleviating the tensions that surround them. This gle teaches by negative behavior. Although we may safely assume that a mask with distorted features functions or functioned as a weplirkirgle, a mask with symmetrical features may also function this way by distorting its speech, coughing, or mimicking other deformities (Kerser 1983 and 1986; for other examples see Harley 1950, plate IX). Bugle The first mask to come to man in his dreams said, "Make me, wear me; that will scare the enemies."—Dro (Himmelheber, Negerkunst, 1960,159) Bugle's eyes are usually either triangular or round, projecting as tubes, or carved out. The face tends to be less flat and to have boldly projecting surfaces. It is meant to be fearsome because it functions to create excitement, "to make the town hot" (Kerser 1983). The personae of these gle once were associated with warriors, and whipped battle participants into action, frightened the enemy, and sometimes led the soldiers into battle. They dance with appropriate vigor. Bugle has been labeled masculine because of this aggressive behavior, although, like deangle, it has no gender. Kagle One functional category of bugle takes several forms and is called kagle. Kagle is the rough and vigorously dancing gle that takes its name from the hooked sticks it carries and hurls into the crowd. (Ka means "hook".) Kagle whips bystanders, pulls off shirts with its stick, throws the sticks indiscriminately into the crowd, and generally rouses the people (Tompieme 1983). It is believed that this was done in former times to excite the town in preparation for battle. Despite its rough display, it is greatly loved, particularly by men who make a game of avoiding its hooked stick and other forms of attack. Kagle is said to be associated with the chief, who used it to test loyalties during times of war. If the kagle injured anyone or caused damage with its rough behavior yet there were no complaints or criticism of the chief, that chief knew he could count on unfailing loyalty from the particular family involved (Chief Tomah of Butuo, in Thompson 1974,164). Today kagle is followed by an attendant who carries the sticks and tries to prevent injuries. All representations of kagle wear a wig of shaggy cotton yarn, have feathers stuck behind both ears, and wear a cloth cape and raffia skirt. Cubist Kagle—The face mask of the kagle can be one of several types (Kerser 1983, Tompieme 1983). The cubist kagle has protruding disc-like or triangular cheekbones, triangular eye holes, an overhanging brow, a large open mouth, and no chin. Most of these masks are meant to look like chimpanzees and the wearer acts accordingly. A number of other masks offer variations on this same basic style, representing animals such as crocodiles or birds. Nya Gbo G/e—Another form of kagle is that ofnyagbogle, which refers to its protruding, tube eyes (nya, "eyes," and gbo, "ceramic pot"). All masks with round or protruding eyes are called nya gbo gle, regardless of function. This type of kagle also has a prominent brow, often carved with a row of duiker horns. These represent power objects, as duiker horns are often used as containers for magical power substances. Instead of horns, the mask sometimes has a brow represented as a shelflike overhang. The jaw and mouth are either realistically human or large and animallike. These masks frequently combine human and animal features, again often resembling the chimpanzee. Kagle with Slit Eyes—A third form of kagle features recessed slit eyes, broad mouths, and sharply projecting animal features. Its behavior is much the same as the others in the kagle category. Blua Gle Another functional type in the bugle category is the blua gle. This is considered an important gle whose principal function at one time was to escort and bless warriors. Today it investigates and settles disputes too great to be settled by the townspeople and often rises to the rank of gle va, the most important gle of an area, which is discussed below. Blua gle dances vigorously, showing its great strength by carrying someone on its back while dancing, or by picking up and flinging a heavy wooden mortar great distances (Kerser 1983). Blua gle has a large jaw and projecting tube eyes, which make it by definition a nya gbo gle. The significant features that identify it, however, are the blua, the tall vertical black feather headdress it wears, and the maan, the broom whisk it carries in its hand (Tabmen 1986). Gunyege and Zakpai Ge Round-eyed masks, which occur only among the northern Dan, are another form of bugle. They are oval and have the fine features associated with deangle, except for their round eyes, which may be slightly projecting or carved out as holes. They are often painted red, at least in part. Functionally such masks fall into two categories, although the face masks themselves without their accoutrements often look much alike. The two functional categories of northern Dan bugle masks are called gunyege and zakpaige. The northern Dan equivalent to gle is ge. Gunyege participates in races with the fastest young men of the village. It is believed that the power of the ge helps its wearer to win; if the wearer of the mask loses the race, it means that the spirit has deserted that person, and the mask will go to the fastest runner. In this sense it is a trophy mask. The mask usually has wide-open round eyes, necessary for good vision, and is tied to the head with a strap. A kerchief usually serves as head covering. Zakpai ge is the fire prevention ge. Its function is to insure that women have put out their cooking fires every day during the dry season, before the afternoon winds begin to blow. Zakpai ge is aggressive, sometimes throws things, and is meant to inspire fear. The round eyes on this mask are often smaller than those of the gunyege, and may even be slightly projecting tubes. Tall green leaves cover the head. In addition, the masker wears pants with a ruff of raffia around the waist and neck. It carries a branch as a weapon (Fischer 1978, 21). Ge Gon Another mask type also exists only among the northern Dan and their neighbors. This mask is called ge gon, "masculine" ge. It appears to be a variation of bird-beaked masks from the Mau. The mask has oval or slit eyes often framed with tin, and a large beak or snout with a black beard of monkey fur. The lower jaw is often moveable. The headdress of this ge is ornamented with mirror glass, cowries, cloth, fur, and tall white feathers. As the mask spirit swoops and dances, the masker carries in its hands horsetail fly whisks that are waved gently to imitate a large and graceful bird (Fischer 1978, 22-23). The bird represented by the ge gon is probably the hombill, important in Dan mythology as the first being created by Zlan and as bringer of the oil palm, which is an important food source of the Dan. Ge gon today dances strictly for entertainment, although it is thought long ago to have sung songs and proverbs to instruct the people in the importance of this mythological bird (Fischer and Himmelheber 1984, 81-85). Tankirgle and Gbaagle Most of the above gle come under the broad heading of tankirgle, "dancing" gle (literally "to make dance" gle; Tabmen 1971,15). Another term for dancing gle \sgbaagle, literally "bench" gle, so called because the figures perform in a defined area where spectators can watch while seated on benches (Tabmen 1986). Although these gle are admired and respected for various manifestations of spiritual power, a skilled dancer is greatly loved also for its entertainment value. GleVa Gk va, big or great gle, are the most important, most powerful gle of an area. In the past a gle va had an enormous reputation, and rarely made an appearance. It only settled large matters, such as stopping wars between villages. Some became so famous for their ability to negotiate settlements that they were requested across great distances and ethnic boundaries. Himmelheber tells of the gle va named Ve, who was Mano but was sent for by relatives in We country to stop a war between two We towns. Ve was known as the gle who could separate fighters (Himmelheber, Negerkunst, 1960, 146). Today a gle va settles disputes that cannot be settled by ordinary authorities. It also maintains traditions by policing and controlling traditional ceremonial activities, such as the opening of bush school or a cow feast (Fischer 1978, 23). Gle va may wear the mask of any deangle or bugle who has been promoted to this highest rank, although it is most likely to be embellished with fur, feathers, leopard skin, cast brass bells, and usually a red shawl. If a mask has been carved to be a judge mask, it can be large, with nya gbo, projecting tube eyes, and a moveable bearded animal jaw hung with symbolic power objects (Kerser 1986, Tabmen 1986). Gunlagle and Wompomeingle To rise to the status of the most important gle of an area, a gle must prove itself wise in settling disputes and powerful in bringing about desired results. It must prove that its spiritual backing is strong by demonstrating supernatural feats. Gunlagle, the "village quarter" gle, is the judge of its village quarter (section of village divided by family lineage). Disputes within the quarter are brought before, and settled by, the gunlagle; a good and wise gunlagle can become a judge for the whole town. A wompomeingle, an "accusation" gle, judges and settles disputes for a whole village or larger area. It commands respect wherever it goes. One must be careful not to break any of its many rules of behavior in its presence for fear of being fined in such valuables as white chickens, kola nuts, or money (Kerser 1983 and 1986, et al.). Thus the problem in identifying these masks by function alone is very great when we consider that any gle, if it proves itself worthy, can rise hierarchically to become a leading mask, or gle va. Gor Gle The problem of identifying gle va becomes even more complicated when we consider the Gor, "Leopard" society, which moved into some regions of the Dan from the northeast in the last century (Fischer and Himmelheber 1984,105). The principal func¬tion of the Gor seems to be the administration of justice, and as such it has superimposed itself on the existing system of men's societies that control the mask spirits. As it usually was high-level society members who joined the Gor, their mask spirits became elevated in status by being invested with Gor functions, and they often became leading masks, gle va. These masks would also be known as Gor gle (Fischer 1978, 23). |
| DAN (DAN-GIOH, GIO, GIOH, GYO, YACOUBA, YACUBA, YAKUBA) Côte d’Ivoire, Liberia, Guinea The 350,000 Dan live mostly in the western part of the Côte d’Ivoire and into Liberia, where the land is forested in the south and bordered by a savannah in the north. They make their living from farming cocoa, coffee, rice and manioc. They also live off game and fish. The Dan have the reputation of being fierce warriors, always battling their neighbors, the We, the Guro, and the Mano. From a cultural viewpoint the Dan are close to the We populations situated in forest regions of the south, and against whom they have waged innumerable wars. Lacking a central authority, the various groups had neither a political institution nor unity. The village is under authority of a chief and a council of elders. In addition, there were male associations that attempted to bring about a socio-political unity, reinforcing rules of behavior, demanding absolute loyalty and obedience from members, and giving an initiatory education to the young. These societies called upon the tutelary spirits of the bush. The most powerful, even today, is the secret society of the leopard, the go, which, without having fully achieved its stabilizing and unifying goal, nevertheless grows from one year to the next. The leopard society acts as a major regulator of Dan life and initiates young men during their isolated periods of three to four months in the forest. In order to attain adult status, all the boys and girls of the same age-group undergo an initiation that includes, in addition to specific teaching, circumcision for the former and clitoridectomy for the latter. To underline the transitional aspect of this trial, it takes place in the world of the bush – the realm inhabited by spirits who, like the ancestors, can play a mediating role between humans and supreme being Zran. Dan people have achieved notoriety for their entertainment festivals, which were village ceremonies, but are today performed largely for important visitors. During these festivals, masked performers dance on stilts. The go master, the head of the like-named society possesses the masks and guards them in a sacred hut. All Dan masks are sacred; they do not represent spirits of the wilderness, they are these spirits. Dan masks are characterized by a concave face, a protruding mouth, high-domed forehead and are often covered in a rich brown patina. There are a variety of Dan face masks, each of which has a different function. They may be the intermediaries, who acts between the village and the forest initiation camp, may act against bush fires during the dry season, used in pre-war ceremonies, for peace-making ceremonies, for entertainment. Over time, many among them have lost their original function and have been recycled into contexts related to entertainment, emerging only for festivals or events organized for visitors. Nonetheless, the great masks live on, their even more rare appearances being reserved for times of tension, when it is important they may exercise their role of social control and their faculty to reduce conflict or settle legal wrangles. The Dan also carried small masks (less than 8”), which are sometimes called ‘passport’ masks. They were sewn onto a piece of cloth and kept in a leather pouch and possibly worn in the small of the back. They are miniature copies of a family mask and sometimes received libations. These masks also act as witnesses during initiation ceremonies and protect the owner when he is away from home. Dan masks are the real treasures of African art tradition, ranging in their expressive powers from gentle tenderness to fierce aggression. The Dan statues are not representation of ancestors or spirits. These figures, which were commissioned by powerful chiefs as three-dimensional portraits of their favorite spouses function as maternity figures with babies on their back. They are kept hidden inside houses and are only revealed during important occasions such as visits by foreign dignitaries. A woman who has distinguished herself through her hospitality and generosity will own a superb spoon of sculpted wood. This is a custom specific to the Dan. This woman’s role, in the heart of the village, is to receive and feed travelers, musicians participating in celebrations, and men who have come to help clear the fields. The spoon possesses the power to make one rich and famous and confers a sure authority over the other women. The spoons have several shapes: the most usual one has a handle fashioned after a human head, comparable to certain masks; others have handles that form pairs of legs. The carvers also produce chiefs' staffs and female figures that seem to be prestige items, as are small figures cast in brass. |
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