IDNO

P.71563.GIJ

Description

Agu Necheni (lion-elephant) or Mbdekike masquerade in which the masquerader is dressed in a bulky fibrous quill studded costume with a large, wooden mask standing in front of a barrier?/fence? The mask is comprised of large, curved horns and in between the horns is a carved figure also adorned with horns. The ‘face’ of the mask shows bulging eyes encircled in white? paint, long triangular nose, and oversized mouth with large teeth. In the background are bystanders, huts, and trees. [Alicia Fentiman 22/10/2007]

Place

W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village

Cultural Affliation

Igbo [historically Ibo]

Named Person

Photographer

Jones, Gwilliam Iwan (known as G.I.)

Collector / Expedition

Date

circa 1930 - 1939

Collection Name

Jones collection

Source

Jones, Gwilliam Iwan (known as G.I.)

Format

Print Black & White

Primary Documentation

Other Information

P.71504.GIJ to P.71662.GIJ were kept in box 4, now numbered C301/.
P.71551.GIJ to P.71563.GIJ were found wrapped in paper, now numbered C301/3/.

Publication: Same image published on John McCall’s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]
1. Index to Nsukka and Nri/Awka Igbo
2. Nri-Awka Igbo
3. Agu nechenyi (leopard/elephant) Amuobia village (18th image).

Context: Jones discusses the various types of masks and mentions that some are quite elaborate superstructures. In particular, “Nrii/Akwa and some other carvers also made emblem head-dresses in which small human figures were grouped together in a tableau, or more elaborate openwork constructions in which human, animal, bird, and reptile forms were intertwined to form a conical structure brought together at the apex by an animal figure whose legs straddled and held it together.” (Jones, 1984, p. 126)

Cole and Aniakor write about the power of Mgbedike masks and describe them as horns, smelly medicines, animal skins, seeds and many other adapted natural ingredients combine to embody single or multiple spirit essences of “heavy” threatening masks worn or deputized by elders. A similar image to this photograph taken by GI Jones is found in Aniakor and Cole, plate 213, p.114.

Cole and Aniakor write in depth about the specific characteristics of the Mgbedike or ‘Time of Brave’ masks. These spirit “heads” are large in size, dark coloration; bold outsized figures such as open mouth with large, menacing teeth; and elaborate, integrally carved head-dresses always displaying horns. Their bulky costumes are studded with quills. Many individually named spirits of Mgbedike type exist, their titles crystallizing the character of the spirits...Mystery, aggression, bravado fearlessness, stubbornness, and medicinal power belong to these spirits.

Chorus singers, other escorts,and the masker himself are the strong men of middle age - farmers who are now taking titles or becoming well-known as diviners, wrestlers, and hunters, and in the old days, as intrepid warriors...They have physical strength supported by spiritual power enabling them to wrestle with the mysterious forces of the forest and aggressive medicines directed against them. While these are not the most powerful masked spirits in the community, they often carry strong medicines and can be destructive and wild. The spirits are the ideals of middle aged men in a theatrical context.

In reference to the appearance of the masquerader, masks and costumes of Mgebedike spirits are comprised of visual, aural, and sometimes olfactory material powers dramatically composed for maximum impact. Heads are at least twice life-sized and sometimes four or five times as large, and features are typically exaggerated - particularly eyes and mouths. The latter are usually agape, with snaggled, ovesized teeth, The usual diagnostic feature of such masks is an elaboration of horns...On carved examples, horns are often aggrandized and extended into openwork superstructures featuring carved animals and human beings. These sometimes become quite elaborate tableaux with as many as ten or twelve creatures, and they are analogous to community ikenga superstructures... Costumes are usually composite with seedpods and porcupine quills and, more recently, pieces of metal sewn to enveloping cloth or fiber costumes, bulking out the wearer to superhuman size. Medicinal charms are normally present, along with young palm leaves, omu, both being evidence of the spiritual power and potential danger of such characters. (Cole and Aniakor,1984, pp. 131-132)

Bibliographical References:

Boston, J.S. 1960 “Some Northern Ibo Masquerades.” Journal of the Royal Anthropological Institute, 90: 54-65.

Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)

Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)

Murray, K.C. 1948 Ibo Headdresses Combining Human and Animal Features, Man 48 (1): 1-2.

This catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 22/10/2007]