Komo Society Mask, 20th century
Bamana people (Mali)
wood, horn, feathers, porcupine quills; l: 33"
Museum purchase in honor of Dr. and Mrs. Rudolph Drosd
88.0158
Komo is a secret society whose mission is to protect the community from antisocial or dangerous events or individuals, some thought to be “witches.” The horizontal mask, worn only by the association's leader, is said to devour witches like a hyena. The antelope horns projecting from the back of the head symbolize the power of the bush (that area of wilderness beyond the boundaries of human activities in the village and fields). Feathers are added to the mask to incorporate the knowledge and divination powers of birds, who soar in the heavens, and owls in particular, who have special vision to seek out prey and hunt at night. The porcupine quills add elements of aggressiveness and violence and suggest the presence of magical poison used for protection. The entire mask is coated with materials prepared according to secret recipes known only to the Komo leader. The result is a sinister–looking, dark matte surface, an unclear, mysterious form suitable for combating equally dark, obscure forces that could bring harm to the village.(From the publication Lowe Art Museum: Selected Works, 1995. Text by Marcilene K. Wittmer. ?1995 Lowe Art Museum, University of Miami. All rights reserved).
Ukura Cloth, 20th century
Igbo people (Nigeria)
raffia-stitched and dyed cotton; 58 7/8 x 76"
Museum purchase in memory of Sheila Natasha Simrod Friedman
92.0094
Ukara cloth is a primary emblem of the Igbo version of Ekpe, a powerful, secret association that originated in the Cross River area among the Ejagham people, eastern neighbors of the Igbo. Indigo–dyed cloths with designs derived from the secret Ekpe script called nsibidi are known in other areas, but ukara is a distinctly Igbo version.
The cloths are made for individual members of Ekpe's highest rank, who choose the designs and motifs that serve as a personal “signature” on their particular cloth. Ukara is usually worn as a wrapper but may also serve as a wall hanging, a banner, or part of a masquerade costume for Ekpe performances. Upon the death of the owner, the cloth may be used to construct a symbolic “Ekpe house” (the spirit meeting place) for the funeral.
To create a fabric the proper size for its intended use, lengths of European–made, white cotton cloth are stitched together. The fabric for a banner may be long enough to cover an entire wall of an Ekpe house. The patterns are drawn on the undyed cloth and then tightly stitched with coarse raffia fiber. When the raffia is removed after dying, the designs stand out as fuzzy white lines against the deep blue background. Nsibidi signs alternate with geometric patterns symbolizing the leopard spirit of Ekpe. Some motifs cut across the grid of squares, notably the leopard and the costumed masquerader.(From the publication Lowe Art Museum: Selected Works, 1995. Text by Marcilene K. Wittmer. ?1995 Lowe Art Museum, University of Miami. All rights reserved).
Commemorative Posts, 20th century
Giryama people (Kenya)
wood, pigment; h: 66 3/4; 78; 69"
Museum purchase
92.0036.01-.03
Commemorative posts, or vigango, honor especially influential and important deceased members of Gohu, a men's graded initiation association. They are erected in special shelters where the living members of the group meet and where the most important elders live. Offerings are made at the base of each figure as a gesture of respect for revered ancestors.
In form, these figures are part of a widespread distribution of vertical shaft or pole–like funerary markers throughout East Africa, from Ethiopia in the north to Zimbabwe in the south. The Giryama version of this tradition consists of flat planks decorated with chip carving in a manner similar to that practiced by the Swahili from the old cities along the East Africa coast. The geometric designs on the posts suggest body decoration or anatomical elements such as a navel, nipples, or hands folded across the abdomen. The simple round heads may be a reference to the shaving of men's heads when they are initiated into Gohu.(From the publication Lowe Art Museum: Selected Works, 1995. Text by Marcilene K. Wittmer. ?1995 Lowe Art Museum, University of Miami. All rights reserved).
Janus-Faced Helmet Mask, 20th century
Ejagham people (Nigeria)
wood, leather; 17 1/4 x 10 x 12 1/2"
Museum purchase
92.0020
The Cross River region of Nigeria is famous for skin–covered masks in several different forms generally associated with Ekpe, a graded men's society that serves as the effective government in the otherwise leaderless villages throughout this heavily forested area. A double–faced helmet mask such as this is the type usually worn by members of the highest ranking grade of Ekpe. The bulging foreheads and aquiline noses of the two faces suggest that the origin of this mask is the upper bend of the Cross River, not far from the Nigeria–Cameroon border. Ejagham is the most comprehensive name for the people in this area, but individuals prefer to identify themselves with their village or clan. Ekpe does not unify the region; rather, each village has its own cult house and its own set of masks.
The dark, painted face is male, and the light face with typical painted facial patterns is female. The holes on the top of the helmet probably held small wooden pegs carved to simulate a hairstyle associated with women. However, the shape of the upper portion of the mask suggests a form of fur cap worn by men. The theme of duality conveys spiritual completeness and possibly the ability to see into the past and the future. The mask is not recognized as representing a particular spirit, but is recognized as a symbol of the corporate group Ekpe and of the powers of its leaders.(From the publication Lowe Art Museum: Selected Works, 1995. Text by Marcilene K. Wittmer. ?1995 Lowe Art Museum, University of Miami. All rights reserved).
