The Baule people today make up one of the largest ethnic groups in Côte d’Ivoire. It is said that they migrated to the area from Ghana in the 1750s, under the rule of Queen Pokou, who refused to join the Ashanti empire. As part of their journey, they had to cross the Komoé river, but when they reached it they were not able to find a way over. The queen’s priest advised that a noble child must be sacrificed, and so she cast her infant son into the river. Several hippopotamuses appeared, forming a bridge by which they were able to cross. The queen, grieving her child, called out ‘ba ouli’, meaning ‘the child is dead’; this phrase evolved into the name ‘Baule’ by which her descendants are known. The Baule people are traditionally farmers, living in small villages controlled by village-leaders, or kings and queens in the larger communities. Their staple food is yams, and they also grow coffee and cocoa to make a profit.

Baule art includes works in gold, bronze, and ivory, as well as carved face masks and human figurines. The masks are considered highly spiritually powerful, and within many communities they are only allowed to be seen by certain people. Many masks were used in Mblo performances; this is a Baule theatrical tradition combining acting and dancing. Mblo portrait masks are made to represent important members of the community, not necessarily as accurate depictions of what they physically look like but as manifestations of the attributes that they possess. They were often carved to celebrate a female relative, particularly one renowned for her beauty or talent in dancing. It was often considered necessary for the portrait’s subject to be present to accompany the mask when it was used in performances. Although there are some common elements within the genre, such as a broad forehead, downcast eyes, and scarification marks, there is also opportunity for a great deal of individualisation and artistic invention, particularly within the elaborate headdresses or projecting elements that often appear on top of the figure’s hair.

This mask depicts an elongated oval-shaped face, with distinctively stylised features. The eyes are placed diagonally, and are slightly open with a downward gaze. The nose is long and narrow, coming to an almost triangular point. The mouth is small, with a slight pout. The forehead has five pairs of oval raised marks on it, probably meant to represent scarification. The rim around the edge of the face is pierced with several holes on each side. The hair is divided into three sections, each decorated with diagonal lines to represent its texture. On top of the hair is a platform on which two birds stand, possibly roosters. Although similar in size, they are individualised, with differently shaped crests and different patterns on their wings.