This mask gracefully illustrates the way Dan sculptors could combine anthropomorphic and zoomorphic elements to emphasize the supernatural qualities of the spirit the mask represented. This heterogeneous composition referred to the elusive and undefined nature of such a spirit as the sculptor successfully portrayed its changing nature by combining both human and animal features. While it might seem kind and sympathetic, the projecting snout was meant to invoke a fear-inducing expression of power and force. Yet, the sculptor gracefully succeeded in incorporating this zoomorphic feature in the human face in a most harmonious manner. At the chin the sculptor also provided a raised pierced volume to accommodate the addition of a beard made of human hair. The beak-shaped mouth is reminiscent of the gegon mask of the northern Dan. The bird represented by gegon was probably the hornbill, an important animal in Dan mythology as the first living being created. Among the Dan, before World War II, there was hardly any social activity which did not feature the involvement of a mask. Each mask had its own name, which alluded to its character and specific powers. Some masks played an important role guarding the circumcision camp, while others had a more entertaining role, cheering up feasts with dances, storytelling, and jokes. Among the Dan a spirit revealed itself during a man’s dream. The spirit required the dreamer to create a mask and costume so that it could assert his presence in the village. Each mask consequently symbolized a separate entity which its own personality. The lack of collection information and the absence of the original headdress and costume make it unfortunately impossible to assess the original function of this mask. We are left to enjoy its charming presence.