Of the hundreds of akishi (sing. mukishi) masks that the Chokwe and related peoples of Angola, the Democratic Republic of the Congo, and Zambia create, the one representing the woman, Pwo (a primordial female ancestor), remains one of the most popular and accessible characters, still danced throughout these peoples’ territories (fig. 1).1 Made and performed 108 by men in the context of male coming of age mukanda initiations, Pwo serves as a symbolic emissary for women, particularly the mothers of initiates who are honored by it. Pwo represents the beauty, morality, and abilities associated with women (fig. 2). Its performance imitates dance steps that women learn through female initiation. A dance bustle and ankle rattles are worn to emphasize complex dance movements (fig. 3). Pwo is a quintessentially accessible mask type that performs for the enjoy- By Manuel Jordán ment and pride of the community and the village hosting the mukanda. Pwo masqueraders wear an overall knitted fiber/cotton costume to hide their body and dress with textiles and a wrap-around skirt as elegant women do (figs. 3 and 4). The wooden masks may include the representation of elaborate facial scarification details incised or carved in low relief (figs. 1, 5–7). Pwo are also made out of resin with scarification and other details painted or applied in strips of paper (figs. 8 and 9). The character wears a fiber coiffure that imitates one of several hairstyles favored by women. In some wooden masks, the coiffures are partially or completely carved, extending above the forehead with textured details meant to replicate plated, mudpacked, and other favored coiffure or wig styles (figs. 1, 5–7). Beads, coins, and metal earrings are often added to indicate the elegance and wealth of the female ancestor. Wooden Pwo masks follow the conventions of a wellestablished Chokwe style of carving: In the wooden masks, the eyes are usually elliptical or almond shaped and generally half-closed. The swollen eyelids are prolonged down to the center of the concave eye-sockets. Sometimes the eyes are globular and have horizontal slits. Occasionally the forehead has a carved headband. The ears are nearly always curved or else semi-circular with the tragus shown. … The mask must be carved in accordance with the traditional canons and reflect the collective concept of the ancestral spirits. (Bastin 1982: 90) To this stylistic canon one may add an often broad, elliptical, and partially opened mouth, carved to show triangular pointed teeth reflecting the Chokwe practice FIG. 1 (left): Pwo mask, Chokwe, Xassenge area, Angola. Early 20th century. Wood, fiber, metal, shell, pigment. H: 25.4 cm. The University of Iowa Museum of Art, Stanley Collection, 1986.545. FIG. 2 (above): Chokwe woman wearing a traditional coiffure. Photo by Dr. Émile Muller, c. 1930. From Pierre Loos, A Passage to Congo: Photographs by Doctor Émile Muller (1923–1938), Milan: 5 Continents, 2007. Image courtesy of Pierre Loos. FEATURE Chokwe Pwo Masks: A NOTE ON STYLE
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