Kifwebe Dance Mask

A rare male Kifwebe ceremonial dance mask; this mask is depicted as a masculine male mask of high rank. It is easily identifiable by its large comb or crest; the size and height of the crest determines in comparison to the other masked dancers performing in the same ceremonial his higher rank or seniority and relative spiritual power over the other participating dancers. Lesser important junior masks have smaller crests,an indication of their lesser degree of social power and rank in the dance ceremony. The typical characteristic features of the male mask are the strong protruding eyes, nose, mouth, and crest, which all extend from the facial plane of the mask. The senior mask is usually larger in size with a big crest, which can be a separate formal entity or a continuation of the head protruding above the forehead. The crest and the conical protrusion are supposed to contain the magical strength of the mask, hence the bigger the crest the more powerful the mask.

The proportion of the crest, eyes, nose, and mouth of this mask indicates a very important mask. It is said that male masks (or their wearers) are involved in witchcraft, sorcery, spellcasting, and dispersion of diseases and epidemics. The junior mask is smaller in size and will have a smaller crest but has the same contrasting coloration as the senior mask—mainly black, white, and dark red. These featured extensions of facial forms protrude into space, expressing male power and aggression. The use of polychromatic color pigmentation is also more of a characteristic of the male masks, which basically depicts supernatural beings, such as ancestral spirits.

The main functions of male Kifwebe masks are to control social order and represent a socially-approved agent of the society that is bent on social intimidation of wrongdoers.

During initiation procedures, the mask would be worn by the leader of the initiation or ceremony, the circumcisers, or by the guardians of a circumcision camp. This mask was also used in celebrations of a coming seasonal event such as the new moon, planting of seeds of crops, first harvesting, and first coming of rain. It was used to reinforce social control and the policing of tax payments and other fines, the rendering of justice, plus executions. The mask may have been used to act as a mediator or a moralistic device used as a cover of spiritual divinity for a dancer when he reenacted mythical or historical events from the past.

 This mask had numerous functions in Songye life. In addition to maintaining social order, this mask may also have accompanied and honored important members of society either at funerals or funeral commemorations to honor the deceased. The mask could have also been worn during social gatherings or meetings of important members of brotherhoods, and associations of their societies. The mask was worn by a medium between the living and higher powers or spirits to assist in solving temporary crises such as war, strife, enmity, calamities, and epidemics. During warfare it was used to encourage and bless warriors, worn to bring good luck to a war campaign or lead warriors. It was also possibly worn before or after hunting or to conduct or supervise a communal hunt.

Provenance: The first known American collector was the renowned collector Lawrence P. Kolton and Rachel Angotti of Michigan City, Indiana, between the years of 1969 and 1979.