Bwoom+Helmet+Mask--Kuba+People

Bwoom Helmet Mask

[[image:helmet_mask.jpg align="left"]]
Title: Helmet Mask (bwoom)

Former Title: Headdress (bwoom) Maker: Africa, Democratic Republic of the Congo, Kuba people, mid-late 19th century Medium: wood and pigment Measurements: Overall: 43.3cm x 31.2cm x 28.3cm Date: mid-late 1800s Current Location: Cleveland Museum of Art Museum Accession Number: 1935.304 Acquisition: James Albert Ford Memorial Fund

[|Cleveland Museum of Art] Introduction The Bwoom Helmet Mask traces its creation to the reign of King Miko mi-Mbul (//Kuba//, 2004). This particular mask is called a bwoom because it represents a commoner or a pygmy. In addition the Kuba people produced two other masks, Mwaash Ambooy and Nady Amwaash (//Tribal African Art//). The three masks are used in various ceremonies, such as manhood initiation ceremonies and funerals. The Bwoom mask, however, is the only one of the three that is not used in funerals (//Kuba//, 2004). Males would wear the masks on the forehead and dance about looking through the holes under the nose. They therefore performed bent forward with their heads slightly upturned to allow them to see, which added a looming appearance. When people wore the Bwoom Helmet mask they would also cover every part of their body to give a more authentic representation of a spirit. Bwoom Helmet Masks would use beads and fringe to emphasize facial features such as eyes and lips. Paint would also be used to draw extra attention to features of the mask like its large forehead; the most distinctive feature of the Bwoom Helmet mask. White was a popular color to use on masks to make the features more prominent. Loose clothing would be used as a costume to cover the body and give the illusion that the person was a spirit (Kuba 2004).

Map of the Region, http://www.randafricanart.com/kuba_Bwoom.html Descriptive Analysis The particular Bwoom mask shown at the top of the page, currently housed at the Cleveland Museum of Art, is made entirely of wood. The mask has been stripped of the majority of its decorative bead-work (The Cleveland Museum of Art, 2008). Starting at the top of the head, there are holes that are used for decorative fibers. In addition to an elongated and bulging forehead, the sides of the head are flared out and flattened. This causes the mask to be larger than the head of the average man, in keeping with its supernatural significance. The forehead also traditionally has bead-work or linen that forms three lines which extend from the brow to the hairline. These lines form a symbolic trident, called Bwoong. The back of the mask is normally covered with a beaded pattern. The eyes are squinted and elongated. Notice that there are no holes where the eyes are located on the mask. That is because the person performing the role of Bwoom wears the mask on the forehead and looks out through the holes just below the nose. Under the eyes, there are vertical lines that are repeated several times which cover the entire cheek. Traditionally, there is also bead-work shown that runs across the eyes as a symbolic blindfold. The nose is large and prominent and triangular in shape. The lips, while smaller than the nose, are surrounded by flat edges on all sides. Another series of holes appear along the bottom rim of the mask to allow for beard decorations to be attached.

Man in Full Ceremonial Dress, [] Formal and Contextual Analysis The Bwoom Helmet Mask represents the legendary Kuba figure called Bwoom, a commoner and the half brother of Woot, Woot the royal founding father of the Kuba people. Woot is believed to have lead the migration "up river" for the Kuba people. In addition, he established matriarchal descent, kingship, and male initiation ceremonies. It is told that Bwoom challenged his half brother's right to the throne as well as his marriage to Ngady amwaash. Legend says that the king of the tribe killed the children of his predecessor because he lost mind while wearing the Mwaash Ambooy, the only mask the king was allowed to wear at the time. The insanity was only temporary, but it was common for him to relapse while wearing the mask. As a result, local tribe members created the Bwoom mask in response to the adverse effects of the Mwaash Ambooy. Mask making was first introduced by the women in the tribe who carved faces on calabash, a type of gourd. These faces were the first ways that the Kuba people used masks. After demonstrating techniques to the men of the tribe, the women were no longer needed in the production process because the men took over the art form. Once the men took hold of the mask making process they created male uses for the mask. One example is the initiation ceremony for boys who have come of age. They create masks and costumes for excursions into villages to frighten women and children. Larger more powerful masks are worn by initiation officials during male initiation ceremonies in the village. When the Kuba people wear the masks, they often dance and try to create a spirit manifestation. The object of the mask was to be worn on the head for all to see, so the height and width of the mask was designed to be larger than a normal human head thus making it easier for people to see when they were worn.

Every mask is unique and specific to its creator. The Bwoom mask has large distinct features on it such as an over-sized nose, eyes, cheeks, and mouth. The Bwoom Helmet Mask sometimes has fringe to resemble hair or a beard to give it a more distinct look, which would compliment facial features such as the nose or mouth similar to jewelery on a human face. The Bwoom Helmet mask could be anywhere from 10-20 inches in height and 10-15 inches in width. Bwoom Helmet Masks were created from many different types of materials. Most masks were made of wood, although some very rare masks have been found that are made of leather. The Kuba people also decorate the masks with paint, cowrie shells, glass beads, leather, fur, tin, metals, and seed pots to give the mask a more spiritual look (The Cleveland Museum of Art, 2008). A unique feature on the Bwoom mask is the bulging forehead which makes the mask easy identifiable as a Bwoom Helmet Mask. Every mask has a triple band on its forehead that was either carved or painted on by the creator of the mask. Shells and beads were used to create facial features on some masks. The use of shells was not only a decorative element, they were also used as currency; thus a demonstration of their economic status. The mask has a large protruding forehead and distinctive under-slung jaw.

Royal Kuba Masquerade Ceremony, http://www.randafricanart.com/kuba_Bwoom.html

=**References**= Africa Direct,Kuba Helmet Royal Mask Bwoom Mask, DRC, African, http://www.africadirect.com/productsdesc.php?ID=5622, March 2009 - Contains basic information about the Bwoom mask. The Cleveland Museum of Art. //Helmet Mask (bwoom).// 2008. http://www.clevelandart.org/explore/work.asp?searchtext=bwoom&display=&tab=2&recNo=0&view=more (accessed Febuary 20, 2009). - The museum website that the original image was found. Cornet, Joseph. 1993. "Masks among the Kuba people". //Face of the Spirits : Masks from the Zaïre Basin / Edited by Frank Herreman and Constantijn Petridis.// 129-143. -stories and history of mask Dungus, Cody. //Bwoom Helmet Mask.// December 17, 2002. http://umfa.dev.verite.com/?id=MTMz (accessed Febuary 20, 2009). - Has cultural information, general information on the Bwoom mask, and lesson plans. Finley, Carol. 1999. //The art of African masks: exploring cultural traditions//. Minneapolis: Lerner Publications Co. - stories behind mask Herreman, Frank, Constantijn Petridis, and Dick Beaulieux. 1993. //Face of the spirits: masks from the Zaire Basin//. Gent: Snoeck-Ducaju. - stories and history of mask and some information about significance of beading //Kuba.// January 1, 2004. http://www.randafricanart.com/kuba_Bwoom.html (accessed Febuary 20, 2009). - This page has information about the mask and its use, and many images of masks in use. Representations of Royalty, http://cti.itc.virginia.edu/~bcr/studentwork/jones/royalty.html, March 2009 - Information about other masks and the Bwoom mask. Roberts, Allen F. 2000. The eternal face: African masks and western society: Afrika Museum, Bergen Dal, The Netherlands. //African Arts//. 33 (4):78-80, 96. - description of rituals featuring Bwoom //Tribal African Art.// [] (accessed Febuary 20, 2009). - Contains cultural information and images of different work that the Kuba people produced. (Untitled: Kuba bwoom mask). 1995. //Bulletin of the Detroit Institute of Arts//. 69 (3/4):1. - explanation of mask significance


 * Art Lesson Title:** Masks across Cultures
 * Grade Level:** 6-8th grade
 * Time:** 5 class periods

This lesson meets the following National Standards for Arts Education:
 * Standards**

[|NA-VA.5-8.1] **UNDERSTANDING AND APPLYING MEDIA, TECHNIQUES, AND PROCESSES.**


 * [|NA-VA.5-8.2] USING KNOWLEDGE OF STRUCTURES AND FUNCTIONS**


 * [|NA-VA.5-8.4] UNDERSTANDING THE VISUAL ARTS IN RELATION TO HISTORY AND CULTURES**

[|NA-VA.5-8.5] **REFLECTING UPON AND ASSESSING THE CHARACTERISTICS AND MERITS OF THEIR WORK AND THE WORK OF OTHERS**

// **Key concepts** // Masks may serve multiple purposes within a culture ranging from ceremonial use, theatrical props, or individual artistic expression. Masks may indicate social status through design or the use of specific materials. For example the Bwoom mask of the Kuba culture of Africa is used in ceremonies of rites of passage, as a theater prop, an artifact of individual expression, and a delineator of its owner/wearer's wealth and social status.

Prepare good quality slide or poster of Bwoom Mask for students to view during discussion. Prepare handout or PowerPoint presentation illustrating concepts from the teacher resources and information listed below. Print Images of Masks for Activity 2 Prepare Art materials for Activity 3
 * Teacher preparation**


 * Teacher resources and information:**
 * The Kuba live in the Lower Kasai region of Central Zaire amid dense forests and savannahs.
 * They are primarily farmers but supplement their livelihood with hunting and fishing.
 * Kuba arts convey social status, wealth and rank.
 * Geometric patterns decorate the surfaces of many objects including masks.
 * All art forms and designs carry a great deal of symbolic meaning.
 * Mask carving was started by women but later taken over by men.
 * <span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0.5em; padding-bottom: 0px; padding-left: 3em; padding-right: 0px; padding-top: 0px;">Bwoom is one of three masks worn in the reenactment of mythic stories.
 * <span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0.5em; padding-bottom: 0px; padding-left: 3em; padding-right: 0px; padding-top: 0px;">The other two masks depict Mwoosh aMbooy, the king and Bwoom's half-brother, and Ngady Mwoosh aMbooy, the queen.
 * <span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0.5em; padding-bottom: 0px; padding-left: 3em; padding-right: 0px; padding-top: 0px;">One of the stories dramatized on ceremonial occassions tells of Bwoom, a commoner, challenging his half-brother for both his throne and his queen.

__**Activity 1: Exploration of the Boom mask's cultural significance.**__ 1 class period. a. Teacher leads discussion analyzing Bwoom mask based on these questions:
 * "What do you see?" (Identify facial features, stylization, compositional choices, colors, construction materials.)
 * "How are you responding to it?" (Elicit students' emotional and aesthetic responses)
 * "Why did the artist make these choices?" (Assist students in identifying and explaining the artist's intent).

b. After students provide their speculations on the purposes of the artwork, the teacher asks if they have any questions about the artwork or artist such as:
 * "Who or what is Bwoom?"
 * "What do the decorations mean?"
 * "What values of the Kuba people are embodied in the mask?"
 * "What dress was traditionally worn with the mask, and what was it's significance?"

c. Teacher presents brief presentation or handout describing Bwoom masks and their cultural significance.

__**Activity 2: Exploration of masks from other cultures.**__ 2 class periods. a. Students form groups. b. Each group is assigned a mask from a different culture e.g. Greek theater mask, Japanese Noh mask, Chinese Opera mask, Aztec Funerary mask. c.Each group researches their mask's native culture and the mask's significance within that culture using print, online and other appropriate sources such as interviewing scholars, artists, and other experts. Factors to explore: d.The groups present their research to the class using PowerPoint.
 * Geography/environment
 * Livelihood
 * Political structure
 * Religious/spiritual beliefs/practices

__Activity 3: Mask making.__ 2 class periods. a. Demonstration of paper mache mask making and decorating techniques. b. Divide into groups again. Students will invent a culture using the information learned in activities 1 & 2. c. Each group makes one or two masks addressing three of the four above areas comprising a culture. Guidelines: Members of the group are various experts, such as sociologists, anthropologists, art historians and artists. d. Each group presents their masks and cultures, and demonstrates uses of the masks for the rest of the class.
 * Geography/environment
 * Livelihood
 * Political structure
 * Religious/spiritual beliefs/practices

Class participation - Activity One Group participation- Activity two Presentation - Attention to craft in mask making - Address at least three of the four criteria for culture -
 * Assessment:**

[| wikicommons.org] [|www.randafricanart.com]
 * Resources**