AFRICAN RITUAL MASKS AND EFFIGY STATUES-MAGIC & MYSTICISM
MASK INTRODUCTION
What is an African ceremonial mask? In which rituals are they used? How are they used? What does it all mean? How about the African carved effigy statues? Are they used in the same way as the masks?
African carved masks and statues are impressive. They are finely carved with extreme care, from a single piece of wood, obviously by professional carvers, and depending on the ritual usage, the result is a mask of great complexity. Some masks are quite elaborate, and stunningly beautiful. The carved masks and statues are all different and represent a symbol or meaning to the African. Some masks or statues look like humans; others like animals, and still others that are a combination human and animal. These are called therianthropes. Some masks and statues are quite bold, stunning and often scary, others are passive; some masks are basically a monotone, usually a brownish, others painted with bright colors. Some masks are worn in front of the face while others, called “helmet masks” are worn over the head. Some masks are large (adult), some small (child), and some are masks that ONLY males or females are to wear. Some masks are worn, others carried, others worn on the hand or arm. Some masks are old and very used, others new and unused. In short, there are all types, styles, colors, shapes, and reasons for the African ritual masks.
MASKS AS ART
The modern Western person usually looks at the African mask or statue as a work of art. A finely designed and carved piece of wood, possibly concealing a cryptic message of one sort or another; a bit of mystery. There is always that remote possibility. The Westerner observes the fine, graceful lines, and the colors of the mask or statue. Few Westerners detect the particularities that a talented African carver has incorporated into his mask or statue. For example, if you have a mask at hand, look at the face, especially the cheeks, forehead or temples. Is there what looks like cuts or bumps or indentions? What are these? Why are they there? They are probably “scarification” and the type (style) of scarification usually signifies a family affiliation. The westerner is satisfied with the graceful lines and the color of the mask. This is the extent of what the Westerner sees or feels about the mask or statue. Usually, the mask or statue is only looked at as a beautiful carved piece of wood.
MASKS FOR TOURISTS
Yes, there are mass produced “tourist” masks and some replicas of authentic African ceremonial masks that proliferate tourist shops and stalls, flea markets, and online internet auctions, but these masks are not to be confused with the authentic ritual mask, the type found in museums.
MASKS IN RITUAL
Let’s look at the African mask from a different perspective. Let’s ask ourselves if there is possibly a deeper meaning or significance to these masks and statues. Another approach to understanding the mask is to ask: How is this mask used and why? Is there any significance to this fine piece of carved wood other than apiece of art, carved to sell to a tourist?
The mask represents, to the black African, a very serious ritual object. When the African sees an authentic ceremonial mask he or she knows its approximate, if not exact origin and significance. The African realizes the importance, the meaning, and the power and danger of the mask or statue.
The answer to the question about what is an African mask is all three possibilities depending on who you are. It could be an art piece, no more and no less, or a souvenir, no more or less, or a very valuable ritual object.
If your interest is peaked about the alternative view to the significance of the African mask, please read on. This brief overview is presented to provide a small amount of information about African masks and effigy statues to the interested reader.
MASK USE
The use of masks is a universal phenomenon. Mask use is found around the world- from Australia to China to Zambia. This brief overview about masks and statues will look at the origins of mask use and identify examples of mask use around the world and ultimately concentrate on the usage of the ceremonial mask in Africa and the masks relationship to the socio-religious interpretation by the African. What role does the mask play in the Africans culture?
MASK HISTORY
The use of the mask dates back to Palaeolithic times, some 30,000 years ago. Images of masked dancers appear painted on cave walls in France and Spain. Mask use is well documented in the Roman and Greek theatre. Carnivals in Europe and Brazil and other countries around the world incorporate the use of masks. Ceremonies by Native American tribes of the United States use masks and African tribes have a well-documented history of mask use. As far as effigy statues go, “Venus figurines” are very old and found in and around the Middle East.
MASK AND STATUE CREATION
The African mask or statue carver, referred to as the artist, creates a unique, useful, ceremonial object filled with deep cultural significance for the African. This is not just a piece of artwork, but an object that becomes useful in his culture and society.
MASK AND STATUE TYPES
Masks and statues cannot easily be separated into categories, but generally speaking we can group these masks and statues into bold and passive, male and female, human, animal or both, large or small, and adult or child. The bold masks usually represent mythological, legendary, non-human beings, or spirits. These masks are often animals associated with the spirit world of the deceased, often the founders of the tribe or family unit, or possibly the very important elders or heroes of the tribe. These masks are often associated with “ancestor spirit” worship. These masks are often referred to as “fantastic” in appearance. The boldness of the mask serves to alert and distance the masked dancers from the general audience who also participate in the ceremonial festivities.
Passive appearing masks are usually worn in private, intimate close ancestor and/or magic ceremonies.
Effigy or reliquary statues often act as guardians, sometimes holding and protecting the bones, ash, or valuable object of a deceased elder or important family member. Statues can be boldly carved or plain. They can depict an animal or be carved to look like a human.
MASK AND STATUE RELATIONSHIP TO MYTH AND FOLKLORE
The only way to fully understand the full significance of the mask and statue and the way masks and statues are used in the African society is to understand the deeply engrained socio-religious myth and folklore background of the Africans culture. Also important is to understand that each and every tribe has potentially a different set of myths, legends, and folklore to draw upon. To understand the African culture at this level is a daunting task for a person from a modern western cultural background, but we can try. Cultural bias is almost impossible to overcome; in fact, I would submit that cultural bias is impossible to overcome. At any rate, myths, legends, and folklore give meaning to the tribal rituals and tribal rituals incorporating the use of masks convey a deep and significant socio-cultural religious meaning to the Africans participating in the event. Allow me an analogy. To the devout Christian, the cross (a symbol), holy communion (a ritual), and the Bible (written guidelines) mean a great deal to the Christian. The significance of these objects has taken a long time to learn and understand. It has become an integral part of the Christians culture. Without a word spoken, when the Christian observes either the object or the ritual, they understand the meaning. To outsiders, the ritual or objects lose meaning. The same is true in the African culture. When the mask appears and/or the statue is present, a deep and important meaning is conveyed. No spoken words are necessary. Rituals, folklore, and myths are necessary to quench man’s need for the spiritual and to control his life and society. Rituals, in any society, are necessary for understanding the world around oneself.
MASKS, STATUES, AND MYTHS
The “original” myths start with the explanation of “the beginning.” Myths try to deal with the unknown. Myths try to arrange all aspects of life and order. Myths help man deal with insolvable problems of human existence including the mysteries of birth, death, and afterlife. Myths and rituals provide the avenue between man, often a shaman, priest, or medicine man, and an invisible power, often referred to as a higher level of authority or God. In African societies, as in other societies, questions of life, death, afterlife, and other perplexing problems are answered through ritual. Masks and Statues play an important part in African ritual.
Myths, spirits, and masks, through ritual, teaches and then reinforces the origins of life, the origin of the tribe, the sequence of founding fathers, leaders, and heroes. Ritual through and associated with masks teach and reinforce the history of migrations, the purpose of initiations, the importance of agriculture and hunting, and the technique of crafts and arts. Ritual using masks teach and reinforce the importance and danger of food taboos, social taboos, proper medicine use and taboos, security and protection, the use of spells, and the use of anti-spells. Ritual and ceremonies using masks teach and reinforce cultural understanding about fertility, birth, funerals, harvest of the crops, initiations of several types, guardian spirits, and the animal world.
MASK RITUAL
When a ceremony or ritual begins, in an African village, the members of the community participate and know full well the significance of the ritual. Respect is shown not only to the masked and robed dancers, but to the cultural meaning of the ritual- be it a fertility, healing, harvest, hostility (war), or funerary ritual. The masked and robed dancers are respected as representing a spirit, a higher authority, God, or a deceased ancestor. The masked and robed dancers communicate a very powerful message, possibly a message from the deceased ancestors, or a message pertaining to magic or witchcraft. The ritual could pertain to a spell cast on one person or a group and a possible anti-spell.
Please allow me another analogy. As the African transforms into a masked and robed ritual performer, the community does not look at this person as just another member of the community. This masked and robed person has changed his status and role. In modern western societies, our own societies, a similar phenomenon takes place. Everyday normal citizens (one can’t tell them apart walking on the street) of our communities metamorphose into ritual performers. For example, ritual ceremonies in our Western societies include graduation (cap and gown), Halloween (masks and costumes), Mardi Gras, Santa and elves at Christmas time, and cupid at Valentines Day festivities. Other examples of persons who usually demand great respect when they change from street cloths to ritual clothing include “The Judge”, priests and nuns, doctors and nurses, policemen, and armed forces personnel, especially officers. To these persons, in their respective roles, and rituals or ceremonies, great respect is shown. Officers are saluted, quiet, singing, bowing or kneeling in a church, silence at a funeral, and standing for a judge are all examples of how costumes are used to change a person into one who demands and gets respect when conducting the ritual or ceremony.
CONCLUSION
This woefully short and inadequate introduction to masks and effigy statues will have to do for now. A larger, more complete, and up to date edition is being researched at the present time. Additions and deletions will be made depending on new research and information.
MASK INTRODUCTION
What is an African ceremonial mask? In which rituals are they used? How are they used? What does it all mean? How about the African carved effigy statues? Are they used in the same way as the masks?
African carved masks and statues are impressive. They are finely carved with extreme care, from a single piece of wood, obviously by professional carvers, and depending on the ritual usage, the result is a mask of great complexity. Some masks are quite elaborate, and stunningly beautiful. The carved masks and statues are all different and represent a symbol or meaning to the African. Some masks or statues look like humans; others like animals, and still others that are a combination human and animal. These are called therianthropes. Some masks and statues are quite bold, stunning and often scary, others are passive; some masks are basically a monotone, usually a brownish, others painted with bright colors. Some masks are worn in front of the face while others, called “helmet masks” are worn over the head. Some masks are large (adult), some small (child), and some are masks that ONLY males or females are to wear. Some masks are worn, others carried, others worn on the hand or arm. Some masks are old and very used, others new and unused. In short, there are all types, styles, colors, shapes, and reasons for the African ritual masks.
MASKS AS ART
The modern Western person usually looks at the African mask or statue as a work of art. A finely designed and carved piece of wood, possibly concealing a cryptic message of one sort or another; a bit of mystery. There is always that remote possibility. The Westerner observes the fine, graceful lines, and the colors of the mask or statue. Few Westerners detect the particularities that a talented African carver has incorporated into his mask or statue. For example, if you have a mask at hand, look at the face, especially the cheeks, forehead or temples. Is there what looks like cuts or bumps or indentions? What are these? Why are they there? They are probably “scarification” and the type (style) of scarification usually signifies a family affiliation. The westerner is satisfied with the graceful lines and the color of the mask. This is the extent of what the Westerner sees or feels about the mask or statue. Usually, the mask or statue is only looked at as a beautiful carved piece of wood.
MASKS FOR TOURISTS
Yes, there are mass produced “tourist” masks and some replicas of authentic African ceremonial masks that proliferate tourist shops and stalls, flea markets, and online internet auctions, but these masks are not to be confused with the authentic ritual mask, the type found in museums.
MASKS IN RITUAL
Let’s look at the African mask from a different perspective. Let’s ask ourselves if there is possibly a deeper meaning or significance to these masks and statues. Another approach to understanding the mask is to ask: How is this mask used and why? Is there any significance to this fine piece of carved wood other than apiece of art, carved to sell to a tourist?
The mask represents, to the black African, a very serious ritual object. When the African sees an authentic ceremonial mask he or she knows its approximate, if not exact origin and significance. The African realizes the importance, the meaning, and the power and danger of the mask or statue.
The answer to the question about what is an African mask is all three possibilities depending on who you are. It could be an art piece, no more and no less, or a souvenir, no more or less, or a very valuable ritual object.
If your interest is peaked about the alternative view to the significance of the African mask, please read on. This brief overview is presented to provide a small amount of information about African masks and effigy statues to the interested reader.
MASK USE
The use of masks is a universal phenomenon. Mask use is found around the world- from Australia to China to Zambia. This brief overview about masks and statues will look at the origins of mask use and identify examples of mask use around the world and ultimately concentrate on the usage of the ceremonial mask in Africa and the masks relationship to the socio-religious interpretation by the African. What role does the mask play in the Africans culture?
MASK HISTORY
The use of the mask dates back to Palaeolithic times, some 30,000 years ago. Images of masked dancers appear painted on cave walls in France and Spain. Mask use is well documented in the Roman and Greek theatre. Carnivals in Europe and Brazil and other countries around the world incorporate the use of masks. Ceremonies by Native American tribes of the United States use masks and African tribes have a well-documented history of mask use. As far as effigy statues go, “Venus figurines” are very old and found in and around the Middle East.
MASK AND STATUE CREATION
The African mask or statue carver, referred to as the artist, creates a unique, useful, ceremonial object filled with deep cultural significance for the African. This is not just a piece of artwork, but an object that becomes useful in his culture and society.
MASK AND STATUE TYPES
Masks and statues cannot easily be separated into categories, but generally speaking we can group these masks and statues into bold and passive, male and female, human, animal or both, large or small, and adult or child. The bold masks usually represent mythological, legendary, non-human beings, or spirits. These masks are often animals associated with the spirit world of the deceased, often the founders of the tribe or family unit, or possibly the very important elders or heroes of the tribe. These masks are often associated with “ancestor spirit” worship. These masks are often referred to as “fantastic” in appearance. The boldness of the mask serves to alert and distance the masked dancers from the general audience who also participate in the ceremonial festivities.
Passive appearing masks are usually worn in private, intimate close ancestor and/or magic ceremonies.
Effigy or reliquary statues often act as guardians, sometimes holding and protecting the bones, ash, or valuable object of a deceased elder or important family member. Statues can be boldly carved or plain. They can depict an animal or be carved to look like a human.
MASK AND STATUE RELATIONSHIP TO MYTH AND FOLKLORE
The only way to fully understand the full significance of the mask and statue and the way masks and statues are used in the African society is to understand the deeply engrained socio-religious myth and folklore background of the Africans culture. Also important is to understand that each and every tribe has potentially a different set of myths, legends, and folklore to draw upon. To understand the African culture at this level is a daunting task for a person from a modern western cultural background, but we can try. Cultural bias is almost impossible to overcome; in fact, I would submit that cultural bias is impossible to overcome. At any rate, myths, legends, and folklore give meaning to the tribal rituals and tribal rituals incorporating the use of masks convey a deep and significant socio-cultural religious meaning to the Africans participating in the event. Allow me an analogy. To the devout Christian, the cross (a symbol), holy communion (a ritual), and the Bible (written guidelines) mean a great deal to the Christian. The significance of these objects has taken a long time to learn and understand. It has become an integral part of the Christians culture. Without a word spoken, when the Christian observes either the object or the ritual, they understand the meaning. To outsiders, the ritual or objects lose meaning. The same is true in the African culture. When the mask appears and/or the statue is present, a deep and important meaning is conveyed. No spoken words are necessary. Rituals, folklore, and myths are necessary to quench man’s need for the spiritual and to control his life and society. Rituals, in any society, are necessary for understanding the world around oneself.
MASKS, STATUES, AND MYTHS
The “original” myths start with the explanation of “the beginning.” Myths try to deal with the unknown. Myths try to arrange all aspects of life and order. Myths help man deal with insolvable problems of human existence including the mysteries of birth, death, and afterlife. Myths and rituals provide the avenue between man, often a shaman, priest, or medicine man, and an invisible power, often referred to as a higher level of authority or God. In African societies, as in other societies, questions of life, death, afterlife, and other perplexing problems are answered through ritual. Masks and Statues play an important part in African ritual.
Myths, spirits, and masks, through ritual, teaches and then reinforces the origins of life, the origin of the tribe, the sequence of founding fathers, leaders, and heroes. Ritual through and associated with masks teach and reinforce the history of migrations, the purpose of initiations, the importance of agriculture and hunting, and the technique of crafts and arts. Ritual using masks teach and reinforce the importance and danger of food taboos, social taboos, proper medicine use and taboos, security and protection, the use of spells, and the use of anti-spells. Ritual and ceremonies using masks teach and reinforce cultural understanding about fertility, birth, funerals, harvest of the crops, initiations of several types, guardian spirits, and the animal world.
MASK RITUAL
When a ceremony or ritual begins, in an African village, the members of the community participate and know full well the significance of the ritual. Respect is shown not only to the masked and robed dancers, but to the cultural meaning of the ritual- be it a fertility, healing, harvest, hostility (war), or funerary ritual. The masked and robed dancers are respected as representing a spirit, a higher authority, God, or a deceased ancestor. The masked and robed dancers communicate a very powerful message, possibly a message from the deceased ancestors, or a message pertaining to magic or witchcraft. The ritual could pertain to a spell cast on one person or a group and a possible anti-spell.
Please allow me another analogy. As the African transforms into a masked and robed ritual performer, the community does not look at this person as just another member of the community. This masked and robed person has changed his status and role. In modern western societies, our own societies, a similar phenomenon takes place. Everyday normal citizens (one can’t tell them apart walking on the street) of our communities metamorphose into ritual performers. For example, ritual ceremonies in our Western societies include graduation (cap and gown), Halloween (masks and costumes), Mardi Gras, Santa and elves at Christmas time, and cupid at Valentines Day festivities. Other examples of persons who usually demand great respect when they change from street cloths to ritual clothing include “The Judge”, priests and nuns, doctors and nurses, policemen, and armed forces personnel, especially officers. To these persons, in their respective roles, and rituals or ceremonies, great respect is shown. Officers are saluted, quiet, singing, bowing or kneeling in a church, silence at a funeral, and standing for a judge are all examples of how costumes are used to change a person into one who demands and gets respect when conducting the ritual or ceremony.
CONCLUSION
This woefully short and inadequate introduction to masks and effigy statues will have to do for now. A larger, more complete, and up to date edition is being researched at the present time. Additions and deletions will be made depending on new research and information.