IDNO

P.71978.GIJ

Description

An Ekpe (Egbo) skin covered mask on a masquerader portraying a female. The mask consists of a realistic human-like facial features, on the top of the mask is an elaborate coiffure made up of horn-like curls interspersed with porcupine quills. The costume of the masquerader consists of a several pieces of cloth stitched together. In the background are spectators and thatched builidings.

Place

W Africa; Nigeria; Southeast Nigeria; Umuahia

Cultural Affliation

Igbo [historically Ibo]; Ozu 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.71972.GIJ to P.72000.GIJ and P.72249.GIJ to P.72371.GIJ were kept in box 8, now numbered C297/.

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 Ekpe Masquerades
2. Ekpe (Egbo) or Ikem Uzuakoli (8th image).
This negative was found in pocket 13 of the negative album now numbered C24/.

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 Ekpe Masquerades
2. Ekpe (Egbo) or Ikem Uzuakoli (8th image).

Publication: Similar image published in Cole and Aniakor, 1984, p. 183, Figuer 300.

Context: Jones writes about the Cross River style with particular reference to this photograph. He notes that we can distinguish a Cross River style which consisted of a very limited number of forms, mainly heads with human features which sought to be as realistic as possible, the skin being added to the carving, according to some informants, in order to achieve a greater realism. Talbot maintained that the skin was human but Campbell’s researches did not confirm this. The classic forms considered the finest by Europeans and Nigerians alike were a female head with a long neck and hair bound up into elaborate ‘horns’ (as in this photograph) and a large Janus-type shoulder mask. The female mask was said to be beautiful and the shoulder mask was usually represented as fierce and masculine; the tallness and slenderness of the one and the breadth and solidity of the other were exaggerated in the sculpture. These types were diffused as far east as the Bangwa and as far west as the Anang. There were, however, plenty of other heads representing male or female characters with or without necks and ranging from the naturalistic to the very crude, depending on the capabilities of the carver and the idiosyncrasies of local taste. (Jones, 1984, p.191-192).

Context: Nicklin also discusses skin-covered masks in depth. He applies Murray’s definition of the Cross River area, “the characteristic work is a head covered with skin carried on top of the dancer’s head” - that is, the cap mask type. The variety most often portrays a woman’s head complete with coiffure, and some janus-faced. At its base is a series of holes for the basketry ring which fits snugly on top of head, supporting the carving...he goes on to describe the markings on the mask such as the detailed portrayal of tribal marks, the most common is a raised circular mark on the temples and forehead (Nicklin, 1974, p.11).

Context: These headdresses were danced at Ekong ceremonies and funerals of society members. The costumes are of rich imported cloths. Analogous headdresses of “crocodiles” and females with fine, hornlike coiffures are used in Amaokwe Item for Oiyima masquerade. Quite similar headdresses were also made for Ikem masquerades by the Efut Ejagham of Calabar, and Jones documented another example of the male type near Item. Jones’ designation of the Cross River Style for these and other skin-covered masks is understandable since the peoples of the region carved for one another in several substyles, traded dances and associations, and thus confounded any but the most broad classifications. (Cole and Aniakor, 1984, p.182).

Bibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)
Nicklin, K. 1974. “Nigerian Skin-Covered Masks”, African Arts, Vol.7, no.3., pp.8-15+67+92.
Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)

This catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 17/12/2007]

Context: Jones writes about the Cross River style with particular reference to this photograph. He notes that we can distinguish a Cross River style which consisted of a very limited number of forms, mainly heads with human features which sought to be as realistic as possible, the skin being added to the carving, according to some informants, in order to achieve a greater realism. Talbot maintained that the skin was human but Campbell’s researches did not confirm this. The classic forms considered the finest by Europeans and Nigerians alike were a female head with a long neck and hair bound up into elaborate ‘horns’ (as in this photograph) and a large Janus-type shoulder mask. The female mask was said to be beautiful and the shoulder mask was usually represented as fierce and masculine; the tallness and slenderness of the one and the breadth and solidity of the other were exaggerated in the sculpture. These types were diffused as far east as the Bangwa and as far west as the Anang. There were, however, plenty of other heads representing male or female characters with or without necks and ranging from the naturalistic to the very crude, depending on the capabilities of the carver and the idiosyncrasies of local taste. (Jones, 1984, p.191-192).

Context: Nicklin also discusses skin-covered masks in depth. He applies Murray’s definition of the Cross River area, “the characteristic work is a head covered with skin carried on top of the dancer’s head” - that is, the cap mask type. The variety most often portrays a woman’s head complete with coiffure, and some janus-faced. At its base is a series of holes for the basketry ring which fits snugly on top of head, supporting the carving...he goes on to describe the markings on the mask such as the detailed portrayal of tribal marks, the most common is a raised circular mark on the temples and forehead (Nicklin, 1974, p.11).

Context: These headdresses were danced at Ekong ceremonies and funerals of society members. The costumes are of rich imported cloths. Analogous headdresses of “crocodiles” and females with fine, hornlike coiffures are used in Amaokwe Item for Oiyima masquerade. Quite similar headdresses were also made for Ikem masquerades by the Efut Ejagham of Calabar, and Jones documented another example of the male type near Item. Jones’ designation of the Cross River Style for these and other skin-covered masks is understandable since the peoples of the region carved for one another in several substyles, traded dances and associations, and thus confounded any but the most broad classifications. (Cole and Aniakor, 1984, p.182).

Bibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)
Nicklin, K. 1974. “Nigerian Skin-Covered Masks”, African Arts, Vol.7, no.3., pp.8-15+67+92.
Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)

This catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 17/12/2007]