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December 7, 2023African cultures are rich in symbolism, expressed through song, dance, art, and various mediums. In Côte d’Ivoire, the reverence for masks in traditional culture is held in high esteem.
Masks are believed to serve as vessels for spirits, ancestors, and even demons that possess the wearer. These masks are intricately carved with designs that either narrate the mask’s origin or indicate the entity within. The Ivorian tradition boasts an incredible array of masks, including the Wambele, Guebli, Gla, and Gambiel, to name a few.
Within the Baoule ethnic group, two distinct masks exist. The human-looking mask, “kpan,” and the disk-faced mask, “kple kple.” The “kple kple” mask is reserved for use in times of danger or during funerals.
Previously, festivals celebrating masks were held in warring individual villages due to political strife and violence. However, efforts to unify villages and revive the mask tradition led to the birth of the Fetes de Masques or Goli Mask Festival in Man, held every December.
The festival aims to appease the spiritual entities in the forest and village believed to exert supernatural powers over the living. It also celebrates the solidarity between communities. During the festival, the exuberance of Ivorian tradition, song, and dance are showcased by locals. Various tribes perform different dances, with events climaxing in a dance competition.
One notable dance is the Zaouli dance by the Guro community. Said to have originated from a young girl, Djela Lou Zaouli, in the 1950s, it is ironically currently only performed by men after seven years of extensive training.
The dance involves rapid foot movements and acrobatic stunts, never repeated, lending to the mystique it holds. The dancer, wearing the “kpan” mask, is believed to be possessed during the performance, with their upper body seemingly frozen in time while only their feet move, earning it the title of the world’s most impossible dance.
The Goli mask dance of the Wan people involves dancers consecutively wearing four pairs of “kple kple” and “kpan” male and female masks. During the celebrations, women and children are encouraged to sing and dance with the masked figures.
Travelers from far and wide come to witness the uniqueness of the Ivorian mask tradition, although some dances and masks are not meant for foreigners to witness. The history and cultural relevance of masks contribute to West African heritage, offering a lens into the beliefs and values predating non-traditional African religion and colonialism.
It is evident that there has been and continues to be a phenomenal regard for natural elements, the duality of genders, and honor for the supernatural by Ivorians. The continued spotlighting of this sensational aspect of Côte d’Iviore will ensure the longevity of the mask culture and, furthermore, serve an opportunity for African traditions to be understood by non-Africans.
