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Carrie Mae Weems, Praise House, from the Sea Island Series, 1992. Silver gelatin print. Art Acquisition Fund 1997-5-2.1 © Carrie Mae Weems
Carrie Mae Weems, Praise House, from the Sea Island Series, 1992. Silver gelatin print. Art Acquisition Fund 1997-5-2.1 © Carrie Mae Weems

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Carrie Mae Weems, Blessing and Healing Oil, from the Sea Island Series, 1992. Silver gelatin print. Art Acquisition Fund 1997-5-2.2 © Carrie Mae Weems
Carrie Mae Weems, Blessing and Healing Oil, from the Sea Island Series, 1992. Silver gelatin print. Art Acquisition Fund 1997-5-2.2 © Carrie Mae Weems
Carrie Mae Weems
1992

21 x 21 inches

In the early 1990s, Carrie Mae Weems explored the culture of the Gullah in her Sea Island series. The Gullah are a people living on islands off the coast of Georgia and South Carolina whose ancestors were African captives brought to America during the antebellum period. The two photographs from the series in Krannert Art Museum's collection show the exterior and interior of a praise house, a modest building devoted to religious and other community purposes. Weems notes the mix of the spiritual and the banal in the structure. In one image, a mouthwash bottle serves as a container for blessing and healing oil. In the other, a hand-painted sign identifies the building and visually balances an electricity meter and climbing vine on the façade.

The straightforward images testify to the Gullah's rich spiritual life, which has persevered through the ordeal of slavery and ensuing chronic poverty. Weems disrupts the spatial coherence of the interior view with mirrors that insert the disorienting reflections of the room to the left and a man casually waiting to the right. In the exterior shot, she places the motif slightly off-center and leaves a plain strip of road across the foreground, suggesting the modesty and grace of the community. 

Text by David O'Brien, from Krannert Art Museum: Selected Works, 2008

 

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"Singer" dance mask, early 20th century Ivory Coast (We) Wood, bells, fiber, chalk 11 3/4 x 9 1/2 inches Gift of Richard J. Faletti Family Collection 2000-5-1
"Singer" dance mask, early 20th century. Ivory Coast (We); Wood, bells, fiber, chalk. 11 3/4 x 9 1/2 inches, Gift of Richard J. Faletti Family Collection 2000-5-1
Ivory Coast (We)
20th Century

Wood, bells, fiber, chalk

11.75 x 9.5 in.

Gift of Richard J. Faletti Family Collection

2000-5-1

Throughout the cultural regions of Liberia and the Ivory Coast, where the We language is spoken, face masquerades have played a central role in all areas of life and government.

Masks with slit, elliptical eyes painted over in white are considered "female," while those with round or projecting tubular eyes are "male." The white paint symbolizes the kaolin that is often used to decorate young girls' eyes as they go through initiation practices. Kaolin used to be a part of a daily cosmetic routine in We-speaking cultures, and signifies both beauty and an absence of hostility. The vertical ridge on the forehead of this mask is an ethnic marker of northern We cultures, while the semi-circular relief that links the nostrils to the temples is a scarification pattern specific to We women.

The brass bells on this We mask, together with the generic female features, mark it as either a "singer" or a griot ("poet and musician") mask. The purpose and visual character of a We mask can change over time. It is the headdress and other attachments that establish a mask's particular character and its position in the masquerade hierarchy. The more important the spirit mask, the more elaborate the crowning and framing of the "face" with natural and fabricated materials. A We mask with generic female features such as this may begin life as a low-ranking "beggar" dance masquerade used strictly for entertainment, to earn money for its owner's family by its antics, and to sing the praises of notables. The same carved mask can move up in the hierarchy through successive transformations of form and repeated performance, evolving into a "singer" or, in some cases, into a "griot" masquerade. Such masks are sacred keepers of We history and cultural traditions. 

Each "singer" masquerade has a "life history." Passed down from one generation to another within a family lineage, a "singer" builds its language skills and repertory of texts as it increases in age, reputation, and sanctity. Very old "singer" masks are venerated as the "mothers" of younger "singer" masks.

Text by Anita J. Glaze, from Krannert Art Museum: Selected Works, 2008