Cote d’Ivoire and Liberia
Dan
Wood, cowry shells, nuts, iron, raffia fiber, cotton, kaolin clay
Early 20th Century
Length: 14.5 in; Width: 14 in
Other – Regalia – Headdress

This is a magnificent Dan ‘Zapkei go ge,’ a royal mask reserved for exceptional events, playing an active role between the initiation camp and the village. Ref.: “Art of Sub-Saharan Africa” C. Mullen Kreamer; “The Tribal Art of Black Africa” J.B. Bacquart. 

To the Dan people of the Ivory coast and Liberia, masks have been documented as the embodiment of at least a dozen artistic personalities.  These masks serve as a physical representation of the spirits, known as ‘gle,’ that inhabit the forest and enter the civilized world through masquerade performances.  Whether or not they are worn, such masks are believed to be spiritually charged. 

The Dan masks are generally divided into two categories.  ‘Dean gle’ masks represented here, showing an idealized version of Dan beauty, characterized by narrow eyes; an oval shaped face with a high smooth forehead; and strong protruding mouth with full lips slightly opened.  Their qualities are to serve to teach, entertain, and nurture.

The second category is the ‘bug gle’ masks, designed to frighten.  They have round protruding tube-like eyes, appear masculine, and are associated with war.

This specific ‘‘Dean gle’’ is carved from wood and adorned with steel tacks.  The headdress is further adorned with cowry shells, nuts, iron bells, raffia fiber, cotton wadding, string, kaolin clay, and burlap. These masks are accompanied by a full-body costume constructed of raffia, feathers, and fur.  Socially, masks are the means of bringing control and order to village life.

Resources:  https://www.metmuseum.org/art/collection/search/309878;  https://rawtribe.co/indigenous/indigenousmasks/the-dan-mask-a-symbol-of-dan-culture-and-tradition/