Crest mask representing a male antelope (N’gonzon Koun)

BRIEF DESCRIPTIONThis antelope headdress is called N’gonzon Koun, a stylistic version of a larger category of headdresses called ci wara. The ci wara is a divine being – half mortal, half animal – who taught the Bamana people how to cultivate crops. Its name may be translated literally: ci- means “to cultivate” and wara, “beast.”WHERE WAS IT MADE?This N’gonzon Koun was made in Mali, where the Bamana people live.HOW WAS IT MADE?It is the job of the blacksmith to carve items such as the ci wara using an adze and other hand tools. While the classic ci wara is carved from one piece of wood, the N’gonson Koun is carved from two. The metal band around the neck of this figure covers the joint; similar metal bands found on the horns, legs, or torsos of either style merely cover repairs.HOW WAS IT USED?Traditionally, the ci wara masquerade was part of an initiation society of the same name. While most African initiation societies are secretive and forbid women’s participation, ci wara performances encouraged female participation. Women took part in the music, viewed the masquerade, and ate at the celebratory meal. The ci wara masquerade praised agricultural work as well as the complimentary nature of the sexes. Successful farming wed the sun (male) with the earth and water (female).Performers of the ci wara strive to imitate the movements of an antelope, the being credited with bringing agriculture to the Bamana, and the actions of the farmer. Just as farmers necessarily bend over the soil when planting and cultivating their crops, the ci wara head pulls down in a tight curve. In masquerade, the performer leans forward and supports his weight on short canes. This posture represents the need for farmers to continually tend their fields.The N’gonzon Koun crest mask is one part of a masquerade costume that consists of a basket (to which the crest mask is secured) and cloth bands that hold the basket to the performer’s head. Long fibers or pieces of fabric conceal the performer’s face and a voluminous fiber or fabric costume covers his body. Those persons who perform the ci wara masquerade are not called dancers, but “wearers of fibers.” This male ci wara would have been danced with its mate, a female with a young antelope on her back. Ci waraw (plural of ci wara) always appear in pairs and it is forbidden to separate the couple in performance. Anyone doing so could experience great physical pain.WHY DOES IT LOOK LIKE THIS?Bamana crest mask styles differ considerably and reflect regional preferences. The N’gonzon Koun is considered to be one type of the large style grouping called ci wara. Whereas the classic ci wara of the Ségou region has strong vertical lines and an intricately carved mane, notice how this N’gonzon Koun of the Djitoumou region has more horizontal lines and no mane. The spectacularly long horns reference abundant millet stalks, a staple grain in Mali.CI WARA USE TODAY:Today, more modern agricultural techniques have supplanted traditional farming methods and their attendant ceremonies. Ci wara objects and practices have largely lost their religious significance due to the progression of Islam. The crest masks are now performed in a much more limited way; they are used to celebrate rites of passage and are performed by professional dance troupes in Mali and abroad.To see other ci wara from the Johnson Museum’s collection, search for object numbers 81.012.008 and 83.129.003 in the keyword search box.