Yaka Kholuka Initiation Mask, Democratic Republic of Congo

• Yaka Kholuka Initiation Mask, Democratic Republic of Congo
• The sculptural composition of this mask is typical of Yaka works. The facial features are painted with bright colors on white background. The ensemble is framed by the sizeable mass of a coiffure in raffia fiber, this surmounted by a hat made from armature of vegetable fiber and covered with a resin-coated tissue. The Kholuka mask, which is very popular among the Yaka dances, usually would enter a performance alone at the end of celebrations. The whole mask refers to the power of the elders and their predecessors, and every element of the mask is the plastic translation of a cosmological term. Generally such masks were used only once. 
• This mask could be an unusual interpretation of a Kholuka. If in the eyes of "outsiders", the masks of the Mukanda (the Mukanda is a Rite of Passage for young boys in Zambia and the Democratic Republic of Congo that marks their Transition from childhood to adulthood. The ceremony involves a series of tests, lessons, and experiences that symbolize death and rebirth) may look similar, but each representation has a history behind the imagery of the mask.
• At the top, a miniature version of the Elder's house.
• Measurements: Height, including the stand: 59 cm
• Condition: Excellent
• Stand included.

The Yaka people of Angola and the Democratic Republic of the Congo have a male initiation society known as Makunda or N’khanda, which is charged with circumcising, hazing, and teaching boys to become a man (mainly, education in hunting and sex).  During the circumcision dance performances (kinkanda), the initiates wear special masks while their teachers alone are permitted to wear the ritual masks of the Makunda. After initiation, the boys are led out of seclusion and back into the community.  Before festivities can begin, the head teacher (kahyuudi or kayudi) commissions a carver (nkalaweeni or mvumbwa) to create a series of masks. Many types of masks are worn or danced in succession during the final initiation feast:

Kambaandzya (a raffia cloth domed helmet mask with a brim bisecting it; the mask is covered in black resin and painted with geometric designs in red, white, blue, and yellow)
- Tsekedi (a leather or raffia cloth helmet mask with a white, human face and a series of horizontal discs on an inverted cone topping the helmet)
- Mweelu (a helmet made of braided raffia fiber with large numbers of feathers; birdlike eyes in wood, gourd or bamboo; and a hornbill beak for a mouth)
- Ndeemba (an abstract human face with bulging eyes carved of wood; many phallic rods come out of the helmet in all directions, including the inverted cone on the very top)

- Kholuka (a polychrome human face with bulging eyes, and an open mouth showing the teeth, carved of wood; horizontal discs on an inverted cone come from the top, with bird feathers, and polychrome figures of humans or animals)
The Kholuka, also known as a mbaala, is worn either by the leader of the initiation or the senior initiate.  It is the last danced, and it is danced alone to signal the end of the initiation ceremony. Unlike the other masked dances, which are entertaining to the audience, the kholuka creates a sense of unease due to the overtly sexual behavior of the dancer.

There are also masks not danced by initiates, known as Kakuungu. This mask is a large, long face mask with a distorted human-like face having bulbous chin, cheeks, and forehead.  It is thought to represent an ancestor and is danced by the herbal shaman to stop bleeding after the circumcision. Similarly, the mbawa, a mouthless helmet mask of raffia cloth over an ovular structure of split cane, with horn s to symbolize the pakasa buffalo, is not danced by initiates.

For more on Yaka masquerade, see Arthur P. Bourgeois, Art of the Yaka and Suku (1984).