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Mask with a Superstructure Representing a Beautiful Mother (D’mba)
late 19th–early 20th century
Wood and brass
132.08 x 39 x 61.5 cm, 37.4 kg (52 x 15 3/8 x 24 3/16 in., 82.5 lb.)
Charles B. Benenson, B.A. 1933, Collection
As the idealization of mature female beauty and vitality, D’mba appears with a finely braided coiffure. Shiny brass tacks and other ornaments emphasize her brilliance as she dances in the sunlight. The dancer is a young man, chosen for his strength and agility, which are necessary for the athletic movements in the dance of this very heavy mask. The wearer places his head inside the hollow shoulders of the sculpture and looks out through the two small holes between the breasts. The D’mba performance traditionally occurs at weddings (where the bride is carried on the shoulders of the bridegroom’s brother), funerals, and agricultural festivals.
Made in Guinea Coast, Guinea
Baga, Sitem subgroup; Bulungits; or Pukur
Primitive Art from Chicago Collections, exh. cat. (Chicago: The Art Institute of Chicago, 1960), (unpaged), no. 102, ill.
Frederick John Lamp, “Charles Benenson and His Legacy of African Art to Yale,” Yale University Art Gallery Bulletin (2004): 41, ill.
“Acquisitions, July 1, 2005June 30, 2006,” Yale University Art Gallery Bulletin (2006): 222.
Frederick John Lamp, “Hot Space, Cool Space: The Reinstallation of the African Art Collection in the Louis Kahn Building at Yale University,” African Arts 40 (Summer 2007): 3738, 4243, fig. 3, 9, 10.
Frederick John Lamp, Accumulating Histories: African Art from the Charles B. Benenson Collection at the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 2012), 245, ill.
Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.