A Ligbi mask, collected in bondoukou Cote d'Ivoire, with a downturned tusk protruding from its forehead. Light wood; touch patina Signs of ritual use and age. Incl stand. " Established in Ivory Coast as well as in Ghana, the Ligbi, despite their Islamization, were influenced by the sculptural art of the Senoufo tribe. They thus integrated some of its aspects into the creation of their own masks, associated with the do society. This masked tradition persists particularly during religious celebrations, marked by sacrificial rituals and songs, such as the end of Ramadan, symbolizing the end of fasting. Before each festivity, it is common to repaint the masks and coat them with koro, a mixture of ashes from burnt foliage and palm oil." source: African Art Museum Ligbi masks from Côte d'Ivoire are indeed considered relatively rare within the broader corpus of West African masking traditions. The Ligbi people, also known as Wela or Wulé, inhabit regions primarily along the western border of Côte d’Ivoire, near the Ghanaian border, particularly around Bondoukou and Bouna. The population is small and culturally influenced by both Mande-speaking and Akan-speaking neighbors. Ligbi masks are mostly associated with Islamicized Mande cultural zones and were used in ceremonial performances connected to initiation rituals and funerary celebrations, often in association with the do society, a male initiation association shared with their Senufo and Nafana neighbors. Their dance masks are typically characterized by a highly stylized human face with elaborate, abstracted elements. They often include vertical horns, zoomorphic extensions, or complex coiffures. The symmetry and smooth carving reflect a high degree of aesthetic refinement. Unlike the more widely collected masks of the Senufo, Dan, or Baule, Ligbi masks were seldom collected in large numbers by colonial or early post-colonial agents. The relatively limited production of these masks, their ceremonial specificity, and their regional confinement contribute to their rarity in both museum collections and the art market. They are also notable for their syncretic character: while their use is embedded in Islamized contexts, their form and performative use align closely with the more traditional West African masquerade system, where masks are animated during public events accompanied by music and dance. In contrast to many Islamic societies in which figural imagery is avoided, the Ligbi case shows a localized adaptation that allows masking to continue in Islamized societies, albeit under specific ritual conditions. Important examples can be found in museum collections such as the Musée du quai Branly in Paris and The British Museum, but they remain comparatively under-represented in contrast to other groups from Côte d’Ivoire. References: François Neyt, Masques: Masques d’Afrique Susan Vogel, Baule: African Art, Western Eyes Alain-Michel Boyer, Les Masques Africains CAB28922.