A Dan bird maskette, Liberia. Encrusted patina; Signs of ritual use and age. Dan maskettes are small-scale sculptural objects produced by the Dan people of Liberia and western Côte d’Ivoire and occupy a distinct position within Dan masking traditions. Unlike full-sized face masks intended for public masquerade, maskettes are typically miniature representations of mask forms, often carved with the same stylistic conventions as larger performance masks but intended for different social, ritual, or pedagogical functions. In academic literature, they are understood as part of a broader material and symbolic system rather than as mere reductions or decorative objects. Within Dan culture, masking is closely associated with the concept of ge, a complex category that encompasses spirit forces, masquerades, and the social institutions that regulate them. Full-sized masks are manifestations of ge in performance, activated through dance, costume, and music. Maskettes, by contrast, do not generally function as independent masquerade objects. Instead, they are frequently associated with personal ownership and controlled contexts, such as instruction, divination, commemoration, or private ritual practice. Their small size allows them to circulate in spaces where full masquerades would be impractical or socially inappropriate. Formally, Dan maskettes often reproduce key aesthetic features found in larger Dan masks, including smooth, darkly polished surfaces, oval or heart-shaped faces, narrow slit eyes, and finely modeled mouths. These features reflect Dan aesthetic values centered on restraint, composure, and moral clarity. Art historians have noted that the refinement and finish of maskettes can be as meticulous as that of large masks, suggesting that scale does not correspond to diminished symbolic or artistic importance. In some cases, maskettes are carved by recognized specialists and treated with ritual substances that enhance their efficacy or presence. Anthropological interpretations of Dan maskettes emphasize their role in knowledge transmission and social memory. They may serve as teaching tools for initiates learning about mask types, performance roles, or the ethical qualities associated with particular ge. In other contexts, they function as mnemonic devices, preserving the visual identity of a mask that is no longer actively performed or commemorating an important masquerade figure. Because access to masking knowledge is often restricted by age, gender, or initiation status, maskettes can operate as controlled objects through which authority and expertise are negotiated. In museum and collecting histories, Dan maskettes have often been categorized ambiguously, sometimes labeled as dolls, amulets, or curios. This ambiguity reflects broader challenges in interpreting African material culture outside its original context. Contemporary scholarship increasingly situates maskettes within Dan systems of performance, secrecy, and pedagogy, arguing that their significance lies not only in their form but in their relational use. As such, Dan maskettes contribute to a more nuanced understanding of masking traditions, highlighting the multiplicity of objects and scales through which cultural knowledge is embodied and maintained. References Boone, S. African Art in Motion: Icon and Act. University of California Press. Fischer, E. Dan Masks: Liberian and Ivorian Art. Museum Rietberg. Harley, G. W. Native African Medicine: With Special Reference to Its Practice in the Mano Tribe of Liberia. Frank Cass. Visonà, M. B., Poynor, R., Cole, H. M., and Harris, M. Art of Sub-Saharan Africa. Pearson. CAB31366