Masks, along with other African works of art, transcend time while communicating the spiritual heritage of the African people and their culture. African masks are a fundamental element of masquerades and have the ability to enable transition by crossing a liminal space. Henry John Drewal's article, Gelede Masquerade: Imagery and Motif, reveals the motifs and traditions that embody Yoruba life through masks and other sacred traditions. More precisely, the article goes into detail by expressing the importance of “The Great Mother” or “The Mothers” and the homage paid to these women with exceptional powers. These motifs that surround the artistic medium of masks are both boundless and influential in guiding “children” to become responsible members of the community through the wisdom of mothers. In this sense, the mask no longer becomes just an embodiment of Orishas, ​​ancestors or a representation of an exclusive religious or ritual affair, but rather uses the morphology of masks to improve the community. The same can be said for the secret African society known as Sande, a group that helps young girls on their journey to becoming mature, confident women. Ruth B. Phillips explains in her article, Masking in Mende Sande Society Initiation Rituals, that masquerades are powerful "medicines" for these groups without compromising their "essential mystery." In addition, masquerades are a means of communication between the community in general and Sande-Mende social life. Additionally, masks indicate powerful moments of change and transition that result in the development of community members and society. The function and aesthetics of African masks do not depend solely on their religious function, but rather utilize a mask's ability to represent the values ​​of a culture so that children can fulfill their future responsibilities, take on social roles and pay homage to the deceased. Say no to plagiarism. Get a tailor-made essay on “Why violent video games should not be banned”? Get the original essay The mask in African culture plays a central role in shows created to move children into adulthood. African masquerades are known for allowing a dynamic element in which the person wearing the mask loses themselves in order to become the spirit of that specific mask. By removing the identity of the individual from the conceptual realms of the masquerade, a dialogue between the African people and the Orishas becomes apparent. Although masks allow the medium to have spiritual connotations, masks can also be seen as essential for a rite of passage into adulthood. Considered part of an initiation, the Sande secret society of Sierra Leone is responsible for teaching young girls the practical skills necessary for womanhood. Girls participating in Sande initiation undergo three stages: separation from their original communities, transition, and finally reintegration into society. Depending on the stage concerned, the ndoli jowei (the dancing sowei) wears the sowei mask which represents the transition to womanhood, sexual maturity and marriage. A symbol of feminine ideals of well-being and beauty, the sculpted masks are worn by senior members of the Sande Society to mark the maturity of girls and their initiations. Masks and other traditional clothing become a representation of cultural growth because of their goal of educating future generations of girls to become notable women in the community. The Sande company holds sowei masks to remind them of their value..