The largest international exhibition of traditional arts from Africa (also bringing together the largest galleries in the world concerning art from Asia, Oceania and the Americas) is being held until September 11 in Paris. Visit to the Galerie Vallois 41, where the director Camille Bloc shows a refined and joyful mix of ancient and contemporary Gèlèdè masks entitled: “Chronicles of daily life in Benin”. Maintenance.
RFI : On the occasion of the Parcours des mondes, you are bringing together a set of Gèlèdè masks dating from the end of the 19th century to today, from sacred religious objects to pure works of art. What is the traditional role of the Gèlèdè mask ?
Camille Block : The Gèlèdè mask is very important for Yoruba society, for the Gèlèdè secret society. Ceremonies are organized for important events in the community: harvests, weddings, births, deaths… It starts with the night ceremony, then the day ceremony where there are ritual dances, with songs. It is really something very important for Yoruba society.
These masks belong to the Yoruba culture, especially present in eastern Benin and Nigeria. Are these ceremonies still practiced today? ?
Yes, absolutely. It is an ancient tradition that continues, which began in the 18th century. Originally, Yoruba society was a matriarchal society, but in the 18th century men regained political power. And they offered the Gèlèdè cult to mothers, to women, to compensate them for this loss of political power. Finally, women play a very important role in the spiritual realm. The purpose of the Gèlèdè ceremony is to appease the anger of women and mothers, and to attract their favors.
Today, is it still the same kind of masks that are used in these ceremonies? ?
The Gèlèdè mask has evolved a lot. We present different types in our exhibition. The oldest masks are very simple, with just a very typical Yoruba female face, with almond-shaped eyes and scarifications on the cheeks or forehead. Then there is a second generation of masks where above the original mask is added a superstructure on which very varied scenes are represented, often scenes of daily life which represent the life of the community. Then there is a third generation that arrived quite recently, in the 1980s. They are articulated masks, like puppets. Finally, the fourth generation, it is no longer masks used for rites, but works of art in their own right that are made by contemporary artists that we also present here.
The purpose of the masks was to transmit values, but also to give moral or educational instructions. Can we say that in the beginning they were practically sculpted religious scenes and today we sometimes arrive at very spectacular and colorful masks, almost resembling cartoons in the form of sculptures ?
Yes, absolutely. Afterwards, we must distinguish the night mask which is often very simple, which represents deities, symbols, while the contemporary mask, the day mask, focuses a lot on the representation of everyday life. Indeed, there are scenes intended to educate the population, to teach them the importance of hygiene. There are also scenes to show the benefits of technology. Others serve to make fun of the faults of certain characters in order to morally educate the population.
Among the modern and contemporary masks on display, we discover the figure of the breeder, but also the cook, the hunter, the butcher, the wells or an articulated mask where the dancer could operate the character of the carpenter on his head by pulling on a ficelle… Which scene of everyday life has marked you the most among the masks that you exhibit here? ?
For me, what is most striking are all these masks which represent the zémidjan, the motorcycle taxi, the cars, because there is an amusing discrepancy between the old aspect of the mask and the absolutely contemporary side of the scene depicted. It’s always very funny.
What is the iconic piece among the old masks on display ?
The most important piece is the most important mask in the Gèlèdè ceremony, Efè, the mediator between the “lyami” (the Mothers) and the community. It is the mask worn by the most experienced, skillful dancer in the community. He is the one who appears at the very end of the night ceremony. He is the only one authorized to discuss with the assistance. It is always associated with the bird that transmits requests from members of the community to Efè to ask that she grant certain wishes.
Among the contemporary sculptors are Barthélémy Hountchonou, Brice Lokossou, Wabi Dossou and Kifouli Dossou, born in 1978. Can we say that the latter is the most emblematic artist for contemporary Gèlèdè masks? ?
Indeed, Kifouli-Dossou is one of the most important and well-known artists in the field of the Gèlèdè mask. He has been known for quite a long time and his works are presented in many public and private collections, including the Afro-Brasil Museum of São Paulo in Brazil, the Zinsou Foundation Museum in Benin or the Jean-Yves Augel Collection. [qui réunit plusieurs centaines de masques Gèlèdè, NDLR] in France.
In Benin, what place do contemporary Gèlèdè masks occupy today, which are designed as works of art? ? Are there buyers or collections on site ?
Today, the interest is still mainly in the West, because, in Benin, the mask is especially important for its use in rituals.
►Gèlèlè masks – Chronicles of daily life in Beninat the Vallois 41 gallery, Paris, from September 6 to 1er October 2022.
►21st edition of the Parcours des mondesfrom September 6 to 11, 2022, in the Beaux-Arts district, Saint-Germain-des-Prés, Paris.