A Guro Mask, Ivory Coast, colected in the region of Gohitafla, of slightly flattened shape, with a goatee and a voluminous, striated hairdress, remnants of the dancers attachments, incl. stand, provenance Bakari Bouaflé, Abidjan. Incl stand. Guro masks from the Gohitafla region occupy a distinctive position within the broader corpus of Guro masking traditions in Côte d’Ivoire, as they embody a regional style shaped by local aesthetic ideals, social structures, and ritual practices. Rather than constituting a rigid or homogeneous category, these masks reflect a convergence of workshop lineages and cultural preferences that, over time, have produced a recognizable visual and functional profile. One of the most striking features of masks attributed to Gohitafla is their emphasis on formal refinement and visual harmony. Faces are typically elongated and carefully proportioned, with narrow chins, softly modeled cheeks, and an overall sense of balance and restraint. This refined appearance contrasts with Guro masks from other areas, where facial features may be more forcefully carved, more abstracted, or deliberately exaggerated. The surfaces of Gohitafla masks are often smoothly finished, with controlled use of polychromy that enhances rather than dominates the sculptural form. In performance, such masks project composure and elegance, whereas masks from other regions may privilege dramatic intensity or visual aggression. Iconographically, Gohitafla masks tend toward subtlety rather than overt symbolism. Anthropomorphic faces are frequently combined with zoomorphic elements such as horns, beaks, or serpentine forms, yet these features are integrated in a measured and cohesive manner. Animal attributes rarely overwhelm the human visage; instead, they suggest transformation and spiritual potency through implication rather than explicit display. This balance reflects a local aesthetic ideal in which beauty, moderation, and controlled power are valued more highly than direct visual intimidation. In comparison, Guro masks from other subregions often foreground animal imagery more forcefully, underscoring themes of danger, authority, or supernatural dominance. The functional context of Gohitafla masks further differentiates them from other Guro examples. While they participate in widely known Guro mask cycles such as Zaouli, Zamble, and Gu, their local interpretations emphasize the visual equilibrium of the mask in relation to dance and music. In the case of Zaouli masks, which are especially prominent in the Gohitafla area, the calm and idealized facial expression of the mask stands in deliberate contrast to the dancer’s rapid and technically demanding footwork. The mask thus becomes an aesthetic anchor, embodying ideals of social harmony, communal identity, and artistic excellence rather than serving as a vehicle for fear or moral sanction. Elsewhere among the Guro, similar mask types may adopt more didactic or coercive roles, a difference that is often mirrored in a more confrontational visual language. Equally important is the social embedding of masks in the Gohitafla region. These objects are commonly tied to specific villages, families, or mask associations and are endowed with a relatively stable ritual status. This continuity encourages careful craftsmanship and stylistic consistency, reinforcing local norms of beauty and propriety. In contrast, in some other Guro regions masks may be produced and employed in a more pragmatic or episodic manner, resulting in greater stylistic variability and less emphasis on long-term visual coherence. In sum, Guro masks from Gohitafla can be understood as the material expression of a regional aesthetic that privileges elegance, balance, and controlled symbolism. Compared with other Guro masks, they are less concerned with overt displays of power or dramatic distortion and more invested in the harmonious integration of form, movement, and social meaning. These qualities have contributed to their particular prominence in art historical and ethnographic scholarship, where they are often cited as exemplary manifestations of the artistic sophistication inherent in Guro masking traditions. Literature Fischer, Eberhard, and Hans Himmelheber. The Art of Africa. Berlin: Reimer, 1984. Himmelheber, Hans. Masken der Guro. Stuttgart: Museum für Völkerkunde, 1960. LaGamma, Alisa. Art and Oracle: African Art and Rituals of Divination. New York: Metropolitan Museum of Art, 2000. Vogel, Susan Mullin. Baule: African Art, Western Eyes. New Haven: Yale University Press, 1997. CAB30231