Gelede Mask

Item number 1373/1 from the MOA: University of British Columbia.

Public

Item Records

This page shows all the information we have about this item. Both the institution that physically holds this item, and RRN members have contributed the knowledge on this page. You’re looking at the item record provided by the holding institution. If you scroll further down the page, you’ll see the information from RRN members, and can share your own knowledge too.

The RRN processes the information it receives from each institution to make it more readable and easier to search. If you’re doing in-depth research on this item, be sure to take a look at the Data Source tab to see the information exactly as it was provided by the institution.

These records are easy to share because each has a unique web address. You can copy and paste the location from your browser’s address bar into an email, word document, or chat message to share this item with others.

Data
Data Source

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

Human face mask with oval-shaped base. Hair section takes up two-thirds of the mask and extends upwards at an angle. Hair on mask has three rows of raised rectangular sections that are painted with alternating colours of yellow, and black with yellow dots. The face takes up one-third of the mask. The face has oval-shaped cut-out eyes that taper at the corners, a small nose, a slightly defined mouth, and protruding ears. Forehead, eyebrows, cheeks and chin are decorated with black and red painted designs.

History Of Use

The gélède mask is worn more like a headdress, on top of the head, by male dancers. The masks are worn during Yoruba Gelede festivals which honour women, both living and dead, in particular the powerful "Mothers" (awon iya wa), a group that includes female ancestors and deities, as well as elderly women of the community. When dancers perform the Gelede dance they are displaying the powers of their female ancestors, who are considered to the beginning of the nation, makers of community and the protectors of children. They have the ability to affect the wellbeing of individuals or the community in positive and negative ways. The Gelede ceremony is divided into two parts: the efe, which takes place at night and features a humorist praying for the community, and the ijo osan, the daytime dance that is commonly referred to as Gelede.

Iconographic Meaning

One narrative for the origin of the Gelede dance is that after Yemoja, the water goddess and mother of all spirits, performed a spirit dance by the river she gave birth to two children. Her daughter was a dancer and was called Gelede because of her weight; Yemoja’s son was called Efe because he was a humorist. The names of the children and their traits could then inform the parts of the Gelede ceremony. Female gelede masks are larger and are used for dancing, and the efe nighttime ceremony involves a humorist. The facial marks on this mask differ from typical gelede masks; this mask could then represent an individual from a different tribe and/or royalty, a female orisa (spirit) or someone of significant beauty.