Ndomo Masquerade. Bamana. Mali.
Masks: Ntomo (Ndomo) Mali. Bamana. University of California, San Diego. Artstor.
The Ndomo mask is worn by the Mali peoples of the Bamana region and dates back to the 20th century. In these masquerades, it represents the peoples in the second of seven initiation rituals for boys during the process of initiation into adulthood. This can include initiation practices such as circumcision, guidance in appropriate behavior, and the revelation of the mysteries of the "great ancestor."[17] There are vertical elements at the top of the mask that capture the wisdom and denote intelligence, and the long nose is expressive of vitality. The prongs that occur on the masks are symbolic because it represents either male or female by the levels of prongs (3=female; 4=male). This represents gender balance in the fact that these practices are immensely important and valued among the Bamana peoples, but also is a ritual that is practiced when a boy in that society is ready to enter the initiation process.[18] The transition of a boy becoming a man in this society is something that is sacred and recognized and is one of the important things to celebrate, as the belief is that men hold great power.
Masks: Ntomo (Ndomo) Mali. Bamana. University of California, San Diego. Artstor.
The Ndomo mask is worn by the Mali peoples of the Bamana region and dates back to the 20th century. In these masquerades, it represents the peoples in the second of seven initiation rituals for boys during the process of initiation into adulthood. This can include initiation practices such as circumcision, guidance in appropriate behavior, and the revelation of the mysteries of the "great ancestor."[17] There are vertical elements at the top of the mask that capture the wisdom and denote intelligence, and the long nose is expressive of vitality. The prongs that occur on the masks are symbolic because it represents either male or female by the levels of prongs (3=female; 4=male). This represents gender balance in the fact that these practices are immensely important and valued among the Bamana peoples, but also is a ritual that is practiced when a boy in that society is ready to enter the initiation process.[18] The transition of a boy becoming a man in this society is something that is sacred and recognized and is one of the important things to celebrate, as the belief is that men hold great power.
Ifa Divination Tray. Yoruba. Nigeria.
Divination Tray: Opon Ifa. Michael R. Heide. Fine Art Museum of San Francisco, 1996. ARTstor.
The Ifa Divination tray is a ritual wooden object that is used near and in Nigeria by the Yoruba peoples. The object’s purpose is to connect the crossroads between the human world and the ancestral world. The god that is represented on this specific piece is Eshu, who is the God of the Crossroads. Divination opens the channels of communication between the worlds for spiritual practices. The Diviner, or whoever is in possession of the object will utilize his or her energy to tap into the spiritual knowledge for the reason they are divining for. This object in general is an idealistic piece in which some characteristics of these trays consist of naked women praying. Eshu, who is depicted on this tray, is known as and prayed to for money, sex, and livelihood as well as his general power for the crossroads. This piece relates to not only gender practices, because it is something that is practiced within the community, but also unity. The tray is meant for men and women in their society to use this tray as a tool to communicate between the two worlds for personal purposes. Not only this, but the practice is also wanted to create that sense of peace and unity with their families, society, and lives.[19]
Divination Tray: Opon Ifa. Michael R. Heide. Fine Art Museum of San Francisco, 1996. ARTstor.
The Ifa Divination tray is a ritual wooden object that is used near and in Nigeria by the Yoruba peoples. The object’s purpose is to connect the crossroads between the human world and the ancestral world. The god that is represented on this specific piece is Eshu, who is the God of the Crossroads. Divination opens the channels of communication between the worlds for spiritual practices. The Diviner, or whoever is in possession of the object will utilize his or her energy to tap into the spiritual knowledge for the reason they are divining for. This object in general is an idealistic piece in which some characteristics of these trays consist of naked women praying. Eshu, who is depicted on this tray, is known as and prayed to for money, sex, and livelihood as well as his general power for the crossroads. This piece relates to not only gender practices, because it is something that is practiced within the community, but also unity. The tray is meant for men and women in their society to use this tray as a tool to communicate between the two worlds for personal purposes. Not only this, but the practice is also wanted to create that sense of peace and unity with their families, society, and lives.[19]
Epa Headdress. Yoruba. Nigeria.
Epa Headdress. University of California, San Diego, 1974. ARTstor.
The Epa Headdress is a wooden pigment sculptural piece that is worn by the Yoruba peoples. The headdress is used most often in a festival celebrating important roles of men and women in a society throughout Nigeria. Like the Gelede masquerade, men perform the ceremony with these large headdresses carved from wood to reinforce structure of the community. It’s not just a work of art, but a representation of very practical nature of the Yoruba spiritual system. The subject, like shown in this picture, is of human figures. The purpose of the characteristics, objects, and scarifications on the headdresses are examples of spiritual and societal concerns within that community.[20] Not only this, but the headdress honors the great one or ones of the family who are not dead. The purpose of the mask is to be visually interesting, along with the dances the person within the masks perform. Gender rituals and representation are apparent in this headdress that is worn. Not only is the festival’s purpose to point out important roles of men and women, but is also a practice that is performed year after year in which all peoples within the culture engage and participate in. The purpose is to bring the community together and recognize what is and what should be important to them.[21]
Epa Headdress. University of California, San Diego, 1974. ARTstor.
The Epa Headdress is a wooden pigment sculptural piece that is worn by the Yoruba peoples. The headdress is used most often in a festival celebrating important roles of men and women in a society throughout Nigeria. Like the Gelede masquerade, men perform the ceremony with these large headdresses carved from wood to reinforce structure of the community. It’s not just a work of art, but a representation of very practical nature of the Yoruba spiritual system. The subject, like shown in this picture, is of human figures. The purpose of the characteristics, objects, and scarifications on the headdresses are examples of spiritual and societal concerns within that community.[20] Not only this, but the headdress honors the great one or ones of the family who are not dead. The purpose of the mask is to be visually interesting, along with the dances the person within the masks perform. Gender rituals and representation are apparent in this headdress that is worn. Not only is the festival’s purpose to point out important roles of men and women, but is also a practice that is performed year after year in which all peoples within the culture engage and participate in. The purpose is to bring the community together and recognize what is and what should be important to them.[21]
Igbo Girl with Uli Painting. Igbo. West Africa.
Ugbene:Igbo Girl Having Uli Patterns Painted. Herbert Cole. University of California, Santa Barbara, 2008. ARTstor.
Painting of women with Uli designs are worn by girls though a process associated with initiation. This was worn by girls from the Igbo peoples in West Africa. These young girls went through a series of rituals and a period of seclusion usually lasted about three months.[22] During this time young women were instructed on sexual and religious basics as well as taught how to be good wives and mothers. Uli designs generally depict young girls’ best features, but to also highlight physical strength. This was important because it meant a girl would be able to work hard for her husband and family. The designs are often located around the neck because a long straight neck was considered beautiful and strong.[23] Attention was also drawn to the pubic region, which is a sign of strength and fertility as well. When Uli is drawn on the legs it emphasizes beauty and power. To these peoples, society controls the significance of the way one embellishes their body. This specific practice falls into the category of gender balance and practice because it not only depicts how the transition from female childhood to adulthood is praised, but also that this is a religious and important practice that occurs at a specific time in a girl’s life. It is a focus on the knowledge that one needs to know and achieve in order to be successful and accepted in the community. [24]
Ugbene:Igbo Girl Having Uli Patterns Painted. Herbert Cole. University of California, Santa Barbara, 2008. ARTstor.
Painting of women with Uli designs are worn by girls though a process associated with initiation. This was worn by girls from the Igbo peoples in West Africa. These young girls went through a series of rituals and a period of seclusion usually lasted about three months.[22] During this time young women were instructed on sexual and religious basics as well as taught how to be good wives and mothers. Uli designs generally depict young girls’ best features, but to also highlight physical strength. This was important because it meant a girl would be able to work hard for her husband and family. The designs are often located around the neck because a long straight neck was considered beautiful and strong.[23] Attention was also drawn to the pubic region, which is a sign of strength and fertility as well. When Uli is drawn on the legs it emphasizes beauty and power. To these peoples, society controls the significance of the way one embellishes their body. This specific practice falls into the category of gender balance and practice because it not only depicts how the transition from female childhood to adulthood is praised, but also that this is a religious and important practice that occurs at a specific time in a girl’s life. It is a focus on the knowledge that one needs to know and achieve in order to be successful and accepted in the community. [24]
[17] Molefi K. Asante: African Intellectual Heritage. (Philadelphia, Pennsylvania, 1996), 86
[18] Ibid, 87
[19] Molefi K Asante: African Intellectual Heritage. (Philadelphia, Pennsylvania, 1996)
[20] Nicole Mullen: Yoruba Art & Culture (University of California, Berkeley, 2004), 112
[21] Ibid, 113
[22] Eli Bentor: Life as an Artistic Process: Igbo Ikenga and Ofo African Arts (1998), 66
[23] Ibid, 68
[24] Ibid, 69
[18] Ibid, 87
[19] Molefi K Asante: African Intellectual Heritage. (Philadelphia, Pennsylvania, 1996)
[20] Nicole Mullen: Yoruba Art & Culture (University of California, Berkeley, 2004), 112
[21] Ibid, 113
[22] Eli Bentor: Life as an Artistic Process: Igbo Ikenga and Ofo African Arts (1998), 66
[23] Ibid, 68
[24] Ibid, 69