GENERAL DESCRIPTION
The striated masks of the Songye peoples are known as bifwebe (sing. kifwebe) and have sagittal crests that extend from the top of the head to the tip of the nose. The height of the sagittal crest indicates the gender of the mask, however, all Songye bifwebe, whether male or female, are worn by male dancers who wear raffia costumes and are accompanied by singers and dancers. The sagittal crest of the male bifwebe can reach dramatic heights. The height of the crest is directly related to the strength of the mask's character: the larger the crest, the greater the mask's mystical knowledge and magical power. Bifwebe, which have rarely been documented in situ, function within the context of the Bwadi Bwa Kifwebe, a men's secret association that assures the well-being and continuity of its communities by enforcing societal laws and appealing to benevolent spirits. The male mask's crest and overall size also indicate achievement levels within the secret society; for example, the progression from youth to elder.
The striations on both male and female masks, which are a unique stylistic trait of all Songye masks, are derived from the markings and patterns of wild and dangerous animals, such as the zebra or striped antelope, crocodile, lion, porcupine, and snake. Bifwebe may be painted black, white, and red. The colors of black and white, however, refer to gender. Black is associated with masculinity. On male bifwebe, black signifies malevolence, aggression, violence, and evil magic, which are reinforced in the masked dancer's aggressive and energetic performance. Aggressive male masks supervise road and fieldwork and participate in policing activities during crises, initiations of male youths into adulthood, and preparation for warfare. Although their forms, patterns, colors, and behaviors are inspired by and derived from human beings and animals, bifwebe are supports for supernatural beings.
Adapted from
Roslyn A. Walker, The Arts of Africa at the Dallas Museum of Art (New Haven and London: Yale University Press, 2009), 172-175.
NOTES
Exhibition - African masks the art of disguise TMS ID: 2735
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n.d.: Walschot Collection, Brussels
1971: Dallas Museum of Fine Arts, purchased from above through Clark Stillman, gift of Eugene and Margaret McDermott [1], [2]
Notes:
The main source for this provenance is the Collections Records object card in the Collections Records object file (1971.12.McD).
[1] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.
[2] Works of art given or purchased by The Eugene and Margaret McDermott Art Fund, Inc., a non-profit organization, are placed in the custody of the DMA for the purpose of public display on the premises of the Museum or in other recognized are galleries or museums. The title to all works of art purchased (or otherwise acquired) by the McDermott Art Fund remains with the Fund.
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General Description
The striated masks of the Songye peoples are known as bifwebe (sing. kifwebe) and have sagittal crests that extend from the top of the head to the tip of the nose. The height of the sagittal crest indicates the gender of the mask, however, all Songye bifwebe, whether male or female, are worn by male dancers who wear raffia costumes and are accompanied by singers and dancers. The sagittal crest of the male bifwebe can reach dramatic heights. The height of the crest is directly related to the strength of the mask's character: the larger the crest, the greater the mask's mystical knowledge and magical power. Bifwebe, which have rarely been documented in situ, function within the context of the Bwadi Bwa Kifwebe, a men's secret association that assures the well-being and continuity of its communities by enforcing societal laws and appealing to benevolent spirits. The male mask's crest and overall size also indicate achievement levels within the secret society; for example, the progression from youth to elder.
The striations on both male and female masks, which are a unique stylistic trait of all Songye masks, are derived from the markings and patterns of wild and dangerous animals, such as the zebra or striped antelope, crocodile, lion, porcupine, and snake. Bifwebe may be painted black, white, and red. The colors of black and white, however, refer to gender. Black is associated with masculinity. On male bifwebe, black signifies malevolence, aggression, violence, and evil magic, which are reinforced in the masked dancer's aggressive and energetic performance. Aggressive male masks supervise road and fieldwork and participate in policing activities during crises, initiations of male youths into adulthood, and preparation for warfare. Although their forms, patterns, colors, and behaviors are inspired by and derived from human beings and animals, bifwebe are supports for supernatural beings.
Adapted from
Roslyn A. Walker, The Arts of Africa at the Dallas Museum of Art (New Haven and London: Yale University Press, 2009), 172-175.
Fun Facts
Archival Resources
Web Resources
Notes
Exhibition - African masks the art of disguise TMS ID: 2735
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
n.d.: Walschot Collection, Brussels
1971: Dallas Museum of Fine Arts, purchased from above through Clark Stillman, gift of Eugene and Margaret McDermott [1], [2]
Notes:
The main source for this provenance is the Collections Records object card in the Collections Records object file (1971.12.McD).
[1] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.
[2] Works of art given or purchased by The Eugene and Margaret McDermott Art Fund, Inc., a non-profit organization, are placed in the custody of the DMA for the purpose of public display on the premises of the Museum or in other recognized are galleries or museums. The title to all works of art purchased (or otherwise acquired) by the McDermott Art Fund remains with the Fund.
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