Ivory Coast, West Africa · Nafana Tribe

Bedu Mask

Piece #M006 · Year Made: 1962

$3,795

Shipping individually quoted

Origin

Ivory Coast, West Africa

Period

Mid-20th Century

Medium

Hand Carved Wood

Length

18"

Width

4"

Height

75"

Details & Materials

York's Shona Gallery presents the "Bedu Mask" by the Nafana tribe of the Ivory Coast. A large round disc, cut through with a cross and crescent shapes, rises on a long neck above a small face. The mask is vividly painted in traditional white, black and red.

The mask exemplifies the vitality and grandeur of Nafana artistry. The colorful history is reflected in the annual performance of the Bedu masquerade, for which the mask was created.

The Bedu masquerade is an artistic phenomenon of the 20th century. It was introduced in the 1920’s by Nafana artists to replace a more ancient masking cult called Sakarabounhou. The positive nature of the Bedu and the ease with which it can be understood have allowed it to transcend both ethnic and religious barriers. Since its introduction, the Bedu Masquerade has been adopted by multiple ethnic groups in the east central Ivory Coast and neighboring Ghana, among them the Kulango and Degha.

Furthermore, while Bedu is controlled by persons of traditional African religious belief, it is accepted and even practiced by some Muslims, demonstrating that Islam and traditional Africa are not always incompatible.

Bedu masqueraders perform for annual month-long ceremonies called Zaurau as well as at funerals for important elders. During these festivals, which usually occur in late November and December, Bedu masks are used to address issues of human survival, including fertility, healing, and protection of the village from both natural and social crisis. Each night of the festival, the masks emerge from the forest and enter the dance arena in male/female pairs clad in long raffia gowns. While male Bedu masks have been described as having horns, female masks have a round, disc-like superstructure.

The male/female dualism is nevertheless important, both in the mask’s symbolism and in the performance. The Bedu performance helps to stress the importance of community and praise the traditional roles of men and women and the virtue of strong families, while serving to reassert time-honored Nafana values in a new and embattled political and social climate.

  • Condition: Excellent, not previously owned, undamaged
  • Sourcing: Fair Trade
  • Certificate of Authenticity: Available Upon Request
  • Provenance Report: Available Upon Request
Shipping

Buy now and leave the shipping to us. At checkout you pay for the piece plus a shipping deposit. We then plan the packing for your piece and email you the remaining shipping balance. This applies to both domestic and international orders. Every shipment is tracked, and most deliveries need a signature.

  • Domestic: 5-8 business days
  • International: 10-14 business days
  • White-glove delivery available on request
Care & Placement

Dust with a soft, dry cloth. Keep it out of direct sunlight, away from radiators, dampness, and any sudden change of temperature. Do not place in extremely cold areas. It is light enough to hang on a few nails

Authenticity guaranteed, every piece verified
Packed and shipped by our team, insured and tracked
New York City gallery, est. 1983

Origin

Ivory Coast

West Africa

"When I was first exposed to African art, I felt a deep connection to it. It is hard to explain. It resonates with me spiritually."

Michael, Founder

York's Shona Gallery was the first in New York City to bring African sculpture to American collectors. Every piece in our collection is acquired directly, ensuring authenticity and fair exchange with the artists and communities who create them.

Nafana Tribe
Nafana Tribe
Nafana Tribe

About the Tribe

Nafana Tribe

Mask

The Nafana Tribe is a Senufo-related group who, according to oral traditions, migrated east sometime in the seventeenth century in search of fabled gold deposits, eventually settling in a region that now borders the Ivory Coast and Ghana. Their strategic location along the trade routes extending between the Asante kingdom in the southern zone and the Saharan cultures of the northern desert led to an uninterrupted and prosperous exchange of goods, ideas, and institutions.


Time in the Nafana world is governed by the rotation of two calendars- a cycle of six days that rotates against a cycle of seven days, creating a 42-day calendric cycle. A similar calendar governs the passage of time in the Akan world. As among the Akan, certain conjunctions between and six and seven day cycles are considered particularly auspicious for ritual activity, while others bode less well for specific ventures.


Nafana identity is defined by a variety of cultural practices. Their language is chief among them. Additionally, rites of passage, marriage ceremonies, state ceremonies, and their artworks. Nafana artworks convey a connection to the Burkina traditions of contrasting colors and geometric patterns. They are also are known for their huge and ornate vertical plank masks.

View all Nafana Tribe pieces

The Tradition

Masks of Africa

An African mask is made to be worn and danced. With a costume, music and movement, the carved face becomes a spirit or an ancestor, present for a time among the living.

Masks come out at the most important moments in the life of a village: funerals, harvests, and the ceremonies that mark young people becoming adults. They are worn by members of a society that keeps the mask, its dances and its meaning. Some masks are sacred, and others are made purely to entertain.

Each people has its own language of form. The Mossi and Bwa of Burkina Faso carve tall plank masks painted with bold patterns. Among the Dogon of Mali, masks are danced at the dama, the ceremony that ends mourning and sends the soul of the dead to join the ancestors. The Dan of Liberia and Ivory Coast give form to the spirits of the forest.

Every mask is carved by hand from a single piece of wood. Many are finished with paint, white clay, fiber, cloth, shells or metal, and the marks of use and age are part of the piece.

African masks helped change modern art. In Paris in 1907, Pablo Picasso studied African sculpture while painting Les Demoiselles d'Avignon, now at the Museum of Modern Art in New York City, and the faces in it draw on African masks.

Today many people display a mask on an elegant stand at home or in the office, where a single piece gives a room character and a sense of the wider world.

We have proudly carried African masks in New York City since 1983.

Worn at
Funerals, harvests and initiations
Made from
Wood, often with paint, clay, fiber, cloth, shells or metal
Made for
Ceremony, dance and storytelling
A Bwa plank mask dancer in a fiber costume in Burkina Faso
A carver shaping a wooden mask with a mallet and chisel
A person seated wearing a tall carved mask, a mask hung on the wall behind

Some masks in our collection

Burkina Faso

Mossi

Tall masks with an antelope face and a plank above, tied to a clan and its founding animal

Burkina Faso

Bwa

Painted plank masks that show flying spirits, danced at funerals, harvests and initiations

Mali

Dogon

Danced at the dama, the ceremony that ends mourning and guides the dead to become ancestors

Gabon and Cameroon

Fang

Long pale faces made for the ngil society, which once acted as police and judges

Liberia and Ivory Coast

Dan

Masks that give form to forest spirits, with each performer called to his mask in a dream

Ivory Coast

Guro

Finely carved faces, often crowned with horns or a crest

Gabon and Congo

Kwele

Heart shaped faces with narrow eyes, carved to bring well being to the village

Ivory Coast and Ghana

Nafana

Large painted Bedu plank masks, danced during the Bedu festival

View all masks