EJAGHAM ( EKOI) JANUS HEADDRESSES, Nigeria

Click on a name to see a larger image.

 

 EJAGHAM 41
27.5", $1200

 

 EJAGHAM 41
27.5", $1200

 

 EJAGHAM 41
27.5", $1200

 

 EJAGHAM 42
23", $1200

 

 EJAGHAM 41
27.5", $1200

 

EJAGHAM 42
23", $1200

 

 EJAGHAM 43
26", $800

 

EJAGHAM 42
23", $1200

 

EJAGHAM 43
26", $800

 

 EJAGHAM 44
24.5", $800



EJAGHAM 44
24.5", $800



EJAGHAM 44
24.5", $800
 

 

 EJAGHAM 46
25.5", $800

 

 EJAGHAM 46
25.5", $800

 

EJAGHAM 46
25.5", $800

 

 EJAGHAM 47
30", $900

 

 EJAGHAM 47
30", $900

 

 EJAGHAM 47
30", $900

 

 EJAGHAM 48
26", $400

 

EJAGHAM 48
26", $400

 

 EJAGHAM 48
26", $400

 EJAGHAM 49
31", $1000
 

 

  EJAGHAM 49
31", $1000

 

 EJAGHAM 49
31", $1000

 

 EJAGHAM 50
18", $500

 

EJAGHAM 50
18", $500

 

EJAGHAM 50
18", $500

 EJAGHAM 51
26", $600
 

 

EJAGHAM 51
26", $600

 

EJAGHAM 51
26", $600

The headdresses below have been sold and are left here for reference and educational purposes.

 

 EJAGHAM 45
SOLD

 

 EJAGHAM 45
SOLD

 

 EJAGHAM 45
SOLD

Photographs © Tim Hamill

EJAGHAM ( EKOI ), JANUS HEADDRESSES, Nigeria

In the southeastern forest region of Nigeria, the Ejagham (Ekoi) people live in a politically decentralized group of small, scattered villages with with several clans united under the leadership of a priest/chief (Ntoon). A Ntoon is responsible for the ritual activities of the community while the political functions are performed by various societies of elders and age-grade associations of young men.

The important art forms of the Ejagham people are connected with the institution of the Ntoon and with the men's and women's associations. The best known of these art forms are the large, skin-covered headdresses (crest masks), which may have one, two or even three faces, and the smaller headpieces, which may represent a head or an entire figure. Crest masks are attached to basketry caps worn on the top of the head. Both types were made by an artist who carved the form from a single piece of wood and covered it with soft, untanned antelope skin that had been soaked in water for several days. He stretched and tacked the skin into place until it dried and stiffened. Eyes, scarifications, and hair were often carved separately and pegged into the finished piece. Before being worn, the headdress was painted or colored, then adorned with metal pieces, wooden pegs, real hair, porcupine quills, feathers, or feathered rods stuck into holes at the top.

The opposing sides of janiform masks (either crest masks or helmet masks) represent male and female faces. The male side was normally stained a dark color while portions of the female side were left the natural lighter color of the antelope skin.

Much of this material has been taken from a wonderful book: A History of Art in Africa published by Harry N. Abrams. The relevant chapter is Cross River by Robin Poyner.

 

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