This imposing mask is a kpeliyee model,
worn by members of the Senufo Poro
secret society during dances and
meetings. It is a very refined example
of the genre, made in copper alloy. The
ground is comparatively plain, with a
high domed forehead, a dished face and a
pointed chin. The sides of te mask are
adorned with two tongue-like appendages
with incised decoration on each side.
The apex of the head is decorated with a
small female figure, holding the horns
that also sprout from the “ears” area.
The bottom of the mask bears a pair of
“legs”, and the chin is bearded. The
face is reductive, with almond eyes
under thin brows, a long nose and a
small, open mouth.
The Senufo live across the Ivory Coast,
Mali and Burkina Faso, and are one of
West Africa’s most artistically
important groups. They are governed by a
council of elders and the Poro society,
and a religious foundation principle
stating that ancestors and bush spirits
(mandeo) are all around, and must be
appeased. This and other beliefs are
visible in their artworks.
Masks include kpeliyee (for dances),
buffalo (initiations), horse
(celebrating Poro elders) and
“firespitter” forms, which are worn for
crises and funerals. Healers and highly
productive farmers are also entitled to
wear masks. The most famous sculptures
are the “pombibele” rhythm pounders,
which represent primordial humanity, and
are used to tamp down the earth of
prominent Poro members’ graves. Very
large kasingele (first ancestor)
sculptures were placed in yasungo
shrines, and also appeared in the form
of birds (sejen) which are carried by
initiates, and which symbolise the
authority of the Poro elders (katyleeo)
over their juniors (poro piibele).
Sandogo divination paraphernalia is also
known, while secular items are carved in
a very specific manner that echo Senufo
deities and spirits, thus providing an
apotropaic function.
Kpeliyee (there are various spellings)
masks are worn for a number of Poro
functions, and may be seen by the public
at certain festivals. The manners in
which they are carved can betray their
precise origin, through carving method
and details such as scarifications. The
general characteristics are similar,
however, with an elongated face, “legs”
protruding from the chin, and an array
of flanges surrounding the face in the
manner of a beard. The most prestigious
examples are often surmounted by
flourished with symbolic significance
for the group, particularly including
birds and human figures. Metal versions
are also known, and are probably
prestige items.
This is a striking piece of African art.
