A Guro Monkey mask with rope attachments, collected in Oumé, Cote d'Ivoire. signs of age and ritual use. Incl stand. The Guro monkey mask is a distinctive form within the masking traditions of the Guro people of central Côte d’Ivoire, reflecting themes of social behavior, moral instruction, and the negotiation of order and disorder within the community. Guro masquerades are closely tied to public performance, entertainment, and social commentary, and monkey masks in particular draw upon the animal’s perceived qualities to communicate lessons about excess, impulsiveness, and the boundaries of acceptable conduct. Carved from wood and often brightly painted, Guro monkey masks are characterized by elongated or protruding muzzles, rounded or bulging eyes, and animated facial expressions. These features exaggerate simian traits to create a lively and immediately recognizable character. The visual emphasis on movement and expression aligns with Guro aesthetic values that favor dynamism, theatricality, and visual clarity in performance contexts. Additional materials such as raffia fiber, cloth, or animal hair are commonly used to complete the masquerade costume, enhancing the illusion of transformation. In performance, the monkey mask appears in dances that combine humor, agility, and social critique. The wearer adopts exaggerated gestures and energetic movements that mimic or allude to monkey behavior, provoking laughter while simultaneously conveying cautionary messages. Through parody and satire, the mask highlights traits such as greed, arrogance, or lack of self-control, allowing the community to reflect on these behaviors without direct confrontation. This indirect mode of criticism is a key feature of Guro masking traditions, where entertainment and moral education are closely intertwined. Spiritually, Guro monkey masks are less concerned with invoking fearsome supernatural power than with channeling controlled social energy. While still embedded in ritual frameworks and governed by rules of initiation and performance, these masks operate in a space where playfulness and instruction coexist. The mask mediates between the human and animal worlds, using the animal figure as a metaphor for aspects of human nature that must be acknowledged and regulated. From an art historical perspective, Guro monkey masks illustrate how African masking traditions can serve as instruments of social reflection rather than solely religious or political authority. Their expressive forms and performative emphasis have attracted attention for their sculptural inventiveness and theatrical vitality. In museum settings, these masks are often appreciated for their visual humor and abstraction, yet their full meaning resides in the communal performances through which they animate social values, reinforce norms, and celebrate the creative intelligence of Guro culture. References Susan Mullin Vogel, Art and Life in Africa. Anita J. Glaze, Art and Death in a Senufo Village. Simon Ottenberg, African Art and the Performance of Meaning. CAB28948 Height: 26 cm without stand