Context (References)
The Thomas' field photograph of this masquerade [mask and costume] with the figural superstructures (Osa) is featured by Borgatti [undated]. She noted Northcote Thomas photographed three masquerade types in Otuo: 'the whipping masquerade (Olu) and the umbrella masquerade (Ugbokpa), whose later 20th- and 21st-century counterparts are dramatically similar, and one towering Osa masquerade that appears to have a canework superstructure into which are pegged multiple small figures.'
Edo Masquerades - The Eliminya Festival by Jean Borgatti [undated]
http://www.101lasttribes.com/tribes/edo3.html
[Accessed 13 August 2025]
Event Date
Author: Rachel Hand

Description (Labels & Markings)
Numbered A 645, and M5 on a paper label.

[Recorded by Rachel Hand, 22/1/2001. The location of the A645 label/marking is unknown. Katrina Dring, 06/12/2024]

Event Date
Author: Katrina Dring

Context (Related Documents)
Label, previously attached with string, in red ink: 'M5'
Event Date
Author: Katrina Dring

Description (Physical description)
Catalogue card for Z 13424[.1-4]: 'Four dance dresses'
Event Date
Author: maa

Context (Acquisition Details)
Annual Report for 1910 records that the South Nigerian N.W. Thomas Collection was purchased with Prof Bevan's subscription to the Accessions Fund. See E 1910.118 and E 1913.3 records for further details about the Thomas Collection from Nigeria.
Event Date 1910
Author: maa

Context (Related Documents)
This masquerade is shown in field photographs made by Thomas: P.118660.NWT [labelled 'Eliminia dress 837 a'] , P.118661.NWT [labelled 'Eliminia dress 839 a'] and P.28862.NWT.
Event Date 1910
Author: Katrina Dring

Context (References)
Borgatti, Jean M., 1982. “Age Grades, Masquerades, and Leadership among the Northern Edo.” African Arts 16 (1982): 36-51. Fig.20
Event Date 1982
Author: Katrina Dring

Description (Physical description)
Object consists of a wooden figure surrounded by a wooden framework, both painted white, and mounted on fibre and porcupine quills, with 2 plastic hands, ?for museum display.
Event Date 22/1/2001
Author: Katrina Dring

Description (Physical description)
Osa. Masquerade with wooden carving and frame work above a garment of porcupine quills. Wooden carving of male and female figures back-to-back within a hollow cylinder, painted black and white; around the carving is an ovoid frame made from bent wood wrapped with plant fibre and blue cotton; two long tassels of plant fibre hang from the back; below this is a netted garment of dark brown cord, painted with white patterns on the front and with porcupine quills woven into the back; a short fringe of plaited plant fibre and blue cotton hangs from the garment, with a longer fibre fringe below; arms constructed with wood frame, plant fibre and porcupine quills, with a long fringe at the cuff; hollow wooden bell-shape hangs from a cord at the front of the garment. Drilled holes and dowels protruding from the wooden carving indicate missing elements.
Event Date 12/11/2024
Author: Katrina Dring

Conservation (Freezing)
CON.2024.6079 | Freezing
Event Date 15/11/2024
Author: Kirsty Kernohan

Context (Found together / assemblage)
Using the Thomas field photographs, several pieces which were originally attached to this mask but later became disassociated and reaccesioned have now be identified. These include TEMP.01384, Z 25253, Z 25254, Z 25255, Z 25257, Z 28268 A-B, Z 28270 A-K and possibly Z 25256. There are several more pieces of the headdress which can be seen in the photographs but have not yet been identified, for example the two figures Z 28268 A-B appear to be holding a rifle and an umbrella.

In addition, several elements have been identified which are very similar in style and material, and are consistent with imagery found on this type of headdress. Although these cannot be seen on the field photographs, it is possible that they were historically also attached: Z 25247, Z 25248 and Z 28267 A-B.
Event Date 27/11/2024
Author: Katrina Dring

Conservation (Remedial)
CON.2024.6100 | Remedial
Event Date 27/11/2024
Author: Ayesha Fuentes