'Before the twentieth century Banda seems to have represented a high and powerful spiritual being and appeared only to privileged society elders (Appia 1943, pp. 158, 160; Bowald 1939, pp. 126, 128; Voix V, 7, 1930, p. 13). It reportedly figured in ritual designed to protect the villagers against crocodile attacks, human malevolence, and various impending dangers, especially at the time of male initiation to mark the attainment of adolescence, adulthood, and elder status. It also appeared on such events as marriage, harvest celebrations, and new planting ritual, and the appearance of the new moon, all auspicious occasions.' (Lamp, ibid.)
In addition to Pablo Picasso's famous Baga D'mba headdress, the influence of which on his art has been well documented (see Rubin, "Primitivism" in 20th Century Art, 1984, p. 275 et. seq.), the artist also owned a Baga or Nalu Banda mask, which is visible in many photos of Picasso at his Villa La Californie in Cannes (see Stepan, Picasso's Collection of African & Oceanic Art, 2006, p. 128, cat. no. 41). It is unclear when Picasso acquired his Banda mask and therefore difficult to establish which of his works might have fallen under its specific influence. The relationship of Baga art to Picasso's work, both as a direct source and as an artistic affinity across cultures, is well expressed in the colorful and imaginative abstractions of the Banda mask, and it is evident that such a sculpture would have appealed to Picasso.
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