A few weeks ago, I posted a mask which resides in New York City at the Metropolitan Museum of Art. Here is another amazing mask that resides not far away, in the Brooklyn Museum. My Congolese roots were most intrigued when I found this gem on Wikimedia.
The Kuba Kingdom (also Kuba, Bakuba or Bushongo) is a pre-colonial Central African state bordered by the Sankuru, Lulua, and Kasai rivers in the southeast of what is today the Democratic Republic of the Congo (formerly Zaire). ~ Wikipedia
“Kuba mythology revolves around three figures, each represented by a masquerade character: Woot, the creator and founder of the ruling dynasty; Woot’s spouse; and Bwoom. Bwoom’s specific identity varies according to different versions of the myth. He may represent the king’s younger brother, a person of Twa descent, or a commoner. Embodying a subversive force within the royal court, the Bwoom masquerade is often performed in conflict with the masked figure representing Woot.” ~ Wikimedia
Think of this the next time someone says … WOOT!
Image Credit
Brooklyn Museum – Wikmedia Creative Commons
Hi Gil,
Maybe it’s Julia Roberts, reading this all that I could think of was Pretty Woman when ” Julia ” was in the stands at the races…..Woot Woot! Great find!
Thanks Martha!
And LOL at Julia Roberts being her name!
Woot Woot indeed!
I noticed how easily they skipped over good ol’ Woot’s spouse…she doesn’t even have a name!
Indeed Madelaine … and I cant find a reference out there to her name!
If someone knows, fill us in!
Nady Amwaash (Ngaady A Mwash) is the name of the wife/ sister of Woot.
Three types of masks have been associated with dances that take place within the royal compound: the first, called Moshambwooy, represents Woot, the founder of the Bushoong, the culture hero. The second, known as Nady Amwaash (Ngaady A Mwash), personifies the wife/sister of Woot, a character said to have been introduced to the pageantry to give greater importance to the role of women. The third mask is called Bwoom. As a character, Bwoom has been interpreted variously as a prince (the king’s younger brother), a commoner, a pygmy, even a subversive element at the royal court. There are many differences among regional stylistic interpretations of the Bwoom mask, but the form’s most pronounced features invariably are its bulging forehead and broad nose. The drama is often reenacted in performances at public ceremonies, initiations, and funerals even of untitled men, though they are especially important at the funerals of titleholders. Bwoom is perhaps the oldest of the Kuba royal masquerade triumvirate. Oral traditions suggest that the genre may date back to about the middle of the eighteenth century. Other masks are collectively known as Isheene Mwalu.
http://zyama.com/kuba/index.htm