IDNO

P.71996.GIJ

Description

An Ekpe (Egbo) skin covered head of a female. The cap mask is placed on a wooden chair. The mask consists of a realistic, humanised face with delicate female features and a rounded circular “target” mark on the temple. The elaborate horn-like coiffure consists of four coiled curled horns; two on either side of the face, one on the top of the head and one in the back. The neck is coiled and there are holes and a raffia base attached to the mask. A man is holding the mask in the background.

Place

W Africa; Nigeria; Southeast Nigeria; Cross River

Cultural Affliation

Ibibio [historically Anang]

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) head Photo’d in Item. Said to have been bought in the Middle Cross River area (10th image).

Publication: Similar image in Jones, 1984, pp. 191-192, Figures 100 - 101, with the caption, “Skin-covered head”. Similar image also in Jones, 1989, p. 14, Figure 5 with the caption, “Ikem masquerade. Ohuhu Ibo or Anang Ibibio. Female head with the hair dressed into five curved ‘horns’. This is a modern carving painted in oils and varnished; in older carvings the ace and neck were covered in skin. Drawing by Dr K.F. Campbell).”

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).

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.

This catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/12/2007]