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Another common subject of African masks is a woman's face, usually based on a specific culture's ideal of feminine beauty. Female masks of the Punu people of Gabon, for example, have long curved eyelashes, almond-shaped eyes, thin chin, and traditional ornaments on their cheeks, as all these are considered good-looking traits. [17]
The Woyo masks are crafted from gourds. [3] Then they are carved out of wood for use, and painted with contrasting colors. [4] The colors used had symbolic meaning and were sometimes repainted, symbolizing rebirth, or to restore the power of the mask. [4] They are also decorated with sacred objects known as nkissi. [5]
In the Chokwe people of Central Africa, the chikunga is a sacred ceremonial mask. Of the many ceremonial masks, the chikunga is considered to be the most powerful, and it is only worn by the tribal chief. The chikunga mask is made by stretching barkcloth over an array of wicker bits. It then is painted black with red and white designs.
Often strips of raffia, which are pieces of fiber from the raffia palm, are attached to the mask. The white color of these masks is associated with things like the spirits of ancestors, death, and male virility or manhood. [2] Most Ngil masks are an oval shape featuring a broad forehead with an elongated chin and nose.
Founded to help preserve traditional cultural practices in the modern age, FESTIMA features masks and traditions from several West African countries. [2] It is currently held biennially in even-numbered years. [3] The most recent edition, the fifteenth, was held from February 29 to March 7, 2020, in Bankuy. [4] [5] [6]
This contrasts with masks from Equatorial Guinea as the face masks range from geometrical forms to human faces. The majority of the masks have the eyes closed and very few have them open. Some masks that Mekuyo wear have a mirror attached on the forehead which also is used as a talisman.
Nyau masks are constructed of wood and straw. and are divided into three types. [21] The first is a feathered net mask, the second is a wooden mask and the third is a large zoomorphic basketry structure that envelops the entire body of the dancer. [6] [21] Wearing the latter, dancers tend to turn around and around in a motion known as Nyau ...
All Bobo masks serve as a means of contact between human beings and these deities; some represent the deities themselves while others, called bolo masks, depict animals and people. Bolo masks such as this one are usually danced for entertainment. The art of Burkina Faso is the product of a rich cultural history.
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