GENERAL DESCRIPTION
Among the Kuba peoples, as among most traditional African societies, the scale and duration of a funeral—from short and simple to days long and complex—is commensurate with the prominence of the deceased person during life. Masks with elephantine features appear at funerals of elders who were high-ranking members of a men's secret initiation society. The masquerader performs a dance in honor of the deceased who, although not a Bushoong, belonged to a particular aristocratic clan.
These masks represent the royal ancestors of the Bushoong, the ruling group within the Kuba kingdom founded in the 17th century. According to one version of the founding myth, Woot was the first man and the first king of the Kuba. Weel was his sister and wife, and Bwoon was his brother and rival. In the masquerade—part of public ceremonies, initiations, as well as royal funerals—dancers disguised as Mukenga (Woot), Ngaady aMwaash (Weel), and Bwoom reenact the mythical origins of the Bushoong dynasty and its right to rule the Kuba peoples.
The conical projection extending upward and over the front of this mask represents an elephant's trunk, and the small beaded panels at either side are its tusks. The product of labor-intensive craftsmanship, the mask is lavishly adorned with valuable cowrie shells, imported beads arranged in complex patterns, and the red tail feathers of an African gray parrot. All these elements are symbols of wealth, title, and elite status. In Kuba society, ownership and control of elephant ivory rests with the king.
The white cowrie shells, which were used as currency before coins and paper money were introduced, evoke death and signify mourning and ancestors' dry bones. Unlike most masks that cover the entire head, Mukenga does not have eyeholes. Sighted attendants accompany the dancer wearing the "blind mask" as he performs ancient steps with pride, gravity, and dignity.
Adapted from
- Roslyn A. Walker, Label text, Arts of Africa, 2015.
- Roslyn A. Walker, The Arts of Africa at the Dallas Museum of Art (New Haven and London: Yale University Press, 2009), 188-189.
NOTES
Exhibitions: African Masks: The Art of Disguise; Passion for Art: 100 Treasures 100 Years
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
From around 1945: Private Collection, Flanders, Belgium
1998: Joel Cooner Gallery, Dallas, Texas
1998: Dallas Museum of Art, purchased from above
The main source for this provenance is correspondence from Joel Cooner Gallery to Ramona Austin dated January 1, 1998, in the Collections Records object file (1998.11).
AUDIO ASSETS
Mask (Mukenga), Max Hartman (linked through Piction)
44997648: UMO
VIDEO ASSETS
- Watch curator Roslyn Walker discuss the materials and function of this mask; 12937222: UMO
- Watch Curator Roslyn Walker discuss the myths associated with this mask; 12934967: UMO
IMAGE ASSETS
213642435: UMO
WEB RESOURCES
- African Masks: The Art of Disguise~Learn more about this mask.
ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
RULES
Apply to objects where number equals 1998.11
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General Description
Among the Kuba peoples, as among most traditional African societies, the scale and duration of a funeral—from short and simple to days long and complex—is commensurate with the prominence of the deceased person during life. Masks with elephantine features appear at funerals of elders who were high-ranking members of a men's secret initiation society. The masquerader performs a dance in honor of the deceased who, although not a Bushoong, belonged to a particular aristocratic clan.
These masks represent the royal ancestors of the Bushoong, the ruling group within the Kuba kingdom founded in the 17th century. According to one version of the founding myth, Woot was the first man and the first king of the Kuba. Weel was his sister and wife, and Bwoon was his brother and rival. In the masquerade—part of public ceremonies, initiations, as well as royal funerals—dancers disguised as Mukenga (Woot), Ngaady aMwaash (Weel), and Bwoom reenact the mythical origins of the Bushoong dynasty and its right to rule the Kuba peoples.
The conical projection extending upward and over the front of this mask represents an elephant's trunk, and the small beaded panels at either side are its tusks. The product of labor-intensive craftsmanship, the mask is lavishly adorned with valuable cowrie shells, imported beads arranged in complex patterns, and the red tail feathers of an African gray parrot. All these elements are symbols of wealth, title, and elite status. In Kuba society, ownership and control of elephant ivory rests with the king.
The white cowrie shells, which were used as currency before coins and paper money were introduced, evoke death and signify mourning and ancestors' dry bones. Unlike most masks that cover the entire head, Mukenga does not have eyeholes. Sighted attendants accompany the dancer wearing the "blind mask" as he performs ancient steps with pride, gravity, and dignity.
Adapted from
- Roslyn A. Walker, Label text, Arts of Africa, 2015.
- Roslyn A. Walker, The Arts of Africa at the Dallas Museum of Art (New Haven and London: Yale University Press, 2009), 188-189.
Fun Facts
Archival Resources
Web Resources
Notes
Exhibitions: African Masks: The Art of Disguise; Passion for Art: 100 Treasures 100 Years
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
From around 1945: Private Collection, Flanders, Belgium
1998: Joel Cooner Gallery, Dallas, Texas
1998: Dallas Museum of Art, purchased from above
The main source for this provenance is correspondence from Joel Cooner Gallery to Ramona Austin dated January 1, 1998, in the Collections Records object file (1998.11).
AUDIO ASSETS
Mask (Mukenga), Max Hartman (linked through Piction)
44997648: UMO
VIDEO ASSETS
- Watch curator Roslyn Walker discuss the materials and function of this mask; 12937222: UMO
- Watch Curator Roslyn Walker discuss the myths associated with this mask; 12934967: UMO
rules
Apply To
Objects
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1998.11
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