This compact bicephalous mask was made by
the Baule of the Ivory Coast area. It is in the
facemask format, with piercings around the
perimeter. Unusually, the heads are fully
separate. The faces are male (left) and female
(right), denoted by the presence/absence of a
three-section beard. The general proportions of
the faces are the same, but the detailing in
terms of the beard and the hairstyle is slightly
different. The female mask is also slightly the
taller of the two. They both have hooded slit eyes
with unusual lid detailing, long inverted T-bar
noses and pursed lips with triple keloid
scarifications on either side. They also have twin
diagonal stripes rising centrally across each
cheek. The male mask has a pair of ornate
horns and a central spike as coiffure, while the
female has a spatulate peaked plate of hair
pointing slightly forward. The coiffure in each
case is separated from the forehead by a double
beaded line. The body of the mask is decorated
with geometric motifs (based around hatching
and triangles) on each side, and centrally by
incised lines and a downward-pointing triangle
with internal hatching. They have a glossy
surface patina, with encrusted matter on
recessed portions of the features and incised
engraving.
The Baule live across the Ivory Coast area, and
have an economy based primarily on sedentary
agriculturism. They have thus been able to build
up a considerable political and economic
stronghold, which has in turn given rise to a
strong ritual and artistic heritage. Their own
creation story relates to an ancient migration, in
which the queen was forced to sacrifice her son
in order to ford a mighty river. So upset was she
that all she could say was baouli (the child is
dead), thus giving rise to the tribe's name.
Blolo bian (male) and Blolo bla (female) spirit
spouses are perhaps the Baule's greatest artistic
and psycho-social achievement, but they are also
renowned for sculptures representing bush
spirits (Asie usu) mischievous and potentially
malevolent inhabitants of the bush, or dark
country beyond the boundary of the village as
well as dance masks, prestige items (often made
of gold) and a range of highly decorated secular
objects such as doors, heddle pulleys and
culinary equipment.
The fact that many such pieces have a centuries-
old patina from handling and libations would
seem to suggest that pieces can be inherited,
and that the sculptures can either contain more
than one spouse, or that s/he can be replaced by
the spouse of the new owner. This is particularly
the case with valuable or very well-carved
pieces. Like most other human societies, the
Baule are prey to conspicuous consumption,
which is a central key to asserting one's status in
the village, and thus one's power and influence.
While their carving is among the most refined
and restrained in Africa, therefore, artists vie to
produce more impressive and beautiful carvings
which are often decorated or adorned by their
proud owners.
The function of this mask would seem to be
diplomatic; more common, single-headed
variants are worn to receive important
dignitaries, while the rarer bicephalous masks
have the added positive association of twins,
which are a good omen for most African groups
(notably the Yoruba). This is an attractive
example, and a worthy addition to any discerning
collection.
