72 - N’tomo Comb Mask

N’tomo Comb Mask Wood, cowrie shells, and resin; a few cowrie shells are missing; signs of wear and age on the interior. Bambara (Bamana), Mali, early 20th century 58 × 22 cm. This mask features an elongated face, defined by a straight nose and a small mouth, surmounted by a tall, openwork comb with seven prongs. A dense arrangement of cowrie shells follows the contours of the face and highlights the crossbars of the comb. Their arrangement in rows and radiating patterns brings the surface to life. N’tomo masks were used to guide young boys’ training before circumcision. Worn with a costume during ceremonial dances, they were part of an education rooted in solidarity, endurance, and self-control. The mouth’s understated appearance reflects the importance placed on controlling speech and preserving secrets. The cowrie shells enrich this adornment with a symbolic dimension. For comparable masks, the Smithsonian’s descriptions liken them to the primordial seeds of creation myths. Pascal James Imperato also associates their whiteness with ancestors, harmony, and purity. General Bibliography Jean-Paul Colleyn, *Bamana*, “Visions d’Afrique” series, Milan, 5 Continents, 2009. Robert Goldwater, *Bambara Sculpture from the Western Sudan*, New York, Museum of Primitive Art, 1960. QCC Art Gallery, *Through the Eyes of Our Ancestors*, 2011, entries on N’tomo masks based on the interpretations of Pascal James Imperato. Comparative Bibliography Susan Elizabeth Gagliardi, entry “Ntomo Mask,” Metropolitan Museum of Art, New York, 2016, inv. 1978.412.368: mask covered with cowrie shells, wood, seeds, latex, or resin; H. 60.1 cm, W. 21.6 cm. Gift of Mr. and Mrs. Julius Carlebach, 1959.