work of the month


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BUNDU MASK
Mende People, Sierra Leone
Gift of Walter P. Chrysler, Jr.


Questions you may have about the Bundu Mask.

Close inspection of this helmet mask from Sierra Leone on Africa's West Coast raises many questions. Who are the Mende? What does the word "Bundu" mean? Why was the mask made? Who carved it? Who wore it? Is it supposed to look like a real person? Does it have symbolic meaning? Is it old? What other questions not mentioned above arise for you upon first looking at this work of art?

Looking at the Bundu Mask.

You will first notice that the mask is basically a hollow cylinder made from a single piece of wood. Shaped to rest on the shoulders of the wearer, it has been darkened with pigment or oil. Although there are tiny eye slits, they are so small that they are almost invisible. The face is diamond shaped with a large forehead, tiny nose and no mouth. Three thick rings encircle the back of the neck; around the bottom of the mask there are a series of small holes. The elaborately carved hairstyle is topped by a flat semicircle. The combined shapes and carved patterns create a powerful form that is satisfying to the eye even without reference to the symbolic meaning. What other details did you observe?

Who are the Mende?
They are one of the two largest ethnic groups in modern day Sierra Leone. The Mende people arrived in the West Coast area of Africa about three centuries ago.

What does the word "Bundu" mean?
This is the name of the powerful female society of the Mende people. Another name for the same society is "Sande".

Why was the mask made?
It was to be worn by an adult woman in connection with the rites of the Bundu/Sande ceremonies. In preparation for marriage and motherhood, young girls starting puberty were separated from their families and brought to a compound to be taught the manners and customs they would need as adults. When the teacher appeared in public-with or without her students- she wore a mask and body covering costume, which transformed her into the public persona- the ultimate spirit- of the Bundu/Sande society. Because it was so hard to see out of the mask, the teacher usually relied on assistants who acted as guides as she moved from place to place. The body costume was attached to the mask by thread that went through the holes around the neck area. Legend relates that once transformed by the spirit of the mask, the teacher could dive into deep water without being eaten by crocodiles, and emerge dry from the water draped in coral beads.

Who carved the mask?
In keeping with African tradition, a male carver created the mask that covers the head. The full mask requires that the wearer's body be completely covered, including the hands and feet. These fabric materials are made separately.

Is the mask supposed to look like a real person?
Although the carver/artist may not have had a specific individual in mind, he wanted the face to evoke a beautiful and wealthy woman. How do the Mende ideals of beauty and wealth differ from Western understandings of beauty or material wealth?

Does the mask have symbolic meanings?
The female face has no mouth; this represents the fact that women were expected to obey their husbands. The rings of flesh on the neck are a sign of prosperity and sexual maturity. Because the Bundu/Sande society believes that the power of the mask is initially derived from water, the rings may also refer to ripples that spread out over the surface of a pond when it is disturbed by an object thrown into the depths. The flesh rings also mimic an exceptionally large chrysalis that is found in Sierra Leone; from the chrysalis hatches a beautiful mature butterfly. Until the end of the 19th century, Mende women wore elaborate hairstyles; the semi-circular top of the Chrysler's mask is almost certainly a reference to female circumcision, a controversial practice that persists today in Sierra Leone. (The tops of Bundu masks vary greatly because this is one of few areas of the carving where artists are permitted to display individual interests. Caps, animals, and even human figures may be depicted.)

Is the mask old?
This mask was probably made in the 20th century. African masks made of wood are usually not very old because of the fragile nature of the material. When a ritual object is damaged it must be destroyed, used for another purpose, or sold to a collector or tourist. However, the form of the mask follows traditional patterns determined hundreds of years ago.

Are such masks used in Sierra Leone today?
Today, life in Sierra Leone is difficult for many people because of on-going fighting between the elected government and armed political rebels. Hunger and disease are constant companions, and huge numbers of people are either in refugee camps or have fled the country. Because people are fighting for survival, many traditional tribal ceremonies in both urban and rural areas have been interrupted, including the masked ceremonies of the Bundu/Sande society. Once stability has been restored to Sierra Leone, masking ceremonies will probably be resumed. It is of concern to anthropologists, sociologists and those interested in traditional ceremonies that the people who carve the masks and understand the rituals may not be available to pass these traditions on to the next generation.

How does one gain a greater appreciation of African art?
It is important to remember that the beautifully carved and designed objects displayed in museums were originally made for use in conjunction with specific ceremonial functions. Interestingly, there is no word for "art" in any original African language. The objects were given power, or "activated", by potions and rituals. Ceremonies were often connected with agriculture, hunting, fighting, birth, coming of age, marriage, prophecy, and death. What have Westerners traditionally called objects of great beauty made for utilitarian purposes?

The best way to start understanding and appreciating African art is to simply look. Careful, frequent, observation will both train and open your eyes. Gather information through books and the internet; visit exhibits of African art when possible. By using these and other sources, you will be able to find the answers to the questions you may have asked yourself about the Bundu mask.

-- by Ann Dearsley-Vernon
Director of Education, Emeritus

References/Resources

Edward Lifschitz, Curator of Education, National Museum of African Art, The Smithsonian Institution, Washington, D.C.

Mary Lou Hultgren, Curator of Collections, Hampton University Museum, Hampton, VA. FAX: 757-727-5170.

African Sculpture Speaks, Ladislas Segy, Lawrence Hill and Co, N.Y, 1955.

Tribes and Forms in African Art, William Fagg, Tudor Publishing Co., N.Y. 1965.

Black Africa, Laure Meyer, Terrail, Parris, 1992.

Websites

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