1997.24 Helmut mask (komo)


GENERAL DESCRIPTION  
Despite the presence of a small elegant female figure, the sharp horns and tusks of antelopes and warthogs pointing in all directions, the prominent zigzag teeth, projecting glass eyes, and reflective mirrors, and the overall encrusted surface give this mask a menacing appearance. It originated among Senufo peoples living in close proximity to the Bamana, who use helmet masks with horrific animal imagery. 

Among the Bamana, encrusted masks with long, horizontal muzzles are worn by high-ranking members of the male-only Komo association that is traditionally responsible for maintaining social, spiritual, and economic harmony in Bamana communities. A society of blacksmiths, its high-ranking members practice divination and are empowered to function as judges. The wooden komo mask is covered with all manner of animal and vegetable materials that make it powerful.

Senufo's kponyungo helmet masks are owned by the most senior members of the male-only Poro society that functions as a system of government, education, and economic control. Like the Bamana's Komo, Poro has a spiritual function to serve as a medium for contact with the realm of deities and ancestors. Its associated helmet masks present a daggerlike image of concentrated aggression through animal imagery, including a long horizontal muzzle with bared teeth, antelope horns, warthog tusks, and fully realized chameleons and birds. The surface of kponyungo is painted rather than encrusted with sacrificial material. Instead of a human figure crowning the mask, there is a cup to hold potent magical ingredients.

This komo mask combines traits of both Senufo and Bamana helmet masks and derives its power from the accumulated sacrificial offerings that created the crusty surface instead of from the magical ingredients in a cup. The imported mirrors and base from a wine glass that form the eyes confirm the piece as a contemporary object.

Adapted from
  • Roslyn A. Walker, The Arts of Africa at the Dallas Museum of Art (New Haven and London: Yale University Press, 2009), 168-169.
  • Roslyn A. Walker, African Masks: The Art of Disguise, Label text, 2010.

NOTES
Exhibition - African masks the art of disguise

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Apply to objects where number equals 1997.24

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General Description
 
Despite the presence of a small elegant female figure, the sharp horns and tusks of antelopes and warthogs pointing in all directions, the prominent zigzag teeth, projecting glass eyes, and reflective mirrors, and the overall encrusted surface give this mask a menacing appearance. It originated among Senufo peoples living in close proximity to the Bamana, who use helmet masks with horrific animal imagery. 

Among the Bamana, encrusted masks with long, horizontal muzzles are worn by high-ranking members of the male-only Komo association that is traditionally responsible for maintaining social, spiritual, and economic harmony in Bamana communities. A society of blacksmiths, its high-ranking members practice divination and are empowered to function as judges. The wooden komo mask is covered with all manner of animal and vegetable materials that make it powerful.

Senufo's kponyungo helmet masks are owned by the most senior members of the male-only Poro society that functions as a system of government, education, and economic control. Like the Bamana's Komo, Poro has a spiritual function to serve as a medium for contact with the realm of deities and ancestors. Its associated helmet masks present a daggerlike image of concentrated aggression through animal imagery, including a long horizontal muzzle with bared teeth, antelope horns, warthog tusks, and fully realized chameleons and birds. The surface of kponyungo is painted rather than encrusted with sacrificial material. Instead of a human figure crowning the mask, there is a cup to hold potent magical ingredients.

This komo mask combines traits of both Senufo and Bamana helmet masks and derives its power from the accumulated sacrificial offerings that created the crusty surface instead of from the magical ingredients in a cup. The imported mirrors and base from a wine glass that form the eyes confirm the piece as a contemporary object.

Adapted from
  • Roslyn A. Walker, The Arts of Africa at the Dallas Museum of Art (New Haven and London: Yale University Press, 2009), 168-169.
  • Roslyn A. Walker, African Masks: The Art of Disguise, Label text, 2010.

Fun Facts

Archival Resources

Web Resources
 

Notes
Exhibition - African masks the art of disguise

Catalogue essays

Artist/designers

Cultures

Geography 

Process/materials

Historical periods

Individuals

Subject terms

RELATED OBJECTS 

PROVENANCE 

AUDIO ASSETS 

VIDEO ASSETS

rules
Apply To
Objects
number
Equals
1997.24
tags
#draft
#completed
%copyedited_Gail
%Archived
deities: AAT: 300343850
.TeachingIdeas
sacrifices: AAT: 300263243
human figures: AAT: 300404114
offering (tribute/payment/economic concepts/social science concepts): AAT: 300417700
@Bilal-Gore
glass (material): AAT: 300010797
wood (plant material): AAT: 300011914
#routed
*Arts of Africa
horns (animal components): AAT: 300400473
mirrors: AAT: 300037682
ancestors: AAT: 300255718
fiber: AAT: 300014024
governments (administrative bodies): AAT: 300386741
economics: AAT: 300054359
education: AAT: 300054360
Senufo: AAT: 300015867
helmet masks: AAT: 300262835
tusks (animal components): AAT: 300400464
divination: AAT: 300207879
blacksmiths: AAT: 300025313
source file
object_notes_1_b-0037.xml.nores