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The Toma, known alternately as the Loma, are
one of the numerous tribes of Mande-speaking
people who descended from the northern
savanna region into the forested band of west
Africa during the turbulent times of the later days
of the Malian Empire (1230-1670). In recent
times, the majority settled in the hilly rain forests
of northern Liberia. Today, they number
approximately two hundred thousand and are
more or less equally divided between northern
Liberia and southern Guinea (in Liberia, they are
known as Loma while in Guinea the Mande form
Toma is utilized). The Toma people practice
shifting cultivation of upland rice that is suited to
their high-altitude environment. They are
patrilineal and their traditional political structures
were based on village chiefdoms. The Toma are
known for their long wooden masks that combine
human and animal features. Nearly all masks
were associated with the men’s society known as
the Poro. This association was responsible for
enforcing regulations regarding land use,
initiation, marriage, and trade.
The largest type of Toma mask was over five feet
tall with a long, movable, crocodile-toothed maul
extending in front. The mid-section was
composed of a human-like face with an
exaggerated nose and forehead. The top section
was crowned by a huge bunch of feathers of
birds of prey stretching out at the back. For the
Toma, as well as their neighbors the Bandi, this
mask represented the major forest spirit (known
as “Dandai” or “Landa”) that made manifest the
power of the Poro. These masks were used
during initiation ceremonies symbolically to
devour boys in order to give them rebirth as men.
While these huge masks are quite rare in
collections, a relate type known as Nyangbai,
representing the wife of the great forest spirit, are
quite well known. These masks are smaller in
dimension and feature a rounded forehead
overhanging a large, flat facial plane. While some
Toma masks were performed publicly, others,
such as this type, would have only been seen by
initiates. Toma masks are often striking for their
stark simplicity of form, economy of line, and
heavy sacrificial patina.
This Nyangbai mask is severely simplified as a
flat plane overshadowed by the bulging forehead,
from which the rectangular nose projects. This
beautiful, dark colored mask is a fine example of
the masks with horns, either cattle or antelope,
sculpted in a minimal manner. The eye holes on
either side of the nose shows that the mask was
intended to be placed directly over the face of the
male dancer. The contour lines of the mask are
simple and elegant, and there is no indication of
mouth and little suggestion of eyes besides the
prominent brow and bulging lids. Perhaps
rendition of a mouth was not considered
necessary, since the mask represented spirits and
only eyes were used to see the supernatural
world of spirits. The large horns add dramatic
affects to this already powerful mask. Rituals and
ceremonies in which this large, almost abstract
mask was used must have been powerful and
enchanting. It is believed that such masks,
representing the female forces of nature, played a
subordinate role to the larger male masks during
initiation ceremonies or important funerals.
Undoubtedly, such power still remains with the
mask, capturing our eyes and attention.
- (PF.3177)
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