A Bobo mask, Burkina Faso, Ivory Coast. "BOBO MASKS Le Moal defines two styles of blacksmith-lineage molo masks and lists a number of distinguishing features. Kurumani is the town that is now the center for the Sanu lineage, the lineage that originated sibe, the particular cult that gave rise to the first molo masks. All sub- sequent molo, all of which other lineages adopted, including the Taguna style, owe their origin to this prototype. Bobo observance dictates exactitude in mask-creating and that a mask's prototypic form may not leave the family. Variations in mask details occur only when another family acquires the mask and its accompanying cult. The new mask is similar to the prototype from which it is copied but deliberately incorporates changes in detail. The mask, in turn, becomes a prototype, which, in its new exact form, may not leave its family. Wood types from which the Burkinabé carve traditional objects are rarely recorded. However, Le Moal identifies the wood type from which all molo are made as Afzelia africana, a dense, hard and heavy wood. The tree is sacred to many ethnic groups and provides the roots in the raised pot altars to the spirit duba. Certain molo mask dancers perform at specific events, initiations, burials, and funerals. In the Ouagadougou museum's research archives, Le Moal left a series of photographs of a pair of molo masks at a deceased's compound prior to the burial, questioning its spirit to determine the cause of death. With the blurring of blacksmith exclusivity of molo and other masks of blacksmiths, the adoption of some farming lineages of blacksmith masks has occurred. Bobo blacksmiths lay claim to three additional wood mask types, the nwenka, with a long, narrow face and an axial superstructure with paired openwork wing shapes to either side. These are the only masks by blacksmiths not adopted by the farming communities. Farming families revere a very similar form of mask, a syékele mask, the kelepene. The major difference between the two types lies in the bottom portion of the superstructure and how it relates to the helmet. The width of the bottom of the superstructure lies directly on the helmet on syékele of the farmers. The only portion of the superstructure to be in contact with the helmet is the axial shaft on nwenka masks. There are important examples, however, in which the inside bottom edge of the two lowest wings come in brief contact with the helmet. A third mask type that was originally exclusive to blacksmiths is the nyenga, an antelope mask whose sole function it is to accompany the nwenka masks. Lastly, there is a group that is strictly comprised of entertainment masks, the bolo. Bolo represent numerous animals and humans. Structurally they are either half helmets with slightly elongate, anthropomorphized faces or they are masks that are true helmets, covering the head on all sides as far as the shoulders. Minimal animal features may be added to a bolo mask to indicate the animal that is represented. The farmers have several mask types that are exclusively their domain; those that find their origin in a specific cult are syékele masks. They include the kelepene group plus the tu, which is a highly abstract buffalo mask with a kelepene's narrow, elongate face and two vertical horns that are planar, their flat sides facing forward, and a third type, the kuma bird masks, that represent the large terrestrial hornbill. The latter are much smaller than the tu. Their faces are elongate, but on a reduced scale. A long, often naturalistic beak project forward from the mid point to the nose ridge and, extending from the top to the head, two horns like elements that may curve dramatically either forward or backward are said to represent the bird crest". Land of the flying masks : art and culture in Burkina Faso ; the Thomas G.B. Wheelock Collection.