A Dan Mask, Man Region, Ivory Coast. Incl. stand. This magnificent carved wooden mask is from the Dan culture (or the related Wè/Guéré cultural group), originating in the forested regions of western Côte d'Ivoire and Liberia. More specifically, due to its expressive, aggressive, and dynamic features, it falls into the category of Bugle-type masks (or Zakpei/Gunyege, depending on their functions and the evolution of their adornments). Its facial structure and ritual features include a high forehead with a central ridge; the forehead is broad, high, smooth, and domed. It is divided vertically down the center by a thin, raised ridge or linear scar—a recurring feature of Dan aesthetics. The eyes are tubular and circular; they are represented by two large, highly prominent, hollowed-out wooden cylinders or tubes. This wide-open, circular gaze gives the mask a fierce, watchful, or angry expression. The nose is short with wide, fleshy nostrils. Just below, the mouth is wide open, forming an expressive oval with full, forward-projecting lips. Inside the mouth opening, small metal or bone teeth can be seen inlaid. A headdress made of braided fibers; the top and back of the skull are covered by an authentic, original headdress made of braided plant fibers or hair in a brown-gray color. It conforms to the shape of the forehead like a cap. On either side of the face, long strands or twisted braids made of the same fibrous material run down along the temples and hang freely below the jawline. The entire area surrounding the chin and lower cheeks is pierced with a regular series of large, aligned circular holes. These holes were used to insert a beard made of raffia fibers or to sew on the rest of the ceremonial costume. Carved from a hard, monoxylous wood with a dark, glossy patina, the piece is crafted from a single piece of wood. Its surface displays a superb, deep black patina of wear, which is very smooth and lustrous on the raised areas (the nose, forehead, and contours of the eyes), attesting to prolonged ritual use. The recessed areas retain a more matte appearance. “All Dan masks are worn frontally, tied to the head in a vertical position over the face. Horizontally oriented masks worn atop, the head and helmet masks are unknown to the Dan, although both types are found among their neighbors. Dan face masks are nearly always made of wood […] Dan masks have either human or animal features, or sometimes a combination of both […] It is essential to realize that it is not only the face mask but also the headdress which indicates to the Dan observer the nature of the masquerade before him.” Literature: Eberhard Fischer and Hans Himmelheber, The Arts of the Dan in West Africa, Museum Rietberg Zurich, 1984 “The border between Cote d'Ivoire and Liberia cuts across several ethnic groups, including the Dan, Wee, Kran, and Grebo. In Dan society, dangerous immaterial forest spirits are translated into the forms of human face masks. Whether or not they are worn, such sculptures are spiritually charged. Male performers, gle-zo, experience a dream sent by the mask spirit that allows them to dance it. In performance, the masks are integrated into the hierarchical system that governs political and religious life. Dan masks have been documented as the embodiment of at least a dozen artistic personalities. Among these are Deangle, who ventures into the village from the initiation camps to ask women for food; Tankagle and Bagle, who entertain through a range of aesthetically pleasing dances, skits, and mimes; Bugle, who historically leads men into battle; and Gunyege, whose mask is worn by a community's champion foot racers in competitions. The present example might be identified as Gunyege; once they are divorced from their performance contexts, however, mask forms are difficult to identify.” Lit: The MET Some of the information is generated by artificial intelligence and is based on published sources from the fields of ethnography, archaeology, and art history. Informant: Bakari MAZ16090