{"id":10684,"date":"2026-10-03T23:02:09","date_gmt":"2026-10-03T21:02:09","guid":{"rendered":"https:\/\/www.daltonsomare.com\/?post_type=approfondimento&#038;p=10684"},"modified":"2026-10-04T09:16:26","modified_gmt":"2026-10-04T07:16:26","slug":"masques-lwalwa-construction-du-visage-et-mouvement-dans-la-danse","status":"publish","type":"approfondimento","link":"https:\/\/www.daltonsomare.com\/fr\/approfondimenti-tematici\/masques-lwalwa-construction-du-visage-et-mouvement-dans-la-danse\/","title":{"rendered":"Masques Lwalwa : construction du visage et mouvement dans la danse"},"content":{"rendered":"<p style=\"text-align: justify;\">Le masque Nkaki Lwalwa document\u00e9 dans les archives Dalton Somar\u00e9 date du d\u00e9but du XXe si\u00e8cle. R\u00e9alis\u00e9 en bois et pigments, il mesure 31 centim\u00e8tres. Son visage est construit par des plans reli\u00e9s \u00e0 des \u00e9l\u00e9ments saillants : le nez, prolong\u00e9 vers le front, la bouche et le menton \u00e9tablissent un axe central ; les yeux allong\u00e9s et les scarifications des tempes en articulent la largeur. Cette organisation caract\u00e9rise le langage des masques Lwalwa de la r\u00e9gion du Kasai, entre le Congo et l\u2019Angola.<\/p>\n<p style=\"text-align: justify;\">La force de la composition tient aux rapports entre ces \u00e9l\u00e9ments. Le nez interrompt la continuit\u00e9 des joues et concentre l\u2019attention au centre du visage ; la bouche introduit une seconde saillie dans la partie inf\u00e9rieure. Les yeux rectangulaires s\u2019\u00e9tendent lat\u00e9ralement et relient le centre aux bords. La sym\u00e9trie maintient la stabilit\u00e9 de l\u2019ensemble, tandis que les diff\u00e9rences de profondeur font varier l\u2019image avec l\u2019angle d\u2019observation.<\/p>\n<p style=\"text-align: justify;\">La danse est essentielle \u00e0 la compr\u00e9hension de cette construction. Un cordon retenu par le porteur soutenait le masque devant le visage ; ce syst\u00e8me de fixation appartient \u00e0 la structure concr\u00e8te de l\u2019objet. Pendant le mouvement, les reliefs centraux et les plans lat\u00e9raux recevaient diff\u00e9remment la lumi\u00e8re. L\u2019\u00e9tude de la forme comprend donc la vue frontale, aujourd\u2019hui famili\u00e8re par la photographie, et la succession des vues produites par la pr\u00e9sence du danseur.<\/p>\n<p style=\"text-align: justify;\">Le Mus\u00e9um du Havre conserve un masque Lwalwa du d\u00e9but du XXe si\u00e8cle, inventaire 2015.1.3, de 33,5 centim\u00e8tres. Sa notice d\u00e9crit le cordon de fixation, les chor\u00e9graphies et l\u2019emploi de ces masques dans les rituels de chasse et l\u2019initiation masculine. La notice Dalton Somar\u00e9 documente en particulier le ngongo, phase finale du premier cycle initiatique. Ces deux t\u00e9moignages relient l\u2019observation de la structure au contexte de la performance.<\/p>\n<p style=\"text-align: justify;\">L\u2019exemplaire de la galerie est publi\u00e9 dans Masks, 2012, aux pages 54\u201355. La bibliographie, la construction du visage et le syst\u00e8me de soutien offrent des points de d\u00e9part compl\u00e9mentaires pour la recherche. Examiner le profil avec la frontalit\u00e9 permet de comprendre comment une composition apparemment rigoureuse produit une image mobile et changeante. Dans le masque Lwalwa, la synth\u00e8se des traits conserve ainsi un rapport pr\u00e9cis avec le corps qui le porte et le mouvement qui le rend visible.<\/p>\n<h3>R\u00e9f\u00e9rences et \u0153uvres de comparaison<\/h3>\n<p><a href=\"https:\/\/museum-lehavre.fr\/collections-et-ressources\/galerie-ici-je-vois-le-monde\/masque-lwalwa\" target=\"_blank\" rel=\"noopener\">Mus\u00e9um du Havre, Masque Lwalwa, 2015.1.3<\/a><\/p>\n<p><a href=\"https:\/\/www.daltonsomare.com\/fr\/pubblicazioni\/masks\/\" target=\"_blank\" rel=\"noopener\">Dalton Somar\u00e9, Masks, 2012, pp. 54\u201355<\/a><\/p>\n<h3>\u0152uvres de la galerie<\/h3>\n<p><a href=\"https:\/\/www.daltonsomare.com\/fr\/opere\/masque-nkaki-lwalwa-rd-congo\/\">Masque Nkaki, Lwalwa<\/a><\/p>\n<h3>Lectures compl\u00e9mentaires<\/h3>\n<p><a href=\"https:\/\/www.daltonsomare.com\/fr\/approfondimenti-tematici\/masques-africains-fonction-rituelle-langage-formel\/\">Masques africains : fonction rituelle<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Le masque Nkaki Lwalwa document\u00e9 dans les archives Dalton Somar\u00e9 date du d\u00e9but du XXe si\u00e8cle. R\u00e9alis\u00e9 en bois et pigments, il mesure 31 centim\u00e8tres.<\/p>\n","protected":false},"featured_media":9595,"menu_order":45,"template":"","area_approfondimento":[147],"class_list":["post-10684","approfondimento","type-approfondimento","status-publish","has-post-thumbnail","hentry","area_approfondimento-arte-africana"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Masques Lwalwa : visage et danse | Dalton Somar\u00e9<\/title>\n<meta name=\"description\" content=\"Le masque Nkaki des archives Dalton Somar\u00e9 : plans du visage, fixation et mouvement, en regard d\u2019un masque document\u00e9 au Mus\u00e9um du Havre.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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