IDNO

P.71771.GIJ

Description

An Item male comic mask. The mask is square in shape and rather abstract. There is a rounded high forehead which is slightly protruding, square nose, elliptical shaped ears and puffy cheeks. There are holes visible around the head of the mask used for attaching fabric.

Place

W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division

Cultural Affliation

Item

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.71728.GIJ to P.71831.GIJ were kept in box 14, now numbered C300/.
P.71750.GIJ to P.71787.GIJ were found wrapped in paper, now numbered C300/2/.

Context: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor’s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)

Context: Cole and Aniakor write, “In Item and Ugweke, for example, a series of fine masks are danced in a ‘play’ called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.” (Cole and Aniakor, 1989, p. 166).

Bibliographical Reference:
Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)
Cole, H. & C. Aniakor, 1984. Ibo Arts: Community and Cosmos (Museum of Cultural History, University of California)

This catalogue record has been updated with the support of the Get Grant Program Two. [Alicia Fentiman 21/11/2007]

This catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]