Sculpture - Africa

GIPHOGO MASK HANGS
Ethnicity: Pende (Democratic Republic of Congo)
Wood, pigments, vegetable fibres

The Pende society, based on an agricultural economy, is not governed by a central authority but the position of a family head called Djigo who exercises a sort of social control sometimes assisted by members of a nobility is recognised. Men are socially organized into age classes and secret societies which are accessed through initiation rites that include circumcision in adolescence.
The Pende have a rich and diversified material production. The artistic creations are classified into three different cultural regions, each with their own typical masks: the Kwilu Pende or Western Pende who live on the banks of the Kwilu River (they use the Gitenga or Minganji masks) , the Central Pende (they use the Giwoyo, Phumbu masks in Mfunu, Nganga Ngombo, Mukhetu, Muyombo) and the Eastern Pende people who live on the banks of the Kasai River downstream from Tshikapa (they use the Kindomgolo, Kiwoyo, Kambanda, Kipoko, Giphogo, Minyangi masks)
The "Giphogo" helmet masks are among the symbols of power used by the authorities of the eastern Pende communities, only they can wear them for dancing. The mask is used for a number of social functions, the most important of which is to venerate and thank spirits and ancestors for successful harvests, healing, fertility and protection. By doing so, the benevolence of supernatural forces is assured to the community. The mask is also used during the mukanda initiation ceremony which marks the end of male circumcision rituals. The initiates symbolically offer the mask a morsel of food by placing it on the tip of their nose, vowing not to reveal the lessons learned during their journey in the secret society.
The particular shape of the facial features: prominent square nose, large ears, long and half-closed eyes, non-existent mouth, symbolize the ability to see and hear everything but speak little, characteristics typical of authority. The protruding lower part depicts the beard which represents wisdom. On the back the mask is covered with old raffia fabric intended to cover the dancer's neck.

Bibliography:
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Strother, Z. S. , Inventing Masks: Agency and History in the Art of the Central Pende, University of Chicago Press, 1998
Piening, M. P. , Masterpieces of African Sculpture, 1964
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Lehuard, R. , Arts d’Afrique Noire, no. 42, 1982
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