Generally, hardwood is the most durable

Most African masks are carved from African hardwoods rather than soft woods.  The durability of these woods increases the quality and value of masks and crafts made with them.  Soft woods tend to be more flexible and susceptible to elements.  Typically, instruments and smaller items will be made with softer woods such as mango.

Inspect dark-black polished woods carefully

Not everyone has the luxury of watching a mask or sculpture being made to ensure that the piece is unflawed.  The processes used in West African mask making require much skill, as rudimentary tools are still used today.  Because of the difficult nature of mask making, even professional carvers will often split or crack wood when carving.  The most common “fix” for this is glue and sawdust patch.  The most common way of concealing cracks and breakages is using a dark, black polish.  Often, this polish is not waterproof and covers the wood’s natural features.

Assure authenticity by asking questions

A good mask-maker or seller will have some information for you.  While some internet research may help, there is conflicting information online.  If information about a particular mask is not provided, your best bet for information about the tribal connection of a mask, type of wood or metal used, and significance, is to contact the seller directly.  Most often, you’ll find that the seller is equally passionate about the tribe, country or mask as you are.

Consider the meaning as well as the size

Many beginners to African mask collecting often start big.  Rather than considering the meaning or significance of a particular mask, size often weighs heavily in the purchasing decision.  Consider, carefully, which mask appeals visually to you.  More importantly, consider the tribe, history and cultural significance of each mask.  After all, you’ll be telling it over and over to your visitors, who will be much more interested in the story than how many inches across it is.

Expect Variation from Photography

If getting an exact copy or matching pair is important for your decor needs, African masks might not be the best bet!  Though many mask makers repeat their work, it is rare or impossible to recreate by hand two exact copies.  Most African mask collectors recognize that the uniqueness of each piece adds value, as do rugged edges or hand-tied embellishments.  Since many of the masks are still made using old methods, a majority of African masks embody a timeless quality.

Africa is an extremely diverse continent, rich with varying cultures, arts, and histories.  One of the most exciting studies to engage in is the research and visitation of African masks & African statues and their makers in West Africa.  If your desire is not only to learn about these masks, but to see these African masks (as well as other African crafts) being created by master craftsmen, some of these sites are listed here.

Brikama Craft Market – The Gambia, West Africa

Situated away from the hub of tourist destinations, Brikama lies at a crossroad between the urban city of Banjul and the upcountry road leading to traditional villages such as Kanilai.  With more than eighty carvers working daily (the market is open seven days a week), every visitor is likely to witness the carving of an African mask directly.  The market is also home for many sculptors, jewelry makers and even local food vendors as well.  Wood is often unloaded directly from the forests and Brikama is the site where the majority of the country’s woodcrafts and tourist souvenirs are created before being dispersed to the more localized hotel and market shops in the cities.

N’Dem Village and Workshop – Senegal, West Africa

Now part of a Fair Trade cooperative, dozens of individual artisans, seamstresses, and mask makers have formed a cooperative organization dedicated to the preservation of Senegalese and West African arts and crafts.  In addition to African mask makers, calabash carvers and jewelry makers alike are part of this rural operation nearly three hours east of Dakar, Senegal’s capital city.

Grand Bassam Market – Cote D’Ivoire, West Africa

As the former capital, the city now has a feeling of a ghost town.  The peace and quiet, however, stands as an ideal place for the preservation of indigenous arts and crafts.  At the Grand Bassam market, for example, visitors can easily purchase everything from woodcarvings to African masks and sculptures, without the hustle and bustle of a bigger city such as Abidjan.

Centre for National Arts (Arts Centre) – Accra, Ghana, West Africa

Often referred to as simple the Arts Centre, Ghana’s thriving capital of Accra is home to one of West Africa’s most accessible places to the arts of the region.  Hundreds of drum-makers, mask carvers, fine artists and musicians gather daily and perform live demonstrations of their skills to visitors.  In addition, the Centre for National Arts consists of museum-like displays, where tourists and locals alike can learn West African history in a very hands-on way.

Bamako Craft Market (Marche Rouge) – Mali, West Africa

Situated amidst a junction between many grand ancient empires, Mali is a country fabled with rich history, especially in the arts and culture.  The Marche Rouge is a modernized market, in which the hustle and bustle of urban life clashes with the ancient masks, sculptures and carvings of Bambara, Dogon, and other West African tribes.  Across from the craft market lies a prominent fine art gallery, where local artists display their works before and after being put on exhibition around the world.

Can’t make it to Africa to find and purchase your own masks?…please browse our online shop with confidence that our masks come directly from the artisans themselves.  Your purchase directly helps each artist.  Browse our online store here.

Marabouts, called by many different names in the tribal languages of West Africa, are spiritual healers or “witch doctors,” as foreigners say.  These individuals are believed to have supernatural ability to perform tasks such as curing the sick, increasing fertility, and even controlling weather or other natural occurrences.

Though linked with Islam, marabouts living in rural West African countries often practice a form of spiritual healing that combines and retains many ancient African animist traditions.  Marabouts generally live off of the contributions of their community, who pay for services and items such as ju-jus, or Arabic spell scripts.

Marabouts are said to have the power to “bless” everyday objects, either by inserting ju-jus scripts into the object or through reciting incantations.  Much of what a marabout performs within an individual session remains private, and research on the topic is scarce.

These ju-jus, or replicas of them, however, commonly appear on African sculptures and figurines of all types.  Even babies are given ju-jus by the marabouts to wear, in hopes of good health and strength.  Often, marabouts will “bless” traditional artifacts such as African masks, carvings, and jewelry (especially silver and gold).

Though many American foreigners have much doubt in the superstitions of West African cultures, its spread to the Caribbean makes the residents there more akin to the practices.  Some voodoo rituals within the Caribbean islands are said to have taken root within African culture, brought to the new world during the slave trade.

Regardless of one’s personal beliefs, the idea of superstition and the marabouts who continue to practice spiritual healing play a very real role in West African culture today.  Without the marabouts and these traditions, certain arts such as mask-making and ju-ju creation would certainly not be as prominent as they continue to be.

African masks are considered amongst the finest creations in the art world and are highly sought after by art collectors. Many of the pieces some replica’s, can be viewed in museums and art galleries in many parts of the world. Masking ceremonies in Africa have great cultural and traditional significance. Latest developments and understanding of Aesthetic principles, religious and ceremonial values, have brought about a greater insight into the ideas and moral values that African artists express in their art.

During celebrations, initiations, crop harvesting, war preparation, peace and trouble times, African masks are worn by a chosen or initiated dancer. It can be worn in three different ways: vertically covering the face: as helmets, encasing the entire head, and as crest, resting upon the head, which was commonly covered by material as part of the disguise. African masks often represent a spirit and it is strongly believed that the spirit of the ancestors possesses the wearer.

Read more about the history of African Masks

Keep Wood Out of Direct Sunlight

Natural sunlight fades almost all types of wood.  Storing or keeping masks outside or near windows will prematurely age a piece.  If your mask or sculpture is placed in an area where it receives occasional sunlight, you can rotate its position to even the fading effects.  Otherwise, you will get faded coloring in exposed areas, while unexposed parts of your African Mask or sculpture will remain closer to the original color.

Avoid Moisture

Especially if you’ve got a wooden mask or sculpture, water can be damaging.  Many stains, paints and polishes used by African craftsmen are not water-repellant or resistant.  Additionally, moist or humid environments will cause wood to swell–African hand carved boxes and chests, for example, may not close properly in great humidity.  If your collection is stored in a basement, for example, use a dehumidifier to avoid mold, pests and other moisture-related problems.

Use Cleaning Materials with Discretion

Often, the best way to clean an African mask or sculpture is simply to dust it with a feather or dry cloth.  If you’ve got a tarnished metal mask or sculpture, and you’d prefer a shiny look, be sure to choose a metal polish suited for the particular metal components.  Silver, brass and copper clean differently.  Ask a professional for help before applying a chemical to a precious piece of your African craft collection, especially if you’ve got an antique mask.

Store Masks and Sculptures in Well-Packed Air-Tight Containers

Most people collect African masks and sculptures to be put on display.  However, if you plan to store your piece for any length of time, it is best to pack the items individually and well.  Wrap items one-by-one, tightly into foamy or cushiony padding to avoid breakages.  Use filler paper or peanuts to avoid extra air and space within each box.  Masks and sculptures will be move-ready, ship-ready and less likely to avoid damages if stacked vertically in storage.

View All of our African Masks for sale

Obviously, we aren’t able to describe all of our new arrivals in one blog post, so we invite you to view all of the great new African masks, Tibetan masks, Indonesian masks and Indian paintings in our online store at Lotus Masks.  Remember, whenever you purchase an African mask or African sculpture, we’ll donate a portion of the proceeds to an African charity!

Enter the online mask store now.

Set of 3 Colorful Indonesian Masks 61″ (Item#2i4)

These large wood masks measure more than five feet (61”) from bottom to top.  These masks will be the focal point of any wall in any room!

Hindu God Ganesh Wood Mask 20″ (Item#4n2)

Ganesh is the Lord of success and destroyer of evils and obstacles. He is also worshipped as the god of
education, knowledge, wisdom and wealth. In fact, Ganesha is one of the main Hindu deities.  Ganesh wears a detailed crown and has a large om symbol on his trunk.

Colorful Tibetan Garuda Mask 22″ (Item#4n6)

This mask is of Garuda which is a mythical bird or bird-like creature prominent to the mythologies of Hinduism and Buddhism. The Garuda is also the national symbols of Indonesia and Thailand as
well as featuring heavily in India and Mongolia.

In Hinduism, Garuda as represented by this mask is the mount of god Vishnu and feeds solely on its enemy, the serpents or Naga. Garuda is also credited with bringing nectar from heaven to earth and has served as the mighty transport for god-warriors in important battles. In Buddhism, the
Garuda represents a race of mighty bird-like beings with four kings whose enemies are the serpent-dragon-like race of Naga.

This mask represents the bird-like nature of the Garuda, with great beak and ears. Even though the Garuda has the head of a bird, horns and crowns are added as with this masks to ascribe it the connation of being king of the birds and their forebear. The malevolent look and the brows of fire are placed to show Garuda as the devourer and immortal warrior.

African Chokwe Helmet Mask 12″ (Item#2a35)

This is a Chokwe mask. Tribes of the Chokwe can be found spread across Angola, Zambia and Democratic Republic of Congo.  Compared to other typical Chokwe masks, this is a much more refined work of tribal art. However, it still incorporates the signature styles of Chokwe masks:
filed teeth and lined scarification motifs.

The cruciform tattoo made of triangles carved on the forehead is known as
cingelyengelye. The origins of the cross can be traced to the necklace crosses
made of tin distributed among the Chokwe people in the 17th century by Capuchin
monks from Portugal.

The tattoo over the cross extending to the temples is called mitelumuna or “knitted
brows” and it depicts discontentedness. The tattoo lines running under both eyes
are called masoji and they represent tears.

This is a female mask but it is used in the initiation ceremonies of young boys and is
meant to represent their separation from their mothers and their rebirth into
manhood.

Hindu Painting of Kali on Shiva 14.5″ x 11″ (Item#2p13)

Kali is full fierce form, with a garland of skulls around her neck, a skirt made of severed arms, Her saber raised and a decapitated human head in her left hand.  She holds a long trident.

Tribes of Benin

The largest tribe within Benin is the Fon (Dahomeyans).   Closely related to the Fon are the Asja and Aizo tribes, who reside mostly in the south of Benin and are typically agriculturalists.

The Goun tribal people mostly reside in the South, especially the Porto-Novo area.

In the North of Benin, the well-known Bariba, Somba and nomadic Fulani (Fula) tribes are often found.

Benin, like neighboring Nigeria, is also home to the Yoriba tribes, although many Yoriba now live in Eastern Benin.

Other tribes scattered throughout Benin include Holli, Dendi and Pilapila (also known as Yowa).

Tribes of Togo

Perhaps even more notable than the 40 ethnic groups that pack this tiny nation is the fact that the majority still  maintain their traditional religious beliefs.  Less than half of Togo’s population identifies themselves as Muslim or Christian.

In Togo, there are about 40 different ethnic groups, the most numerous of which are the Ewe, who comprise more than 40 per cent of the population (mostly in the South).  Although some consider the The Uaci (also called Ouatchi) part of the Ewe tribes, they are counted separately and comprise nearly fifteen percent of the population.  In the North and Central areas, the Kotokoli, Tchamba and Kabye tribes reside, totaling another quarter of Togo’s population. The remaining population consists of Mina, Mossi, and Aja tribes.

Tribes of Cote d’Ivoire (Ivory Coast)

Within the Ivory coast, the widespread Akan tribes and their subgroups (including the Ashanti) make up more than 40 percent of the population.

The next largest ethnicicity in terms of population are the people of the Mandes, broken into two groups:  The Northern Mandes and the Southern Mandes.  Together, these two tribal groups comprise more than a quarter of Cote D’Ivoire’s population.

Voltaiques or Guro tribes, comprise just under 20 percent of the population in the Ivory Coast, and the Krous tribal population reflects about 11 percent of the nations’ people.

African Chokwe Helmet Mask 12"

While anthropologists continue to discover exciting pieces of the historical puzzle of Africa, many indigenous peoples continue to leave their own historical markers–African masks, African sculpture and African art.

Although some African art is created for widespread traditional purposes (circumcision, war, marriage, etc.), the majority of West African masks are centered around tribal identity.  Often, a face mask’s sole purpose is to mark the identity of the bearer’s particular tribe.  As African mask “usage” continues to decline–and tribal intermarriages blur ethnic lines–more masks are being crafted as decorative preservations of heritage and tribal identification than as ceremonial or functional items.

Tribes such as the Mandinka, Fula (Fulani), Jola and Wolof (Senegal/Gambia) carve particular features into their own ethnic masks.  Fula (Fulani) masks, for example, often include animals atop a figure to celebrate the tribe’s history of gentle treatment of animals.  Fula masks are also one of the few types consistently seen in male/female pairs. Mandinka masks, on the other hand, often include bearded or ear-pierced warrior-like figures and sometimes are found in sets of seven, to represent the different roles of a Mandinka tribesman each day of the week.

Facial features of a mask can determine geographical region or tribal identity.  The narrowness of a face, a round shape, or bulging forehead are all markers of identity and attributes found among specific African tribes.  For instance, Baule tribal masks will almost always have arched eyebrows and closed eyes.

Today, modern African craftsmen also study the features of other tribes, increasing their craft skills to include more distant tribes and offer tourists to their country a range of West African masks.  With a large percentage of African masks now being made with the intention of being sold (rather than being used), some of the particular features associated with their usage stand on the brink of being lost.  Mask collectors, sellers and carvers alike will need to continue passing down cultural information and techniques to future African mask apprentices so that these important mask details will continue to be preserved.

Mask-Making Tribes of West Africa

Below is a list including many of the mask-making tribes of West Africa and their current (or most prominent) geographical regions.  Please note that many tribes have alternative names/spellings within different areas of Africa, and that not every West African tribe is listed here.

Akan – Ghana
Aku – Sierra Leone
Anlo-Ewe – Ghana
Ashanti – Ghana
Bakota (Kota) – Gabon
Bambara (Bamana) – Mali
Bariba – Benin, Nigeria
Bobo (Bwe) – Burkina Faso, Mali
Baule – Cote d’Ivoire
Chamba – Nigeria
Dendi – Benin
Dogon – Mali, Burkina Faso
Fang – Equatorial Guinea, Gabon
Fanti (Fante) – Ghana
Fon – Benin, Togo
Mende – Sierra Leone
Fulani (Fula, Peul) – Widespread, West Africa
Gaun – Ghana
Ibo (Igbo) – Nigeria
Jola (Jolla, Diola) – The Gambia, Senegal
Kpelle – Guinea, Liberia
Kissi – Guinea
Mandinka (Mandingo, Malinke) – The Gambia, Senegal, Guinea-Bissau
Mel – Sierra Leone, Liberia
Serahule – The Gambia
Serer – Senegal, The Gambia
Senufo, Cote d’Ivoire, Mali
Susu (soussou) – Guinea, Sierra Leone
Tuareg – Mali
Tukulor – Senegal, Mali
Wolof (Jolof, Fanafa) – Senegal, The Gambia
Yoruba – Benin, Nigeria

Action shot of Abdoulie Sowe carving an African mask

through woodcarving and finishing.  Everyday, he hikes several miles from his family compound on on side of the Brikama village, to the outskirts of the town, where lies one of Gambia’s largest woodcarving workshops.

The Brikama Craft Market is a “home away from home” to over eighty West African craftsmen like Abdoulie, who spend their days whittling, polishing and selling their masks and sculptures to tourists.  Recently, the market moved its location and now the carvers even have electricity hooked up within their stalls.  “It’s a nice improvement,” says Abdoulie, showing off his 8 foot by 8 foot stall, filled with Jola, Mandinka, and Fula masks as well as African sculptures of crocodiles and elephants.

Despite the “modern” look of the new market, woodcarving is still almost exclusively done the old-fashioned way.  Carvers like Abdoulie use only their hands, by the light of the sun, and rugged simple tools.  Amazingly, with rudimentary chisels, he and his colleagues can turn out sculptures of African men from logs of mahogany in under 30 minutes.

Just as any other self-employed individual, the work comes and goes.  Abdoulie takes a positive approach, however–he’s opened a bank account in the city so that he can put away money for the “hungry season,”  when tourists are few and the fruitful rainy season has given way to dry climate.

“My wife and children, and even others, depend on me for fish money,” Abdoulie says.  With a new baby at home and his wife only able to work on occasion, he hopes that his primary market–tourists–will continue to value and purchase traditional African masks and other carvings of animal figures that he makes.

“The competition is even higher now,” he worries.  Since Brikama isn’t a well-known tourist hot spot, the newly renovated market has grown to attract more artisans looking for work than buying visitors.  Seasonal artisans from Senegal, Mali and even Nigeria come to take advantage of the upcoming tourist industry within The Gambia, only to realize the supply already outnumbers the demand.

In recent years, Abdoulie has sought out partnerships overseas, exporting his crafts to a few select buyers in Europe and America to increase sales overall.  Despite some success, Abdoulie and many craftsmen still earn yearly wages below standard poverty lines.  What will help?  “An increase in sales, most definitely,” smiles Abdoulie.  “It’s not that we aren’t getting good prices for our work, it’s just that we’re not getting enough orders.  Not everyone in the world is in the market for an African mask, it seems.”  At least he’s got a sense of humor about it all.

Though Abdoulie can’t imagine any other work than woodcarving, he does have hopes for his wife who works at a restaurant on occasion.  She’d love to open a beauty supply store, and he’s working on making that a reality for her, one mask at a time.

African Yohure Tribal Face Mask 14"

While Western art emphasizes still art, traditional African art involves the total art which is performance art. This is why every mask has its masquerade and every statue has its spirit. Africans perform masks and personalize statues which they make. Therefore, masks and statues are not considered independent of other performing arts such as dances, songs, theater and poetry. However, even contemporary African art no longer has this performance component as it has melded with Western art.

Consider then how much more beautiful an outstanding African mask will be when performed with songs and dances or how much more meaningful a statue will be when it occupies part of a narrative detailing the myths and lore of a clan.

The ancient African civilizations consider beauty in two parts. The first one is the emotive beauty of a well-crafted piece or a well-performed artwork. This is the beauty that has survived into the modern interpretation of these sculptures. The other kind of beauty is the one of power, of effectiveness, or potency. Traditional African arts are not regarded as mere representations but as personifications of ideals. Therefore, they were believed to exert supernatural effects. This may well turn out to be symbolisms rather than actual powers but, even today, such symbolisms are still strong. A mask connoting power or wealth or a virtue can still be regarded today to connote such.

Therefore, the next time you buy a mask or a statue, you can look upon it for a personal meaning. Still you can enjoy gazing at its beauty, after all, in the old civilizations, gazing at artworks was believed to provide enlightenment. Remember: African artworks never stop giving.