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.africaDirect { background: #fff; } .africaDirect td.logo { padding: 0 10px; background: #000; } .description { font: normal 14px serif; margin: 0 auto; width: 500px; color: #000; text-align: left; } .africaDirect a { font-weight: bold; text-decoration: underline; color: #55ae3a; } Dan, Wee (Kran, Gueerre) Mask, Gle Va, African Type of Object: Face mask Ethnic Group: Dan Wee, Kran, GuerreCountry of Origin: Liberia, Cote d'Ivoire Materials: Wood, nails in brass or/and iron, pigmentApproximate Age: 20th century Dimensions: Height 11.5 inchesOverall Condition: Excellent Damage, Repair: crack on top, Some oxidation on metal, loosing pigment under forehead. STAND NOT INCLUDED!Additional Information: This fearsome mask comes from the Dan people of Ivory Coast and Liberia. But such masks can also found among Wee, Kran, Guerre peoples. All of these people are close in terms of geography and share the same tradition of the mask even if they are separated by their languages: Wee are Kru speakers and Dan are Mande speakers. Both the Dan and Wee have dynamic masking associations known as Poro that initiate the young and regulate society. Among the Dan masks like this are called Gle Va and are considered the most important mask spirit of this people. The exaggerated features of this mask, though vaguely human, refer to forces in the bush whose energy and powers add to the authority of the spirit represented. In some cases its jaw moves and allows the dancer to speak. Whereas female masks appear to entertain, male masks such as this exercise social control, punishing wrongdoers, settling disputes, declaring wars and proclaiming peace. In the past they are also said to have been in the bush camps when the boys were being initiated. Female masks are rounded or oval, narrow eyes and finely delicate non-challenging features, whereas the male mask is larger in size, grosser in proportions, with an open and challenging mouth with teeth,and tube-like eyes. Wee masks like this were meant to instill fear through their appearance combining human and animal features and remembrance of the mask aggressive behavior in the past. Recommended Reading: Kerchache's ART OF AFRICA; Barbara c C. Johnson, Four Dan Sculptors. Continuity and Change, 1986I have examined this piece and agree with the descriptionNiangi Batulukisi, Ph.D. **039787** All content, including pictures, Copyright Africa Direct Inc., 2006 Add Us To Your Favorite Sellers! Please visit our About Us page. SquareTrade © AP6.0 PesaMember
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