Bundu or Sowei Helmet Mask

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Bundu or Sowei Helmet Mask발음듣기

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(piano music) [Stephen] We're in the Brooklyn Museum and we're looking at one of several helmet masks for the Sande Society.발음듣기

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[Peri] This is a Pan West African phenomenon where several different ethnic groups participated in this masquerade tradition.발음듣기

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[Stephen] The mask we're looking at would have been worn, not in front of the face, but on top of the head.발음듣기

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But the person who wore it would have been obscured by raffia that would have hung down over the face.발음듣기

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[Peri] But what really makes it really unique is it's the only masquerade tradition, that we know of, where women wore the mask.발음듣기

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[Stephen] Now, men would have make this mask, would have actually carved it.발음듣기

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But the entire ritual was performed by, and for, women.발음듣기

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[Peri] It was made to help young girls go through initiation.발음듣기

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Young girls among many different ethnic groups, including the Mende, whose group made this particular mask, would have been taken from their every day lives and their chores to a secluded area in the forest where they would be instructed on how to become good wives and good mothers by members of the Sande Society.발음듣기

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And, again, this was a secret society that girls, all girls, were initiated into.발음듣기

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[Stephen] There's real symbolism in being taken from the village into this more dangerous place.발음듣기

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[Peri] This was a liminal time for girls, and, in fact, their bodies would be anointed with white clay to make them dry and pasty and unattractive to suggest that they were not girls but hadn't yet become women.발음듣기

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And so, it was outside of the realm of the village, where this could take place.발음듣기

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[Stephen] If we look at the mask, it's got a beautiful, deep black sheen.발음듣기

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The surface is smooth and glistening, and is in such contrast to that chalky, white.발음듣기

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[Peri] This black shininess is really the ideal.발음듣기

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So what the artist has done, the carver, is create an image that suggests an inner quality or the inner morality that young girls should strive for.발음듣기

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The mask becomes an ideal for the young girls to mimic in their adult lives.발음듣기

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[Stephen] Well, we see eyes that are largely closed and seem quite demure.발음듣기

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We see a very small mouth and very petite ears.발음듣기

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[Peri] And these downcast eyes suggest that she should be reserved.발음듣기

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The small mouth suggests she should keep her mouth closed and not gossip.발음듣기

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Gossip being the most dangerous thing in a small society, in many cases.발음듣기

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And then small ears so as not to listen to that gossip.발음듣기

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[Stephen] But probably most evident is this wildly elaborate hair style.발음듣기

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[Peri] And the hair style is where the artist has room for play.발음듣기

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So, we have that seriousness of the face, this high, glossy forehead, but then we have this elaborate coiffure.발음듣기

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We don't know the symbolic meaning of all of these things.발음듣기

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Many of this is learned as knowledge of that secret society.발음듣기

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[Stephen] And this is not just historical.발음듣기

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This is a continuing tradition. 발음듣기

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[Peri] Because of the civil war in Sierra Leone and surrounding countries, all sorts of conflicts, we don't know to what extent this tradition continues today.발음듣기

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[Stephen] One of the other most evident features are the rolls of fat under the chin.발음듣기

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[Peri] The artist suggests that she is full-figured, that she has enough body fat to be able to bear children.발음듣기

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And she is expected, after initiation, to marry and have children.발음듣기

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So this suggests an ideal, again.발음듣기

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Also in seclusion, during initiation, is the only time a young girl is given really rich foods to eat and can enjoy time off.발음듣기

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So it's intended to fatten her up a little bit too.발음듣기

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The Sowei mask is thought to be a spirit.발음듣기

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She comes from the bottoms of rivers and lakes.발음듣기

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[Stephen] Below her eyes, there are four lines on either side.발음듣기

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[Peri] These are scarification marks and they're part of the ideal aesthetic for a young Mende woman.발음듣기

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While all the girls are in seclusion, in that liminal space, not yet women but no longer girls, they're referred to as chrysalis, that is not quite the butterfly but no longer the caterpillar.발음듣기

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And that shape is also echoed in the shape of her neck.발음듣기

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So, we have a multiplicity of meanings which are partly to do with the way scholars have studied them but also to do with the fact that girls are exposed to different knowledge at different times in their life when the Sande members feel that it's appropriate.발음듣기

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While this mask is intended to instruct young girls about proper womanhood, it actually never speaks.발음듣기

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It never says a word. So, this mask, silent, is able to teach young girls.발음듣기

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And the way in which that is done is through dance.발음듣기

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So, the masks teaches the girls particular dance movements and stories to those dances, telling girls, not only practical information on how to cook and raise kids, but also spiritual knowledge and information about their belief system.발음듣기

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[Stephen] So the mask is this container of these very rich tradition.발음듣기

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When we see it without its raffia, when we see it not worn, not part of this process of initiation, 발음듣기

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we're seeing it really as an aestheticized object in the western tradition.발음듣기

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Very different from the way this would be understood in its original context.발음듣기

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[Peri] And young women think of this as a spirit when it's danced with its raffia.발음듣기

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[Stephen] And these masks would be used over and over again, but when they were not in the ritual, itself, it would not have that spiritual presence.발음듣기

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[Peri] It would have been housed in an elder woman's home who is an official from the Sande Society, and it was quite fine for young initiates to see it.발음듣기

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They wouldn't regard it as a spirit.발음듣기

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They would regard it merely as a piece of wood because, again, it was not performing with its raffia costume and its attendants and musicians. (piano music) 발음듣기

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