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Julien Gauthier

A fragmentary Bamana or Bozo N'tomo mask collected in Somo village of the Ségou region, Mali, covered with ornamented aluminium sheets, with six, fragmentary, uprising horns; traces of age and ritual use. Incl stand.

"The Bamana (Bozo) Ntomo masks were worn by boys as they passed through the early cycle of initiation into manhood. The masks reinforce the lessons the boys are taught as they are prepared by elder males in the society for circumcision. There are two main style groups of their masks. One is characterized by an oval face with four to ten horns in a row on top like a comb, often covered with cowries or dried red berries. The other type has a ridged nose, a protruding mouth, a superstructure of vertical horns, in the middle of which or in front of which is a standing figure or an animal. The ntomo masks with thin mouths underscore the virtue of silence and the importance of controlling one’s speech. During their time in ntomo the boys learn to accept discipline. They do not yet have access to the secret knowledge related to korè and other initiation societies. Members wore a wooden face mask during the initiation festival at harvest time and when begging for rice.

One reference sites the number of horns on such masks to symbolizes a human being's levels of increased knowledge based on the initiation stages, while another reference sites that Ntomo masks with an even number of horns are female and those with an odd number of horns are male. Some masks are plain wood with no decoration while others are covered in brass reprouse, cowrie shells or small red seeds with further esoteric significance and the masks will vary greatly by region. The miniature mask rising from the forehead can be compared to other Ntomo masks that feature a full human or animal figure.

The wearer of these masks will usually be seen walking through the village and entering the family compounds to announce a ritual or a puppet masquerade. The village association comprises female and male divisions and is organized according to age groups (flan-bolow). One enters the ton after circumcision and leaves it at the age of about thirty-five. Every year the ton organizes a festival (called Checko) of theatrical performances in the village square. These include koteba and the puppets known as sogo bo in a succession of light-hearted sketches that satirize aspects of Bamana social and religious life. Prior to the public performances, ton members parade through the village streets accompanying masks (sogow) such as Ngon and Ntomo. Sogobaw (big beasts) resemble small, mobile theaters with a head and a wood-frame body. Small puppets, expertly manipulated, emerge from the back of this “beast”." Sources Bamana: The Art of Existence in Mali, Africa. The Art of a Continent, A History of Art in Africa.

In Bamana (or Bambara) culture of Mali, the N’tomo society is a male initiation society, and its masks play a crucial role in initiation rites for boys. The masks used in N’tomo ceremonies are generally referred to as N’tomo masks or “antelope” masks, though their forms vary regionally. A distinctive feature of many Bamana N’tomo masks is the presence of a specific number of horn-like projections, which are usually carved in pairs on the mask’s head.

Wolfgang Jaenicke (based on his informant Daba Diarra, Segou, and other ethnographers have discussed the symbolic and functional significance of these horns. The number of horns is not purely decorative; it carries layered meanings related to social, cosmological, and didactic functions within the initiation process. Specifically:

    Symbol of age or stage of initiation: Different numbers of horns can indicate the level or stage of the boy’s initiation within the N’tomo society. As boys progress through the initiation, masks with different horn configurations may be used to signify their advancement.

    Association with spiritual and animal powers: The horns often evoke the strength, virility, and alertness of antelopes or other horned animals. These qualities are deemed desirable for initiates as they transition into adult responsibilities.

    Numerical cosmology: Bamana culture assigns symbolic meaning to certain numbers, often connected to concepts of balance, duality, or lineage. The horns, when counted, may reflect cosmological ideas, such as the pairing of forces, the duality of male and female, or the multiplicity of virtues expected from an initiate.

    Communicative function: During initiation ceremonies, masks with different horn configurations help distinguish groups of initiates or represent different moral lessons, historical narratives, or mythological figures. The number and arrangement of horns can thus communicate specific messages to the community and to the boys being initiated.

In short, the number of horns on Bamana N’tomo masks serves as a symbolic and functional tool within the ritual, linking social hierarchy, moral instruction, and cosmological understanding. Jaenicke notes that while these interpretations are somewhat flexible and region-specific, the underlying principle is that each horn contributes to the mask’s role as a pedagogical and spiritual instrument within the initiation framework.

Horns on Bamana N’tomo masks, based on the studies of Wolfgang Jaenicke and other ethnographers:
Number of Horns 	Symbolic/Functional Meaning
Single pair (2 horns) 	Represents the initial stage of initiation; emphasizes alertness, readiness, and basic virtues expected of the youngest initiates.
Two pairs (4 horns) 	Associated with advancement in initiation; embodies strength, endurance, and growing social responsibility.
Three pairs (6 horns) 	Marks a higher or final stage of initiation; symbolizes mastery of ritual knowledge, moral maturity, and integration into adult society.
Multiple pairs (8 or more) 	Rare; may signify exceptional virtues, leadership potential, or specific mythological or ancestral associations.

The horns on Bamana N’tomo masks, based on the studies of Wolfgang Jaenicke and other ethnographers:

Number of Horns Symbolic/Functional Meaning

Single pair (2 horns) Represents the initial stage of initiation; emphasizes alertness, readiness, and basic virtues expected of the youngest initiates.

Two pairs (4 horns) Associated with advancement in initiation; embodies strength, endurance, and growing social responsibility.

Three pairs (6 horns) Marks a higher or final stage of initiation; symbolizes mastery of ritual knowledge, moral maturity, and integration into adult society.

Multiple pairs (8 or more) Rare; may signify exceptional virtues, leadership potential, or specific mythological or ancestral associations.

Hommage á Julio Remeo de Torres, wj (last photo sequence).

Heght: 72 cm without stand

Madeira - Boas condições

Uma máscara de madeira - Bamana / Bozo - Mali

Arte tribal e africana

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domingo

hoje

amanhã

terça-feira

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Estado

Bom estado

Excelente estado

Boas condições

Bom estado - usado com pequenos sinais de envelhecimento e manchas

excelente estado

Condição razoável - muito usado e com possivelmente algumas pequenas peças em falta

Excelente estado - muito pouco usado com sinais mínimos de envelhecimento e desgaste

Muito bom

Bom estado - foi utilizado - com alguns sinais de desgaste

Muito bom estado, veja descrição

Em boas condições - usado com pequenos sinais de envelhecimento.

Como novo - não foi utilizado

Bom estado, veja descrição

Razoável

Excelente estado: muito pouco usado com ligeiras marcas de desgaste

Extras

Sem extras

sem manual, sem caixa

Período

Final do século XX

1930-1940

meados do século XX

1940-1950

1920-1930

1950-1960

Início do século XX

2000-2010

1970-1980

1960-1970

Depois de 2020

1910-1920

1990-2000

2010-2020

1900-1910

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1980-1990

Final do século XIX

1800-1850

Certificação

Sem relatório de um laboratório

Tema

Figuras masculinas

Arte e cultura tribal

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Contemporâneo

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Assinado à mão

Assinado

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Capa Mole

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