Paper short abstract:

I recently commissioned new mask ensembles from artist David Sanou and others for US museums and a traveling exhibition. It was unprecedented and no clear protocol existed, so approval from masquerade authorities was essential. Long-term relationships and transparency were vital to gaining consent.

Paper long abstract:

This paper examines my recent commission of new mask ensembles from artist David Sanou and others for U.S. museums and a traveling exhibition. The project transgressed the rules of masquerade: I was a non-initiate commissioning full-bodied mask ensembles for sale, export, and display, not sanctioned performance. Because it was unprecedented and no clear protocol existed, approval from authorities who govern masquerade was essential. I argue that long-term relationships and an ethical approach were vital to gaining consent.

Years of research in the region and with the artist's father taught me that David Sanou does not make masks. He carves wood heads that his patrons turn into masks. So, rather than commissioning masks, I commissioned the heads from David. Any initiate can make mask bodies, but only for sanctioned performances. Thus, I sought permission to commission mask bodies from a masquerade authority which required specifying the anticipated purpose and use of the full ensembles, negotiating access to restricted knowledge, and relying on the advocacy of colleagues in the region. Because my co-curators and I plan for the show to have a high profile and gain attention on social media, I explained to all parties that the commissions would not be secret; people in the city would know, but I could keep names fairly private, if requested.

Due to the lasting relationships I had fostered with the artist, facilitators, and officials, transparent consultation with those colleagues, and demonstrated respect for the official chain of command, were realized the commissions.