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in rituals, it pays homage to the ancestors. It ignites the collective memory of the community it performs before and pushes away evil spirits that live amongst them. This mask reaches its full potential while being used in rituals. The one wearing this mask may also be blanketed in things like leaves or bits of vegetables and cloth.
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anthropomorphic features. Incorporating human features with animalistic helps merge humans with the forest spirits and the animals they live with. These are thought to represent benevolent forest spirits. Horns on a mask are present to honor the forest spirits who are linked with the presence of ancestors.
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When misfortune such as famine, war, arguments, poor hunting, and death would strike the Kwele community, they would call upon powerful ancestors and request that they bring harmony back to the people. This purification rite is known as beete. This practice is overlooked by a specialists known as the
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A discernible mask from the Kwele and other people of the equatorial forest is the heart-shaped mask. The details featured on them are typical of Kwele masks. Usually made from flat or curved wood, this mask embodies features seen on monkeys, birds, butterflies, or the face of an ancestor. When worn
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Gon arrives during the beete rites and this arrival is announced a day before his appearance at the village. The presence of gon brings a sense of ferociousness and bravery. The mask this masquerader wears is similar to a gorillas skull. The mask is designed to plant fear and amass admiration. Along
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Flat masks were created to be incorporated into the beete rites. The bush spirit mask, kuk, leads the community in beete dances. These dances with the community help to strengthen the bond between everyone and also helped to honor ancestors. The energy produced from the community dancing was thought
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would identify the person who does have the desired relic, even if this person is from a separate village. The relics are then drawn upon to make a stock for a medicinal brew. When completed, those who have suffered from the misfortune would ingest the brew or let it be sprinkled onto them. This was
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rivers. Their assumed five separate linguistic subgroups are identified by differences in where their community lies on a map, where they have migrated over time, political structure, performances implemented in rituals, and the community cohesion within each. When conflicts arise, their strategies
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Prior to the 1900s, the items created by the Kwele were not known of. Colonial missionaries who arrived in Africa came looking to trade things such as rubber and ivory. French equatorial Africa colonial administrator
Aristide Courtois is known for the large amount of artifacts he brought to Europe
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in
Central Africa. In terms of their language, they fall into the Bantu linguistic group. Their population consists of approximately 120,000 individuals. They fled the coastal area of West Africa during the 19th century after their traditional enemies acquired firearms from the slave traders. This
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Furthermore, not all masks are intended to be worn. Several Kwele masks are created with no eye slits, and therefore are used exclusively in ceremonies. The masks were often found in the homes of the elders. There are three categories of masks: Bush spirit masks, gon masks, and ngontangang. Bush
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Masks are an art form for those in Africa. The shapes, sizes, engravings, color, materials added, and what ritual they are used in make each mask different from the next. Even though the Kwele masks embody a certain simplicity, they do not stray away from using animalistic, zoomorphic, and
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Many lack open eye slits and the masks are shown rather than worn. Some of their masks are painted with white kaolin clay, which the Kwele associate with light and clarity. Many of their masks are seen with concave features, suggesting that the masks were only to be viewed from the front.
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spirit masks are seen as guardians. They often resemble the features of flying squirrels or owls. Gon masks tend to resemble a gorilla. The masks aim to have an aggressive and intimidating appearance. The one who wears the mask must embody mysterious and brave attributes.
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shows this use of pan
African art composition and style. Artists wanted to challenge the mainstream art of the time. Long and concave facial features became popular in western sculpture and paintings after artists saw these characteristics in African
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with the mask, the one wearing it has their clothes covered in charcoal dust and is physically restricted. During the ritual, he will manage to get out of the bindings. He will proceed to make his way around the village, looking for prey.
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to resolve these issues may be handled by intense individual competition. Important relations are impacted by the father's line of descent, due to past patrilineal and avuncular political decisions and relations.
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from 1930 to 1933. Alongside him was collector
Charles Ratton who helped bring viewers attention to the beauty of tribal art. In 1930, a Paris exhibition was held at the Pisalle Gallery, showcasing Kwele art.
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thought to be protection from any harm that was present. Now, every few years, the Kwele organize beete rites. They began to be practiced to prevent harm instead of only removing it when harm is present.
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The art and repertoires of multiple
African communities were appreciated then heavily appropriated to develop a new wave of art mixed in with the new modernist avant-garde. Eventually birthing Cubism.
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The first ethnographic fieldwork related to the Kwele people did not occur until the early 1960s. Their art was recognized but information on the artists and the community was limited.
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connects with the ancestors to decide if the relics presented have been accepted. If the relics are not accepted, the
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altercation is often called the "Poupou" war. The Kwele then settled into lands between the
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to heighten the power and effectiveness of the relics presented to the ancestors.
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is a familial body of voters that have a say in village affairs. The
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Ancestors: The Art of the Central African Reliquary
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horned mask of pigmented wood, Musée du quai Branly, Paris
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African masks from the
Barbier-Mueller Collection, Geneva
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24:are a tribal group of eastern
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265:Beti-Pahuin
138:Colonialism
53:Beete Rites
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1242:Categories
1139:(4): 1–7.
1110:2023-04-29
816:References
64:baaz. Baaz
60:gaa beete.
1153:0001-9933
1079:0001-9933
968:cite book
927:0001-9933
856:793207969
200:Akunakuna
72:gaa beete
68:gaa beete
34:Cameroons
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1161:20447912
1037:38877383
943:57560876
935:20447855
606:Boungome
245:Bamileke
240:Baligham
120:Gon Mask
95:, France
22:Bakwele,
1087:3334432
666:Mpongwe
621:Kaningi
574:Bakalai
564:Adyumba
506:Wodaabe
501:Widikum
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148:Picasso
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611:Buissi
579:Bakoya
431:Mankon
391:Kotoko
369:Tupuri
364:Musgum
327:Kanuri
292:Chamba
287:Buduma
230:Bakoko
43:Ivindo
32:, and
1165:S2CID
1157:JSTOR
1129:(PDF)
1083:JSTOR
995:(PDF)
939:S2CID
931:JSTOR
804:Yombe
774:Kwele
769:Kongo
764:Gbaya
754:Bembe
686:Tsogo
676:Shira
661:Mbama
646:Kwele
641:Hausa
584:Benga
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441:Mboko
416:Makaa
411:Limba
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396:Kuteb
386:Kombe
339:Kirdi
322:Hausa
317:Gbaya
302:Dwe'e
297:Duala
260:Bassa
255:Banda
250:Bamum
220:Bafia
83:Masks
26:Gabon
20:, or
1199:stub
1149:ISSN
1075:ISSN
1033:OCLC
1023:ISBN
974:link
923:ISSN
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842:ISBN
799:Vili
794:Teke
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681:Teke
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656:Fula
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446:Mofu
376:Kole
359:Masa
354:Mafa
344:Fali
312:Fula
307:Ekoi
282:Bubi
275:Fang
270:Beti
225:Baka
155:art.
41:and
16:The
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436:Mbo
401:Kwe
381:Kom
215:Aro
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