BAMANA Bambara HYENA Antique African MASK Mali w/ Stand 16" Kore Society Surukuw, Exceptional OLD Masque ! Start Price USD 1,295.00 Current Price USD 1,295.00 Time Left - Bid Count 0 Buy It Now Price - Reserve Price - Start Time Sunday, October 05, 2008 End Time Wednesday, October 08, 2008 Location Santa Fe, NM See more about 'BAMANA Bambara HYENA Antique African MASK Mali w/ Stand' Description   BAMANA Bambara HYENA Antique African MASK Mali w/ Stand     An Old Bamana Bambara SURUKUW Kore Society Hyena Initiation MaskAntique African Art - Tribal Masque - Mali Collected from the: Bamana Bambara peoples from the Koulikoro region of Mali, West AfricaMaterial: Hardwood, pigment, oil, custom standPeriod: Early 20th centuryDimensions: 13" height, 8" width, 7.5" depth; weight is 1.70 pounds or 19.5" height, 3.10 pounds on standCondition: Excellent. From a private Houston collection, exquisite signs of age and wear from authentic tribal use, age cracks and repair to right front ear test stable, exposed wood displays significant patination. Make special note of the surface condition and hole wear, the dark, ritually oiled patina, liberal traces of skin oil on smooth, worn interior indicative of frequent tribal wear and handling - a magnificent specimen ! Please click on the photos below to fully appreciate this delightful old masque! And be sure to see the incredible AFRICAN MASKS in our eBay store! Or explore our exquisite AFRICAN SCULPTURES! Click Images to Enlarge Information on the Bamana Bambara Kore Society with Mask Traditions and UseThe Surukuw hyena masks, more anthropomorphic than realistic, all have the same characteristics. They are all carved in wood of the kapokier, dogora or mpeku trees, presenting a prominently domed forehead with a stylized crested mane rising above the skull like a small horn between the ears. This mane represents the small tuft of hair that is removed from the animal by the hunter right after the kill to prevent the mortal vengeance of the victim’s nyama, while utilizing this power in the making of ‘strong’ objects. The ears are pointed and generally quite large, circular or square eyes allow the wearer see, while the long snout, with a rectangular or square mouth is the most noteworthy feature, sometimes fashioned to serve as a grip for the wearer. Traits representing scarifications often underscore the masks’ “pure” style. The masks are considered to be charged with energy and, during consecration, receive blood sacrifices before being ritually washed and “painted”. Wearers often adopt a bent position, supporting themselves on two short sticks that extend their forearms. The complex symbolism of the hyena varies considerably according to the context, but within the Kore society the hyena most likely represents the initiates’ efforts to perfect their secret knowledge.” “The Kore initiation insures the development of male identity. Where the Kore exists, every male has to be symbolically killed at the Kore, or else be considered as belonging to the world of the women and the non-circumcised boys. For this reason, the Kore and Kore initiation still exist in predominantly Muslim villages, but it is said to no longer be a Jo; masks, boliw and sacrifices have disappeared, at least officially. Even seven years an age-set of teenagers is ‘killed at the Kore.’ As they resuscitate under an adult identity, they have to renounce the privileges of childhood, and must prove their quality of ce fari (brave man). Before being allowed to return to the village as grown-ups, they live for a time in the bush under the aegis of three elders where the neophytes are subjected to physical hardships and humiliations, and learn about herbal medicine, sexuality, the cycle of life, and their obligations towards the elders and their ancestors. They never protest, for their fervent wish is to become adult: they want to prove their bravery and they know they will one day become elders themselves. After the Kore initiation, boys are indeed considered as men and can choose between other initiation societies to increase their power.” Bambara Bamana Tribal History“The 2,500,000 Bamana people, also called Bambara, form the largest ethnic group within Mali and occupy the central part of the country, in an area of the savannah. They live principally from agriculture, with some subsidiary cattle rearing in the northern part of their territory. The Bambara people are predominantly animists, although recently the Muslim faith has been spreading among them. The Bambara kingdom was founded in the 17th century and reached its pinnacle between 1760 and 1787 during the reign of N’golo Diarra. N’golo Diarra is credited with conquering the Peul people and in turn claimed the cities of Djenne and Timbuktu. However, during the 19th century, the kingdom began to decline and ultimately fell to the French when they arrived in 1892. For the most part, Bambara society is structured around six male societies, known as the Dyow. The stylistic variations in Bambara art are extreme – sculptures, masks, and headdresses display either stylized or realistic features, and either weathered or encrusted patinas. Until quite recently, the function of Bambara pieces was shrouded in mystery, but in the last twenty years field studies have revealed that certain types of figures and headdresses were associated with a number of the societies that structure Bamana life,” according to Bacquart. “Among the Bamana and Maninka, initiation societies, called jow, were and sometimes still are of profound social and political significance. Some of them like the Ntomo, Kore, or their local equivalents, impose rites of passage: in the villages where they exist, every boy has to accomplish their rituals in order to accede to adulthood. Other socities such as the Komo, the Nama and the Ci-wara are ‘power associations’ in which men participate in order to gain power and protect their dependents.” For many of those interested in the African art, the Bamana have come to be seen as a classic example of ‘traditional’ Sudanic civilization, a conservative inward-looking society of farmers and artists largely unaffected by the forces which shape Malian history. A most remarkable society of people living in the middle Niger Valley that somehow resisted the full thrust of Islamic religious renewal, the holy wars of the nineteenth century, and subsequent French imperialism and colonization – they appear almost heroic in surviving those raging events while remaining faithful to an artistic tradition based upon ancient precepts and values. See Bamana: The Art of Existence in Mali for an exceptionally well detailed account of this culture. 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