The Bwa people of northwestern Burkina Faso incorporate wood masks in all occasions, such as initiations and ceremonies to honor ancestors. Bwa masks are characterized by bold dark/light contrast and repeated geometric motifs (particularly x and + shapes, checkerboards, crescents, zigzags, triangles, and concentric circles).”[1] The patterns on these masks have similar meaning to the scars seen on the human body; the “X” represents the celestial and terrestrial crossroads and the zigzag form symbolizes the course of life and the ancestor’s path., The concentric circles could be seen as an indication of their relationship with the spiritual world. while they often revolve their lives around. They are typically colored using black, white, or red paint. The black represents knowledgeable elders and the white symbolizes the initiates that have just begun to learn. All of these masks are superstructures, meaning they sit on top the dancer’s head, this requires much strength from the masker, some choose to balance them using their teeth. “Women are always included in performances; they are able to dance, speak, and even touch the mask, which is not common among other people in Africa. The masks are owned by families rather than secret societies; however they are still stored in specific storage houses when not being danced. “Performances are organized by individual clans that compete with one another to give the most elaborate and innovative displays.”[2]
Animals are often represented in these masks; some of which include hornbills, serpents, antelopes, fish, bush buffalo, and butterflies. The butterfly mask is easily recognizable among the many other Bwa masks because of its horizontal form. This is not only rare for the Bwa people, but also in all African masquerades. The butterfly mask is danced in a festival during the spring to encourage a healthy renewal of agriculture and human fertility. It is believed that the Bwa chose the form because of the swarms of butterflies that occur and mark the beginning of spring. These masks are worn by the Do, a secret society that “represents and embodies the life-giving powers of nature, especially the untamed bush,”[3] and the dance they perform is meant to ready the soil for a successful crop.
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[1] Hope Werness, The Continuum Encyclopedia of Animal Symbolism in Art, (New York: The Continuum International Publishing Group Inc, 2003), 63-64.
[2] Alisa LaGamma, Heidi King, and Julie Jones, "Africa, Oceania, and the Americas," The Metropolitan Museum of Art Bulletin, New Series, 56, no. 2 (1998): 69-71,
[3] Monica Visona, Robin Poynor, and Herbert Cole, A HISTORY OF ART IN AFRICA Second Edition, (Upper Saddle River, NJ: Pearson Education Inc, 2008), 156.
Image source: Bwa, A village initiation, brand new plank mask and brand new butterfly mask, first performance Gnoumou family, Photograph: 1983, wood, hemp fiber, Christopher Roy: African Art and Field Photography (Image and original data provided by Christopher D. Roy)
Animals are often represented in these masks; some of which include hornbills, serpents, antelopes, fish, bush buffalo, and butterflies. The butterfly mask is easily recognizable among the many other Bwa masks because of its horizontal form. This is not only rare for the Bwa people, but also in all African masquerades. The butterfly mask is danced in a festival during the spring to encourage a healthy renewal of agriculture and human fertility. It is believed that the Bwa chose the form because of the swarms of butterflies that occur and mark the beginning of spring. These masks are worn by the Do, a secret society that “represents and embodies the life-giving powers of nature, especially the untamed bush,”[3] and the dance they perform is meant to ready the soil for a successful crop.
_____________________________________
[1] Hope Werness, The Continuum Encyclopedia of Animal Symbolism in Art, (New York: The Continuum International Publishing Group Inc, 2003), 63-64.
[2] Alisa LaGamma, Heidi King, and Julie Jones, "Africa, Oceania, and the Americas," The Metropolitan Museum of Art Bulletin, New Series, 56, no. 2 (1998): 69-71,
[3] Monica Visona, Robin Poynor, and Herbert Cole, A HISTORY OF ART IN AFRICA Second Edition, (Upper Saddle River, NJ: Pearson Education Inc, 2008), 156.
Image source: Bwa, A village initiation, brand new plank mask and brand new butterfly mask, first performance Gnoumou family, Photograph: 1983, wood, hemp fiber, Christopher Roy: African Art and Field Photography (Image and original data provided by Christopher D. Roy)