What this object tells us.
Grounded in fieldwork, museum holdings, and scholarly literature — told with respect for the context in which this object was made.
DOGON Vertical Plank Mask with Tiered Cutouts and Metal Rings, 117 cm (Mali, 1st half 20th cent, wood)
This tall wooden mask features a classic, rectangular Dogon face surmounted by a towering, vertical plank composed of geometric, tiered cutouts and a spear-like apex. The wood is a dry, matte brown, bearing faint traces of white and dark pigment, adorned with dangling metal rings and shells on the lateral wings.
1. Aesthetic Style — The Architecture of the Gin'na
This mask is a smaller, highly refined variation of the monumental Sirige plank mask. The soaring, vertical superstructure is not merely abstract design; it is a literal, architectural representation of the gin'na, the multi-story family house of the Dogon lineage leader. The tiered, rectangular cutouts mimic the distinct, grid-like facade of these mud-brick dwellings. By wearing the "house" on his head, the dancer visually assumes the weight of his entire ancestral lineage, physically manifesting the deep, structural roots of Dogon society.
2. Ritual Function — The Descent of the Nommo
Beyond representing the family home, the vertical plank also holds profound mythological significance. The tall, ladder-like structure represents the celestial path or the ark upon which the Nommo—the primordial, androgynous creator beings—descended from the sky to populate the earth. During the Dama masquerade, the dancer bends his body forward, sweeping the tall plank down to touch the ground. This highly athletic, kinetic movement symbolically connects the heavens to the earth, reenacting the moment of creation and blessing the village soil.
3. Physical Patina — Oxidized Pigments and Kinetic Attachments
The authenticity of this mask is proven by its deeply integrated patina and organic wear. The rhythmic, painted geometric patterns on the plank have severely faded; the white kaolin and dark soot are no longer surface paints, but have become ghostly, oxidized shadows fused with the wood grain. The survival of the attached metal rings and cowrie shells on the lateral ears is a superb ethnographic detail, as these would jingle during the energetic, sweeping dance, adding a crucial acoustic element to the ritual performance.
