Origin: 
MŻo/A/3575: Aduma (Gabon)
MŻo/A/3578: Fang (Cameroon)
MŻo/A/3579: Fang (Cameroon)
MŻo/A/3580: Bamum (Cameroon)

Proper name:
MŻo/A/3575: mvudi
MŻo/A/3578: ngil
MŻo/A/3579: ngil
MŻo/A/3580: ngoin

Dating:
MŻo/A/3575: 1990s.
MŻo/A/3578: 1990s
MŻo/A/3579: 2nd half 20th century
MŻo/A/3580: 1990s

Dimensions:
MŻo/A/3575: height 35.0 cm, width 13.5 cm, depth 4.5 cm
MŻo/A/3578: height 28.0 cm, width 14.5 cm, depth 10.5 cm
MŻo/A/3579: height 42.0 cm, width 21.0 cm, depth 11.0 cm
MŻo/A/3580: height 36.0 cm, width 27.0 cm, depth 15.0 cm

Material: wood

Techniques: carving

Obtained from:
MŻo/A/3575: Jacek Łapott, art and craft store, Kampala (Uganda), 2007
MŻo/A/3578: Jacek Łapott, art and craft store, Foumban (Cameroon), 2005
MŻo/A/3579: Jacek Łapott, art and craft store, Foumban (Cameroon), 1977
MŻo/A/3580: Jacek Łapott, art and craft store, Foumban (Cameroon), 2005

Description:

The peoples (Aduma, Fang, Bamum) belong to the large group of Bantu peoples. They live in Cameroon, Gabon and Equatorial Guinea. Their art, available on a souvenir market far from their headquarters, is very popular among tourists and collectors. An example would be the Aduma mask purchased in Uganda.

The Aduma live mainly on the southern shore of the upper Ogoou in Gabon. In traditional accounts, they came from the east or southeast. They are known as excellent shipbuilders and sailors. They traded boats and slaves, which they exchanged for European weapons and textiles. Later, ebony, ivory and rubber also became objects of exchange.

The presented type of mask (MŻo/A/3575), considered to be one of the oldest known in Equatorial Africa, occurs throughout eastern Gabon. The attribution of such masks to Aduma is explained by the fact that Europeans in the early periods of exploration of this region often employed Aduma as guides, who provided them with these masks. In fact, the exact origins of these masks remain unclear. Pierre Sallee described the inhabitants of the region as follows: “The Okande (who are now almost gone) are, along with the Aduma, great sailors on the Ogowe River; these peoples are believed to be responsible for the transmission and dissemination of the typical sculptural forms of the Upper Ogowe peoples (Aduma, Bawandji, Obamba). Their shapes are characterized by a combination of solid mass and surface with geometric spots of color and a protruding forehead, creating very deep eye sockets separated by a swirling line of the bridge of the nose” [Biebuyck, Herreman 1999: 315]. For the last half century, these masks have been used in ceremonial dances associated with important social rituals. Their original function is less documented. Geometric facial elements can be found both on the surface and on the reliefs (protruding forehead, nose) of some mbulungulu reliquaries [Biebuyck, Herreman 1999: 315, ill. 4.87].

The Fang people live mainly in Equatorial Guinea, where they constitute approximately 85% of the total population [Stokes 2009]. The works of art of the Fang people are mainly made of wood, iron and soapstone. Their wooden masks and sculptures of deities and ancestors can be seen in many museums around the world. The discovery of Fang's works of art was a source of inspiration for most European avant-garde works created in the 20th century [Kaehr 2007]. Most works of art are used in ceremonies or act as reliquaries. They are made mainly by men. There is reason to believe that many of these reliquaries were created during the migration of the Fang people as a form of portable burial. Masks of the Fang people - characterized by white, long faces, narrow, barely noticeable slits for the eyes and no opening for the mouth. The white color used in polychrome masks symbolizes death and mourning. The effect is achieved by covering the surface of the mask with kaolin clay. The elongated shape of the masks is the opposite of the round reliquaries, resembling the face of a small child. The lack of a mouth opening causes voice deformation and makes it difficult to precisely identify the dancer [Perec-Nodzyńska 2012: 114].

Light dance masks in the Ngil style represented the spirit of the ancestor and were used by associations responsible for the administration of justice (MŻo/A/3578, 3579). They played an important role in restoring social order. "These white, elongated and impassive faces were well suited to obeying commands given by the mouth" [Meyer 2001: 98]. Facial markings, abstract features and strong, elegant lines are typical of Fang masks, which were among the most influential in contemporary art of the 20th century [information obtained from collector J. Łapott]. “This type of mask was used by the now defunct Ngil association, which acted as local inquisitors, identifying those suspected of contact with witchcraft, torturing them and committing ritual killings. The colonial authorities banned this type of practice after 1919” [Perec-Nodzyńska 2012: 114].

The Bamum are one of the most numerous peoples living in Cameroon, who created a kingdom in the 17th century. From the end of the 19th century, the kingdom became part of a German protectorate, and after World War I it came under French administration. The basis of livelihood is agriculture, crafts and trade. Bamum are known for their refined art. Its heyday occurred during the time of the Sultan of Bamum, Njoy, who resided in Fumban. He was an outstanding personality of the early 20th century and a great promoter of culture and art. The royal workshops produced mainly masks, brass items, printed and embroidered fabrics, horn-shaped goblets decorated with relief, and large pipes. In case of mourning, neighboring rulers sent masked messengers to the court to exorcise the spirits. Figures and thrones were wonderfully decorated with multi-colored glass beads [Leuzinger 1960: 154]. The visual zone was a place where the Bamums could display their strength and dominance in their state. The art served as a reminder of the historical development and supremacy of the Bamum people [Geary 1998: 15-16].

The presented dance mask (MŻo/A/3580) was used during funeral ceremonies of famous personalities. Made in a classic style, it shows a human face with artistic, realistic features, a decorative hairstyle, and openwork eye and mouth openings. The masks were most often decorated with colorful beads and brass or copper sheet metal.

Bibliography:

Biebuyck Daniel, Frank Herreman, 1999, Central Africa, w: Phillips Tom (ed.) – Africa. The art of a continent, Munich-Berlin-London-New York: Prestel, pp. 231-325.

Geary Christraud M., 1988, Art. and Political Process in the Kingdoms of Bali-Nyonga and Bamum (Cameroon Grassfields), „Canadian Journal of African Studies”, v. 22 (1): 11–41.

Jeffreys M. D. W., 1950, The Bamum Coronation Ceremony as described by king Njoya, „Africa: Journal of the International African Institute”, v. 20 (1), pp. 38–45.

Kaehr Roland, 2007, A Masterwork That Sheds Tears... and Light: A Complementary Study of a Fang Ancestral Head, „UCLA James S. Coleman African Studies Center”, v. 40, pp. 44–57.

Leuzinger Elsy, 1961, Africa Nera, Milano: Il Saggiatore.

Meyer Laure, 2001, Afrique Noire. Masques, sculptures, bijoux, Paris: Pierre Terrail.

Paulme Denise, 1956, Les Sculptures de l’Afrique Noire, Paris: Presses Universitaire de France.

Perec-Nodzyńska Katarzyna, 2012, Kolekcja gwinejska Agnieszki Janarek. Mrs Agnieszka Janarek’s Guinea collection, [w:] Lucjan Buchalik, Katarzyna Podyma (ed.) Maska afrykańska między sacrum a profanum. African Mask – Between the Sacred and the Profane, Żory – Katowice: Muzeum Miejskie w Żorach – Muzeum Historii Katowic, pp. 111-129.

Stokes Jamie, 2009, Encyclopedia of the Peoples of Africa and the Middle East, Nowy Jork: ‎ Facts on File, pp. 225–227.

Edited by Lucjan Buchalik

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The purchase is co-financed by the Ministry of Culture, National Heritage and Sport as part of the National Institute of Museums and Collections' own program "Expansion of museum collections".