Africa

The African collection comprises 763 items and was created by Michel Revelard. Director of the museum from 1981 to 2007, he patiently expanded the collection with pieces from various African countries, driven by a clear goal: to introduce the public to the richness and diversity of masks on this continent.

Masks are mainly found in West Africa, particularly in Burkina Faso, Ivory Coast, Mali, Nigeria and in the heart of the continent: Cameroon, Gabon, Democratic Republic of Congo and Angola.

Our African collection is distinguished by the diversity of its forms: helmet masks, crest masks, face masks, and masks worn on other parts of the body. While wood remains the most frequently used material, other materials enrich these objects: plant and animal fibres, calabashes, leather, textiles, pearls, resin, etc.

Given the richness and diversity of African mask-making practices, it is tempting to classify them all according to function, context or form. However, their functions within the community are not fixed. On the contrary, they are often changing. Sometimes the same masks play the role of master initiators but are also used in funerals. Elsewhere, they can represent justice, participate in the enthronement of a king, and entertain the audience at the same time.

Alongside this fluidity, masks also embody a form of continuity. They play a central role in rites of passage – such as stages of life or changes of season – and in magical and religious ceremonies where the boundaries between the visible and invisible worlds become blurred.

Although presented here according to their continent of origin, these pieces come together in our exhibition in a decidedly thematic way, inviting new dialogues between cultures and a cross-cultural reading of masked practices around the world.

The hemba mask plays a crucial role in the circumcision ritual for young men. It represents a benevolent ancestor who accompanies the future circumcised men during the initiation, ensuring their healing after the procedure. The three lines under the eyes symbolise the tears shed during circumcision. The mask also ensures speed and dexterity for future hunters thanks to the symbol of the antelope at the top.

Among the Yoruba people, the Egungun are the incarnations of ancestors. Their secret society initiates young boys from the age of five. The Egungun come out during funerals, when ancestors visit the living to advise and comfort them. They also appear just before the rainy season to bring health and prosperity.

The costume is made up of multiple floating strips of fabric. As a result, it is very expensive to make, often requiring collections to finance its creation. In the example shown here, the crown, sequins and cowrie shells symbolise wealth and opulence.

The Egungun move in a spinning motion, the strips of fabric twirl around and the performance is impressive, but quickly becomes physically demanding. Although feared in the past, the Egungun are now both honoured and entertaining figures, bringing peace and happiness to the community.

This belly mask depicts a female body with its sexual attributes highlighted. It symbolises maternity and the procreative power of women, celebrated through song and dance during the masked ritual called Gèlèdè.

The Gèlèdè is an opportunity to address prayers to ancestral mothers, guardians of the community's equilibrium, for individual concerns (health, fertility) or collective events (weddings, crises). This ritual celebrates women as the bearers of children.

The Gèlèdè also conveys the history and myths of the Nago people. The Nago believe that women possess a spiritual force that is neither positive nor negative in nature. The Gèlèdè cult seeks to guide mothers to use their strength for the well-being of society.