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Descrizione : An old mask with traits very similar to those found among the Baga people. Such a sculpture steeped in local mythology and secrecy.The headpiece does not represent a specific being or animal but is a mythic and symbolic composite. It probably belongs to the category of nimba. The mask prosecuted wrongdoers, cured those ill and protected the young boys who were particularly vulnerable to spirits during their initiation into adult society. It has been reported that every family in a Baga village would own such a mask, and the forms vary greatly from place to place. There are no known restrictions on who can carve a mask, enhancing their uniqueness as well as the difficulty in attribution. This is a terrific example, rhas the form and design  ,close  ,with the well-known Nimba stylized , masks. ,Baga art is primarily produced for funerals and for the initiation of young men, and many of these remarkable works are of truly monumental size and beauty. These include large, complex headdresses, huge polychrome snake carvings, multiple layers drum-like pieces with figural superstructures and charming eight-legged stools which resemble spiders. ,The Baga are a small West African ethnic group living in a coastal area of swamps and inland waterways bordering the Atlantic Ocean in Guinea. The term Baga identifies not only a people or an area but also identifies shared cultural traditions and art forms with neighboring Nalu and Landuma and the dominant Susu people.This mask was probably used during funerals and during adult initiations. In some areas masks appeared during harvest ceremonies or in other areas as entertainment. Sculpture from the Baga people along the Atlantic seaboard has been known and documented for an extended period of time, since as early as the middle of the nineteenth century. Baga art traditions have developed over a long period of time and continue today despite religious conflicts with the numerous conversions to Islam and resulting pressures upon traditional figurative sculpture.Recommended Reading: ,Lamp, F. Art of the Baga. 1996.Iris Hahner-Herzog, Maria Kecskesi and Laszlo Vajda, 1998, AFRICAN MASKS FROM THE BABIER MUELLER COLLECTION, Prestel Munich. New YorkI have examined this piece and agree with the description. Niangi Batulukisi, PhD. Recommended Reading: D. Paulme, African Sculpture (London, 1962) D. Paulme: ‘Structures sociales en pays Baga’, Bull. Inst. Fr. Afrique Noire, xviii/1–2  , , , , , , (1956), pp. 98–116 P. Meauzé: African Art (Cleveland, 1968) D. Paulme: ‘Head (Elek)’, For Spirits and Kings: African Art from the Paul and Ruth Tishman Collection, ed. S. Vogel, (New York,1981), pp. 58–9 D. T. Niane, ‘Nimba: Goddess of Fertility in Baga Land’, Afrique Hist., i (1982), pp. 63–4 F. Lamp, , ‘The Art of the Baga: A Preliminary Inquiry’, African Arts, xix/2 (1986), pp. 64–7, 92 F, Lamp,  , Art of the Baga. (New York,1996) I have examined this piece and agree with the description. Niangi Batulukisi, PhD.
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