Figure 1: The Ekpo Mask
This object is an Ekpo mask (Figure 1) from the Anang tribe in south eastern Nigeria. It is made of wood, raffia, and various other materials. The main mask (face, headband, and upper lip/jaw) is carved from a single piece of wood and painted black. The bottom lip/jaw and ears are also made of painted wood, and they are tethered to the main mask with a variety of ties. In the back, a headdress made of raffia in different forms (braided, woven, bunches) is attached in several places (Figure 2). A large leather flap is attached to the mask between the raffia headdress and the left ear.
Figure 2: Raffia headdress and leather flap (left)
The Ekpo
masks are sacred objects used to manage the village and handle crises that
occur, such as handling domestic disputes or fighting with other groups. The
word Ekpo means “ancestor” or “ghost”, and Ibibio ancestors are believed to be
communicating through the masks to their living descendants.
Lightweight
woods, such as the ukot (palm wine
tree), are used in the making of Ekpo masks so that the wearer can perform
tasks and fight without being encumbered by its weight. The raffia headdresses
are made of dried palm fronds, and they are designed to fall to the wearer’s
waist. The masks are worn along with a knee-length raffia skirt, and the
wearer’s exposed skin is covered in charcoal powder (Figure 3).
Figure 3: An Ekpo Maquerader
Visible
deterioration includes the fading, wearing, and chipping of the black paint on
the wooden components (Figure 4); this most likely began during the mask’s use but other
factors, such as incorrect light levels or fluctuating temperature and relative
humidity levels, could also be factors. Overall dirt, dust, and contaminants on
the surface of the mask can be seen. There is evidence of flight holes made
from woodworms throughout the main mask (Figure 5), and the leather flap attached to the
back of the mask is dehydrated and stiff. The raffia has become dry and brittle
- possibly due to incorrect temperature and relative humidity but also due to naturally
occurring depolymerisation - and fragments of the headdress continue to break
off (Figure 6).
Figure 4: Example of paint deterioration on the attached jaw
Figure 5: Evidence of flight holes made by woodworms
Figure 6: Detail of raffia fragments breaking off of the headdress
One of the
biggest conservation concerns was the improper storage mount and box that the
mask was housed in. The mount did not provide enough support for the mask’s
attachments and caused strain on the ties that held them on; in addition, the
mask was difficult to remove from the box and was not easily viewable. This
problem has been solved as Thea Christophersen, who created a new storage box
and mount that addresses these concerns (Figure 7).
Figure 7: New storage mount
Bibliography
Akpan, J. (1994). Ekpo Society Masks of the Ibibio. African Arts, 27(4), pp.48-53.
Caneva, G.,
Nugari, M. and Salvadori, O. (2008). Plant Biology for Cultural Heritage : Biodeterioration and Conservation. 1st ed. Los Angeles: The Getty Conservation
Institute.
Ebong, I. (1995).
The Aesthetics of Ugliness in Ibibio Dramatic Arts. African Studies Review,
38(3), pp.43-59.
Hickin, N.
(1981). The Woodworm Problem. 3rd ed. East Grinstead: RENTOKIL LTD.
Offiong, D.
(1982). The Process of Making and the Importance of the Ekpo Mask. Anthropologica, 24(2), pp.193-206.
http://web.prm.ox.ac.uk/history/collector_3479.html
This post refers to coursework done for ARCLG142 (2016-17), one of the core courses of the UCL MA Principles of Conservation. As part of their assessed work for this course, students were asked to investigate objects from the UCL Ethnography Collections at the UCL Department of Anthropology. Here they present a summary of their main conclusions. We hope you enjoy our work! Comments are most welcome.
This post refers to coursework done for ARCLG142 (2016-17), one of the core courses of the UCL MA Principles of Conservation. As part of their assessed work for this course, students were asked to investigate objects from the UCL Ethnography Collections at the UCL Department of Anthropology. Here they present a summary of their main conclusions. We hope you enjoy our work! Comments are most welcome.
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