Animals and Animal Deities
The tradition of using animal and animal spirit imagery in masquerade is widespread in African cultures, from Mali to the Democratic Republic of Congo. These representations serve as powerful visual commentaries on cultural beliefs, values, and political and social issues. Through masks, costumes, and other forms of visual expression, people bring these animal and spirit figures to life, imbuing them with significant symbolic meaning.
The Bamana culture in Mali is a prime example of this tradition, as seen in the popular Chi-Wara dance. This dance, which celebrates agriculture and farming, is performed by both male and female dancers who mimic the movements of the Chi-Wara, which represents a mythical creature that is part antelope and part gazelle. The antelope symbolizes strength, speed, and agility, while the gazelle represents grace, beauty, and fertility. This headdress underscores the Bamana people’s reverence for nature and the environment, as well as their ideal of the perfect farmer who combines hard work with nurturing.
Similarly, the Dan people of the Ivory Coast view birds as messengers of the spirit world and use bird imagery in their masquerades to connect with the supernatural and receive blessings for their communities. These bird masquerades, intended to transform the dancers into birds, also reflect the Dan’s belief in the interconnectedness of the natural and supernatural realms.
For the Tabwa of the Democratic Republic of Congo, the buffalo is a potent symbol of strength, power, and fertility. Young men who have undergone initiation rites perform buffalo masquerades, embodying the traits of the buffalo and reinforcing the power of the community and its leaders. The buffalo is also a symbol of masculinity, balance, and the connection between human and animal nature.
The Lokele of the Democratic Republic of Congo also use animal imagery in their masquerades, viewing animals as the embodiment of ancestral spirits. The kayamba mask of the Lega people is also a rare example of the use of animal imagery in African masquerade. This horned mask, used by accomplished teachers of Bwami lore, represents cunning and cleverness.
The use of animal and animal spirit imagery in African masquerade is a rich and complex tradition, reflecting the interplay of cultural beliefs, values, and political and social issues. Through their visual representation, these animal figures come to life, embodying a range of symbolic meanings that are integral to African culture and tradition.
Further reading:
Cameron, Elisabeth L. “Art of the Lega: Meaning and Metaphor in Central Africa.” African Arts 35, no. 2 (2002): 44–92.
Roberts, Allen F. “Duality in Tabwa Art.” African Arts 19, no. 4 (1986): 26–87.
Susan Elizabeth Gagliardi; Masquerades as the Public Face: Art of Contemporary Hunters’ Associations in Western Burkina Faso. African Arts 2013; 46 (4): 46–59.
Wooten, Stephen R. “Antelope Headdresses and Champion Farmers: Negotiating Meaning and Identity through the Bamana Ciwara Complex.” African Arts 33, no. 2 (2000): 19–90.
INSTRUMENTAL AVATARS
Animals and Animal Deities
The tradition of using animal and animal spirit imagery in masquerade is widespread in African cultures, from Mali to the Democratic Republic of Congo. These representations serve as powerful visual commentaries on cultural beliefs, values, and political and social issues. Through masks, costumes, and other forms of visual expression, people bring these animal and spirit figures to life, imbuing them with significant symbolic meaning.
The Bamana culture in Mali is a prime example of this tradition, as seen in the popular Chi-Wara dance. This dance, which celebrates agriculture and farming, is performed by both male and female dancers who mimic the movements of the Chi-Wara, which represents a mythical creature that is part antelope and part gazelle. The antelope symbolizes strength, speed, and agility, while the gazelle represents grace, beauty, and fertility. This headdress underscores the Bamana people’s reverence for nature and the environment, as well as their ideal of the perfect farmer who combines hard work with nurturing.
Similarly, the Dan people of the Ivory Coast view birds as messengers of the spirit world and use bird imagery in their masquerades to connect with the supernatural and receive blessings for their communities. These bird masquerades, intended to transform the dancers into birds, also reflect the Dan’s belief in the interconnectedness of the natural and supernatural realms.
For the Tabwa of the Democratic Republic of Congo, the buffalo is a potent symbol of strength, power, and fertility. Young men who have undergone initiation rites perform buffalo masquerades, embodying the traits of the buffalo and reinforcing the power of the community and its leaders. The buffalo is also a symbol of masculinity, balance, and the connection between human and animal nature.
The Lokele of the Democratic Republic of Congo also use animal imagery in their masquerades, viewing animals as the embodiment of ancestral spirits. The kayamba mask of the Lega people is also a rare example of the use of animal imagery in African masquerade. This horned mask, used by accomplished teachers of Bwami lore, represents cunning and cleverness.
The use of animal and animal spirit imagery in African masquerade is a rich and complex tradition, reflecting the interplay of cultural beliefs, values, and political and social issues. Through their visual representation, these animal figures come to life, embodying a range of symbolic meanings that are integral to African culture and tradition.
Further reading:
Cameron, Elisabeth L. “Art of the Lega: Meaning and Metaphor in Central Africa.” African Arts 35, no. 2 (2002): 44–92.
Roberts, Allen F. “Duality in Tabwa Art.” African Arts 19, no. 4 (1986): 26–87.
Susan Elizabeth Gagliardi; Masquerades as the Public Face: Art of Contemporary Hunters’ Associations in Western Burkina Faso. African Arts 2013; 46 (4): 46–59.
Wooten, Stephen R. “Antelope Headdresses and Champion Farmers: Negotiating Meaning and Identity through the Bamana Ciwara Complex.” African Arts 33, no. 2 (2000): 19–90.
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