This mask, known as ‘Cihongo’, depicts a powerful male ancestor of the Chokwe. Only the Chokwe chiefs or their sons danced with this impressive type of mask when they went on ‘reconnaissance journeys’ through the villages of their dominion. There they danced with these masks, in full body costumes and with wild leaps, in order to underscore their claim to power and authority. In these masks, they collected tributes which were outstanding, and pronounced judgements. The present, very old ‘Cihongo mask’ shows the typical Chokwe style: it is carved from hard wood and coloured blackish-brown. Two stripes in relief indicate the hairline above. Above this is found a diagonal row of holes, in which originally a high, round crest of wickerwork and feathers was attached. In the middle of the wide forehead the typical ‘Cingelyengelye’ tribal mark (a sort of ‘Maltese cross’) is carved in relief, and is decorated in the middle with an ornamental brass nail. Under the characteristically high and broad eyebrows lie large, slit coffee bean eyes, each in a concave recessed hollow. The ears slightly protrude, and in the left earlobe there still hangs a large, round earring of iron. The slim cheeks bear decorative scarification marks called ‘tears’. The mouth is wide and open, with two rows of pointed filed teeth (a beauty ideal). On the chin sits a large, flat and semicircular beard – typical for a ‘Cihongo mask’. This Chokwe piece displays only two small, age-related areas of damage: a short crack, to the left side above, with an old original repair (a copper staple), as well as an old crack to the beard, also glued with tree resin very early on. The unusual old age of this object can be best recognised on the inside of the back: on the almost black, extremely old shiny patina with its slightly lighter rubbed areas due to protracted use.
Height: 24 cm; width: 17.5 cm.
About 1900 or earlier. (ME)

Provenance:
South African private collection.

Lit.:
‘La Sculpture Tshokwe’ by Marie-Louise Bastin, ill. 34 to 37; ‘Chokwe!’ by Manuel Jordan, ill. 69, 70, 71 et passim.