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

Headdress, or mask, depicting a human face with pointed lips, stylized ears, and raised rows of hair with incised lines, and three incised almond-shaped clan scarifications on the cheeks as well as the forehead. A chicken is depicted sitting on top of the the figure's head with its wings relaxed downwards, tail pointing upwards, and legs dangling down at the back of the head. The headdress is painted with white eyes, a white scalp with black hair, blue scarifications, and alternating white and blue bands delineate the chicken's feathers.

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.

Cultural Context

Gelede festival dances.

Iconographic Meaning

One narrative for the origin of the Gélède 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. Gelede masks are composed of two parts. The lower part is the face of a woman, while the upper part is often a superstructure with a strong design. The reserved qualities that are favoured in women are represented in the lower part, which contrasts with the vitality and dynamism of the upper part. In this mask, three scars are depicted on the forehead and either cheek to mimic Yoruba facial scars. A hen is depicted on top of the figure’s head to symbolize fertility and motherhood.

Item History

With an account, you can ask other users a question about this item. Request an Account

With an account, you can submit information about this item and have it visible to all users and institutions on the RRN. Request an Account

Similar Items