File:Gelede Dance Helmet Mask, Nigeria, Brücke-Museum Berlin, 65059, view a.jpg
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Original file (6,196 × 8,270 pixels, file size: 32.55 MB, MIME type: image/jpeg)
Captions
Captions
Gelede Dance Helmet Mask, Yoruba region, Abeokuta, West Nigeria, around 1900-1970, front view
Summary
Object
| Artist |
English: once known creator
Deutsch: einst bekannte*r Urheber*in |
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| Description |
Deutsch: Gelede-Tanzaufsatzmaske
English: Gelede Dance Helmet Mask |
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| Date | between 1900 and 1970 | |||||||||||||||||||||||
| Medium | wood, Fassung (Q1225161) | |||||||||||||||||||||||
| Dimensions | height: 38 cm (14.9 in); width: 20.5 cm (8 in); depth: 21 cm (8.2 in) | |||||||||||||||||||||||
| Collection |
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| Accession number |
H95 |
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| Place of creation | Yoruba people (Q190168), Abeokuta (Q206484), Nigeria (Q1033) | |||||||||||||||||||||||
| Object history |
transferred to Karl und Emy Schmidt-Rottluff Stiftung (Q108731834) from Karl Schmidt-Rottluff (Q161143) |
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| Notes |
Deutsch: Diese Maske war Teil eines aufwendigen Ganzkörperkostüms, das in öffentlichen Performances mit Tanz, Gesang und Trommelmusik belebt wurde. Das Gelede Spektakel, eines der bis heute vielerorts zelebrierten öffentlichen Feste der Yoruba, ehrt die lebenspendende Macht und spirituellen Fähigkeiten der "Mütter" (awon iya wa), der älteren Frauen der Gemeinschaft, weiblicher Ahnen und Gottheiten. Zugleich besänftigt es ihre zerstörerischen Fähigkeiten, die sie bewusst oder unbewusst entfalten können. Die Tanzkostüme werden ausschließlich von Männern getragen, die zum Teil als Paare auftreten und die Ideale weiblichen und männlichen Verhaltens thematisieren.
Diese männliche Maske mit Bart und Skarifizierungsmarkierungen an Stirn und Wangen trug vermutlich ursprünglich eine Plattform über dem bunt bemalten Aufsatz. Auf diesen Plattformen waren oft Dinge und Figurengruppen arrangiert, die religiöse Inhalte oder Alltägliches thematisierten und Individuen und Berufsgruppen, in ehrerbietungsvollen aber auch unterhaltsamen und satirischen Szenen zeigten.
English: This mask was part of an elaborate full-body costume that was enlivened with dance, song and drum music in public performances. The Gelede spectacle, one of the Yoruba public festivals celebrated in many places to this day, honors the life-giving power and spiritual abilities of the "mothers" (awon iya wa), the older women of the community, female ancestors and deities. At the same time, it appeases their destructive abilities, which they can unleash consciously or unconsciously. The dance costumes are worn exclusively by men, some of whom perform as couples, addressing the ideals of feminine and masculine behavior.
This male mask with beard and scarification marks on the forehead and cheeks probably originally wore a platform above the brightly painted top. On these platforms things and groups of figures showing individuals or professional groups were arranged. The scenes had religious content or thematized everyday life scenes with entertaining and satirical scenes. |
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Photograph
| Description |
English: Gelede Dance Helmet Mask, Yoruba region, Abeokuta, West Nigeria, around 1900-1970, front view  |
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| Date | ||||
| Source | BrückeMuseumBerlin | |||
| Author | Nick Ash, Berlin | |||
| Permission (Reusing this file) |
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| Other versions |
The estate of Karl Schmidt-Rottluff, owned by the Karl and Emy Schmidt-Rottluff Foundation at the Brücke Museum, contains his collection of around 100 sculptures and objects with colonial backgrounds. The Brücke artist himself never travelled outside Europe and, to the best of current knowledge, bought these objects in the art trade and from private owners from the 1910s onwards. The collection includes ritual and everyday objects, alongside souvenirs for the Western market. The way they were perceived underwent changes: they came to be seen as objects of art and decoration. Little is known of their origins, the circumstances of their acquisition, or the historical and current importance of the objects. Most of them originate from Germany’s former colonies, thus referring directly to German Expressionists’ entanglements in the often unlawful appropriation of material culture in colonially occupied lands. More
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File history
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| Date/Time | Thumbnail | Dimensions | User | Comment | |
|---|---|---|---|---|---|
| current | 20:18, 26 January 2022 | | 6,196 × 8,270 (32.55 MB) | BrückeMuseumBerlin (talk | contribs) | Uploaded own work with UploadWizard |
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