Bamana N`tomo mask, Mali, 20th century

Bamana Ntomo mask, Mali, 20th centuryGenerally surmounted by three to eight horns forming a comb, the Ntomoface mask refers to a moment of compulsory education given to uncircumcised young boys in certain West African societies. The masks discreet, even absent, mouth emphasizes the behavior expected of them in their future adult life after training: controlling and measuring their words, knowing how to keep quiet, preserving secrets and enduring pain in silence.Excerpt from Masques du Ntomo, Marc Ladreit de Lacharrière Collection, Musée du Quai Branly Jacques Chirac, France.The Bambara, or Bamana, live in central and southern Mali. Their name means “unbeliever” and was given to them by the Muslims. Animists, they believe in the existence of a creator god called Ngala, who maintains the order of the universe and coexists with another androgynous god called Faro, master of the Word, who gave all qualities to mankind and makes the fruits of the earth grow. Traditional Bamana art objects are closely linked to agrarian rites.The Bamana dance these masks during initiation and circumcision ceremonies for young boys in the Ntomo society. The face, with its vertical outgrowths at the top, adopts geometric features beneath a rounded forehead, including an imposing busted nose, as the Bamana favor this organ in their statuary as it evokes sociability and clan cohesion. Indeed, during choreography, the dancer frequently touches the nose of the mask.As teaching aids for candidates, masks from societies accessible to young boys and adults, such as the Ntomo, Korè and Ci wara, appeared not only during initiation reclusion, but also at village entertainments.This Ntomo mask, dating from the mid-20th century, is highly graphic and stylized in design, with all the characteristics of Bamana initiation masks and a beautiful oiled brown patina.