Gelede Mask: Female Exposing Herself
On this Gelede mask a rather plain face supports a leering woman who bends at the waist, exposing her private parts. Babatunde Lawal observes "Some identify this figure as a brazen, callous woman-a prostitute, a woman of no virtue who is ready to have sexual relations with anybody." The mask wearer's movements would depict a promiscuous woman who walks provocatively and makes suggestive gestures to her admirers. "On the other hand, there are people who feel this pose is an attempt to draw attention to the female organ as a kind of gateway to life. People say that one cannot underrate the power of a woman, and that power can be traced to the private parts through which life must pass." (1999)
The word Gelede describes a spectacle that relaxes and pacifies the beholder. Gelede is primarily dedicated to the maternal principal in nature personified as Iya Nla, the Great Mother; it is also aimed at promoting peace and social harmony within a particular community.
The first part takes place at night, the Efe ceremony. During the ceremony, a mask called Efe-which means the humorist or joker-performs throughout the night, praying to the Great Mother to be very generous to the society. At the same time, the mask criticizes anti-social elements in the society. The emphasis of the Efe mask is on satire, on poetry
At dawn, the Efe will withdraw, and then the crowd will gradually disperse. In the afternoon of the second day, small children come out to perform their own Gelede. By five o'clock, the marketplace is filled up once more, and then other Gelede masks arrive from different sections of town. Daylight masks do not sing-whatever they want to say is in the headdresses.
There's another mask representing a leering woman displaying her private parts. Some identify this figure as a brazen, callous woman-a prostitute, a woman of no virtue who is ready to have sexual relations with anybody. Again, this may satirize promiscuity. On the other hand, there are people who feel this pose is an attempt to draw attention to the female organ as a kind of gateway to life. People say that one cannot underrate the power of a woman, and that power can be traced to the private parts through which life must pass.
As a result of the transatlantic slave trade between the sixteenth and late nineteenth centuries, hundreds of thousands of Yoruba were transplanted to the New World. Many of them took Gelede with them, and Gelede performance continued into the early twentieth century. Around 1988, a society known as the Society of Yemaya was formed in New York. In Gelede, nature becomes the nurturing element of culture with the Great Mother. Yemaya is personified as the Great Mother who could provide for people during slavery, and continued to do so in Cuba and Brazil. Gelede ceremony also influenced the carnivals of the Caribbean, and Mardi Gras in New Orleans. Yorubas were present in large numbers in New Orleans. There is a Yoruba village in Sheldon, South Carolina where there is a shrine dedicated to Yemaya, there are paintings and sculptures illustrating Gelede and Yemaya-so the Gelede tradition has been transformed in various ways in the Americas.
Gelede headdresses were collected as far back as the 1880s, if not earlier. Some European missionaries asked their converts to surrender their masks. There are representations of Gelede masks in the works of European artists dating back to the nineteenth century. But most of the collectors did not bother about the names of the artists, they simply yanked off the headdress because that was regarded as most important. Retired headdresses were often given to children to practice with, but these days, they may be sold to dealers.
Wood and pigment
13 3/4 x 6 7/8 x 12 1/4 in. (35 x 17.5 x 31.1 cm)
Gift of Katherine White and the Boeing Company
81.17.590
Provenance: [Gallery K, Los Angeles, California]; purchased from gallery by Katherine White (1929-1980), Seattle, Washington, 1975; bequeathed to Seattle Art Museum, Seattle, Washington, 1981
Photo: Paul Macapia
