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Spirit Mask, Mwai, C-14 dating: 1660–1890 (95.4% probability)
Wood, pigment, human hair, clay, boar tusk, Nassa and Conus shell, fiber loops, trade cloth
52 x 13 x 9 cm (20 1/2 x 5 1/8 x 3 9/16 in.)
The Marcia and John Friede Collection, a Promised Gift to the Fine Arts Museums of San Francisco L05.1.377

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Artist Biography: (none) PROVENANCE: "This mask is said to come from the University of Cambridge, Museum of Archaeology & Anthropology, England." (Catalog #167, New Guinea Art: Masterpieces from the Jolika Collection of Marcia and John Friede, 2005, Volume 2, p. 109.) PUBLICATIONS: 2005 - "This mask is characterized by a nose extension ending in the representation of a totemic animal, in this case, a snake (?) with a birdlike beaked mouth, and many small shells "attached by clay worked with lime and oil" (Bateson, 1958, caption to pl. 28B). The general name of the mask is derived from these Nassa shells (mwai). Such masks represent spirits of mythical ancestors. Characteristically, they occurred in pairs embodying mythical brothers and sisters: always the elder and the younger. Each pair belonged to a specific clan and was stored in the house of the clan elder (Kocher Schmid in Greub, 1985: 183, caption re fig. 28). In preparation for wearing them, the masks were attached to conical basketry frameworks, decorated with leaves and flowers. (See Hauser-Schäublin in Greub, 1985: 27 for a mwai mask dancer in full costume.) After the masks had been prepared, pairs of masqueraders left the fenced-off part around a ceremonial house, crossing a bridge which went through and above the fence. (This ceremony is shown in Hauser-Schäublin, 1976, fig. 18.) While parading along the main alley of the dancing ground in front of the ceremonial house, they were surrounded by dancing women and children. Bateson (ibid.) states that 'the ceremony is a junior analogue of the wagan dances,' which Forge (1973: 172) elaborates by referring to the mwai masks as 'public representatives...of the secret and sacred flutes and wagan heads' who are at the core of Iatmul spiritual belief. The mwai mask was also used inside the ceremonial house during sessions aimed at consulting the spirits. It was held in a horizontal position over a fireplace by two men until it started to sway as a sign the spirit had entered it. See Hauser-Schäublin (1976 and 1981) for a detailed report on mwai masks, including firsthand accounts of carving process, performance, function, spirit consultation, and relevant myths." (Catalog #167, New Guinea Art: Masterpieces from the Jolika Collection of Marcia and John Friede, 2005, Volume 2, p. 109.)

Related Keywords
Mwai Spirit Francisco San Museums Arts Fine Gift Promised 109 p 2 Volume 2005 Friede John Marcia Jolika Masterpieces Art 167 Catalog England Anthropology Archaeology Museum Cambridge University come said mask This people Iatmul Oceania Province Sepik East Guinea New Papua Melanesia object Ritual cloth trade loops fiber shell Conus Nassa tusk boar clay hair human pigment Wood 0709200406050515 A365290 L05.1.377 AOA