1974.Sc.18 Headdress (_D'mba_)


GENERAL DESCRIPTION
This colossal headdress represents D'mba, the universal mother, symbol of mature femininity. She is concerned with fertility as well as the prosperity and well-being of the entire community. Unlike other masks which were designed to cover only the face and head of the wearer, masks like this D'mba headdress were designed to cover both. Shoulder masks are often very heavy. This one weighs 75 pounds (around 34 kilograms) and, when worn, could make its wearer over 8 feet (2.4 meters) tall.

In performance, this D'mba headdress would have been adorned with carved ear ornaments and polished with oil. The raised patterns represent scarification; on some headdresses these patterns are enhanced with the insertion of shiny brass tacks. A strong male dancer wore the headdress atop his head and cushioned its weight with a ring of cloth or fibers. The four legs of the mask were attached at the bottom to a hoop encircling his chest and back. The holes between the breasts allowed the dancer to see outside the mask. D'mba would be dressed in a voluminous raffia palm fiber skirt that reaches the ground and a dark cloth tied so as to expose her prominent breasts, which are flat from nursing many children. She appears at planting and harvesting festivals, marriages, births, funerals, and ancestral commemorations. D'mba masquerades, which were suppressed by Muslim leaders in the 1950s, were revived in some villages since the 1980s. 

Adapted from
  • Roslyn A. Walker, Label text, Arts of Africa, 2015.
  • "Headdress (D'mba)," DMA Connect, 2012.
  • Roslyn A. Walker, The Arts of Africa at the Dallas Museum of Art (New Haven and London: Yale University Press, 2009), 140.

NOTES
Exhibitions - African masks the art of disguise; All the world's a stage

Catalogue essays

Artist/designers

Cultures

Geography

Process/materials

Historical periods

Individuals

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RELATED OBJECTS

PROVENANCE
n.d.: Schindler Collection, New York

1974: Dallas Museum of Fine Arts, purchased from above [1]

Notes:
The main source for this provenance is the Collections Records object card in the Collections Records object file (1974.Sc.18).

[1] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.

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Apply to objects where number equals 1974.Sc.18


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General Description
This colossal headdress represents D'mba, the universal mother, symbol of mature femininity. She is concerned with fertility as well as the prosperity and well-being of the entire community. Unlike other masks which were designed to cover only the face and head of the wearer, masks like this D'mba headdress were designed to cover both. Shoulder masks are often very heavy. This one weighs 75 pounds (around 34 kilograms) and, when worn, could make its wearer over 8 feet (2.4 meters) tall.

In performance, this D'mba headdress would have been adorned with carved ear ornaments and polished with oil. The raised patterns represent scarification; on some headdresses these patterns are enhanced with the insertion of shiny brass tacks. A strong male dancer wore the headdress atop his head and cushioned its weight with a ring of cloth or fibers. The four legs of the mask were attached at the bottom to a hoop encircling his chest and back. The holes between the breasts allowed the dancer to see outside the mask. D'mba would be dressed in a voluminous raffia palm fiber skirt that reaches the ground and a dark cloth tied so as to expose her prominent breasts, which are flat from nursing many children. She appears at planting and harvesting festivals, marriages, births, funerals, and ancestral commemorations. D'mba masquerades, which were suppressed by Muslim leaders in the 1950s, were revived in some villages since the 1980s. 

Adapted from
  • Roslyn A. Walker, Label text, Arts of Africa, 2015.
  • "Headdress (D'mba)," DMA Connect, 2012.
  • Roslyn A. Walker, The Arts of Africa at the Dallas Museum of Art (New Haven and London: Yale University Press, 2009), 140.

Fun Facts

Archival Resources

Web Resources

Notes
Exhibitions - African masks the art of disguise; All the world's a stage

Catalogue essays

Artist/designers

Cultures

Geography

Process/materials

Historical periods

Individuals

Subject terms

RELATED OBJECTS

PROVENANCE
n.d.: Schindler Collection, New York

1974: Dallas Museum of Fine Arts, purchased from above [1]

Notes:
The main source for this provenance is the Collections Records object card in the Collections Records object file (1974.Sc.18).

[1] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.

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1974.Sc.18
tags
#draft
#completed
fertility: AAT: 300379149
ear ornaments: AAT: 300211279
%Archived
masks (costume): AAT: 300138758
polishing (finishing): AAT: 300053867
.TeachingIdeas
ritual (events): AAT: 300065284
headdresses: AAT: 300046023
@Bilal-Gore
goddess: AAT: 300343852
wood (plant material): AAT: 300011914
*Arts of Africa
children (people by age group): AAT: 300025945
mothers: AAT: 300025932
flat (form attributes): AAT: 300010345
ancestors: AAT: 300255718
brass (alloy): AAT: 300010946
ancestor veneration: AAT: 300400471
skirts (garments / refrajo / corte): AAT: 300209932
cloth: AAT: 300162391
marriage (social construct): AAT: 300055475
festivals: AAT: 300073472
colossi (large scale sculpture): AAT: 300047453
Islam: AAT: 300073715
funerals: AAT: 300069162
ties (fasteners): AAT: 300239307
masquerades: AAT: 300254016
dancer: AAT: 300025653
prosperity: AAT: 300055744
births (events): AAT: 300069672
raffia (fiber): AAT: 300014051
scarifications (visual works): AAT: 300262452
Guinea (nation): AAT: 1000167
tacks: AAT: 300036430
palm fiber: AAT: 300014049
harvest festivals: AAT: 300260323
planting (activities): AAT: 300054711
source file
object_notes_4_a-0223.xml.nores