A Baule mask, Cote d'Ivoire, collected in the Beomi, region, the oval-shaped body of this mask, carved from a light yet dense wood, is characterized by a small, protruding mouth placed beneath a slender, over-proportioned nose, which is framed by crescent-shaped eyebrows, the eyes have a tiny slit which enables the dancer to look through. The blackened outer rim and the blackened horns suggest an influence from the Yaure. A fine reddish wood gives the piece a pleasing warmth. On the reverse side is a cord which is used to fasten the mask to the dancer’s face. Incl stand. This carved wooden mask originates from the Baule (Baoulé) people of central Côte d’Ivoire, specifically collected in the Beomi region, an area where several well-attested Baule masquerade traditions have long flourished. The Baule, an Akan-speaking group whose core territory lies between the Bandama and N’Zi rivers, are renowned for their refined woodcarving and for integrating ritual and aesthetic practices drawn from neighboring groups into a distinctive local idiom. Baule masks from this area are often associated with public performance and community ritual rather than exclusively secret societies. One prominent genre is the double-faced or nda mask, exhibited for community entertainment and moral reflection. These masks, with paired faces in mirror symmetry, symbolize complementary oppositions—such as male/female, inner/outer life, or physical/spiritual realms—and reflect a broader Baule preoccupation with balance and harmony in social life. Another key tradition in the wider Beomi zone is the Goli masquerade, a major seasonal festivity involving a sequence of masks deployed in dances that mark agricultural renewal, funerary commemoration, and communal unity. Goli masks range from highly stylized geometric forms to anthropomorphic and animal-associated examples; their bold frontal presence and painted decoration serve both performative visibility and symbolic efficacy. Stylistically, Baule masks emphasize formal refinement, controlled abstraction, and calm expression. Facial features—elongated almond eyes, narrow noses, and balanced proportions—convey a composed ideal consistent with Baule aesthetic values predicated on fɛɛ (beauty and moral balance). Surface patina and pigment residues attest to sustained ceremonial use and handling. In academic terms, Baule masks from Beomi are understood as performative instruments and embodiments of social principles. They operate at the intersection of visual form, communal performance, and moral reflection, illustrating how carved objects articulate and reinforce collective values through embodied presence rather than mere representation. CAB31510