Baule objects are known for their stylization and detail, and the refined features of their faces, characteristics that can be discovered in this mask. The semi-closed eyes, leaving thin openings through which the dancer was able to see enough to move with confidence, convey a sense of serenity and introspection. The finely carved coiffure consists of a central bun framed by other buns of diminishing size, while rows of delicate scarifications adorn the forehead between the eyes and the temples on both sides. For the Baule, physical attractiveness expresses moral rectitude.

Baule masks are worn exclusively by men, whether they represent a man or a woman. Without collection data, however, it is often difficult to determine the function and type of any given mask. The Baule themselves distinguish two kinds: sacred masks, to be seen by adult males only, and entertainment masks, performed during daytime festivals open to all. The mask at hand, with its remains of white pigment, appears to belong to the latter category. Some entertainment masks explicitly depict a specific person and are called portrait-masks, but we do not know if this is one. The mask has holes in the partially damaged edges, to which pieces of cloth were attached that covered the dancer’s neck and shoulders. This reminds us that the wooden object is merely a small part of an artistic whole, consisting of mask, costume, music, dancing, singing, and interactions with an audience.

—Jan-Lodewijk Grootaers (From 75 in 25: Important acquisitions at the Santa Barbara Museum of art 1990-2015, pp. 208-9)