This dramatic work is a Gelede mask, made by the Yoruba polity of modern-day Nigeria. It is a highly unusual example of the genre. It has the usual cap format, so that it can be worn atop the head, looking slightly upwards. The rim around the opening to the base of the mask is broad and decorated with brown stripes that contrast with the light colour of the natural wood. The face is comparatively small, with a long nose, roundish eyes and a simple mouth rendered as two parallel lines. The edges of the mouth are marked with what appear to be whiskers that sweep upwards and sideways; these are characteristic of many Yoruban and Benin pieces. The most unusual aspect of this mask are the exceptional superstructures, a flat platform decorated with black triangles atop the head, and two large “ears” that extend upwards, backwards and then point forwards. They have a central groove, and are decorated with dark pigment so that they resemble palm leaves. The paint has faded sporadically with age, which, combined with the gloss from usage, makes this a very attractive piece of Gelede paraphernalia.
The Yoruba are a Central Nigerian tribal group, originally descended from a Hausa migration from the northeast in about 900 AD. A small kingdom – Ile Ife – was founded by Oduduwa, followed by great sociopolitical expansion into Southwest Nigeria, Benin, and Togo. The influence of the city was felt far beyond these boundaries, however, and many smaller political entities were held under its sway. Communities were presided over by the Oba (king) and various senates (Ogboni), and councils made up of guild leaders, merchants and the lesser aristocracy (related to the Oba). The Yoruba have an exceptionally rich and diverse mythology, history and religious context, all of which are directly linked to their artistic output; this grouped heritage is known as the Itan.
This mask is intimately associated with rituals performed by men’s societies bent upon the protection of the living. Specifically, Gelede is intended to honour the spiritual aspects of femininity, and to prevent this from becoming destructive to the society to which they belong. Angered female spirits (Aje) may destroy entire communities; for this reason, they are placated by dancing performances so that their power is directed towards the benefits of the group. Each village and area had distinctive patterns of Gelede masks that reflect some facet of their social organisation or mythology. The well-worn holes around the perimeter of the rim indicate that it originally worn with a large cloth costume that would have covered the masquerade dancer and concealed their identity. As it is a forehead mask, there are no eyeholes.
It is possible that further research could determine the exact place of origin of this piece. However, whatever its specific origin, it is a remarkably well-rendered and patinated piece that would grace any collection or sophisticated domestic setting.