Description: Male Upper-Body Mask with an abstract symbol carved on the head; a musical instrument carved on a metallic plate and pasted on the forehead; decorated metallic plate covering the nose and the cheeks; pointed lips and a beard; Two ears; Metallic plate with two reptiles cover the torso; abstract design/symbol at mid-torso.
Dimensions: H: 92; B:31
Cultural Significance: These types of masks belong to contemporary art creativity in Ghana and Africa. Besides their aesthetic beauty they are adorned with abstract and other cultural symbols. The mask is treated as a canvas and the structure of interpretation run from to top to bottom.
Hence, each forehead has the ‘pempamsie’ symbol on it . This symbol has two categories of meanings; on the one hand, it calls attention to each individual to act in readiness and preparedness for any eventualities that might come within the relationship. These might come in diverse forms and they might also relate to gender and identity. Thus, the spaces below the symbol in both foreheads are taken up by the image of the Atumpan (Akan talking drum) with a common base. Even though drums in Akan culture are matrilateral object and feminine in identity, they are mostly played by men. During funerals and public social events, the talking drum forms part of the musical ensemble which often comprises of a woman lead singer and a chorus. The leader and the chorus are nearly always middle-aged women.
The bust space of the female is further taken up by the image of the heat the image of two guinea fowl birds inscribed on zinc plate. The guinea fowl symbolises feminine fidelity in love and social relationships. The ears of the female mask have been prolonged to be part of the hands and the arms with long fingers resting on the chest. A large part of the chest space is taken up by a large heart. The ears and the beard in the male mask are prominently depicted whereas a sort of phallic structure is inscribed in the mid-portion of the chest