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This information was automatically generated from data provided by MOA: University of British Columbia. It has been standardized to aid in finding and grouping information within the RRN. Accuracy and meaning should be verified from the Data Source tab.

Description

A long oval face with two flat horns curving up into the middle where they met a rounded horn curved upward and concavely. The eyes are carved out into horizontal slits. Three diagonal lines are carved out from the nose going outward. The carved mouth has three carved lines emanating at angles from each side. The ears are high with their tops horizontal and pointed at an angle. At both sides there protrudes a vertical rectangle with two sets of four horizontal lines. The pointed chin is surrounded by a square at the bottom which flares up into a blunted y-shape around it. There is a metal hook at the back.

History Of Use

Kpelié (face masks) are idealized representations of the beauty of young women; they are used in funerary and initiation rites. Funerary masquerades, organized and performed by the Poro society of a given village, concentrate on honouring the dead and ensuring continuity between the living and the ancestral dead. Within the Fonombele blacksmith group, the Kodöli-yëhë masquerade dance utilizes these face masks in conjunction with specific hip and shoulder movements meant to refer to the feminine qualities of a beautiful young woman. Kodöli-yëhë serves as both entertainment in blacksmith funeral social festivities and as part of the initiation process for male Junior Grade members in blacksmith Poro societies. Kpelié are worn with raffia costumes and the dance is accompanied by songs, chants, and instruments. Until it's independence in 1960, Cote d'Ivoire remained under French rule and its policy of association. Indigenous Senfuo groups were allowed to preserve their customs so long as they were compatible with French interests. However, following mass conversions to Christianity in southern Cote d'Ivoire in the early 20th century and the Massa iconoclast movement in southern Mali in the mid-20th century many indigenous groups abandoned traditinal visual culture. What was left behind was either either collected or later replicated by Senufo artists for the art trade market.

Iconographic Meaning

The three lines that fan out from the corner of each side of the mouth are elemental motifs incised on every child, both male and female. This scarification (yegi kabaara, or “face scars”) identifies the person as Senufo.

Item History

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