Bassa communities incorporate a number of female and male societies with rich masking traditions. Among these are Chu-Den-Zo and No, both of which utilize a type of mask known as gela, or geh-naw. This mask figures in dances held during celebratory events, such as the arrival of distinguished guests or the return of newly initiated boys from bush camp. In No performances, the gela emphasizes the feminine and graceful movements of the dancer, helping to illustrate desirable qualities which women are expected to possess. The gela is typically attached to a woven framework that projects outward from the forehead of the performer, and draped fabric hangs from the perimeter of the mask to conceal their head and shoulders. As a result of this design, the interiors of gela masks rarely show significant wear.

The artistic influence of the neighboring Dan people is clearly seen in this fine gela, with its swelling brow, tapered face, slit eyes, and deep concavity. A coiffure of nine heavy ridges, accompanied by a number of additional protrusions, adds a profound sense of mass that magnifies the weight of the brow and amplifies the aura of the mask. A hatched vertical band traces down the center of the face and the prominent nose, across the mouth to the tip of the pointed chin. Erosion and an encrusted patina lend further textural richness to this highly physical piece of Bassa carving.

Some areas of erosion on the front of the mask as seen in images. Some loss to top lip. Three of the forehead plugs are missing.

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