Spatial continuities: masks and cultural interactions between the Delta and Southeastern Nigeria

African Arts, Spring, 2002 by Eli Bentor

Mmanwu Masquerades

Farther to the northwest, in the area between Nkwerre and Orlu, the Ekpe-Okonko complex comes into contact with Mmanwu, the dominant genre of masking in north-central Igboland. Like Arochukwu and Abiriba, Nkwerre was an important center of iron smithing and trade. As a result, one finds both Okonko and Mmanwu masking societies there, along with the war dance Ekperipe, whose origin is in Ohafia just north of Arochukwu. Some Mmanwu masks, particularly the popular dancing Oji Onu, have now become part of Okonko in this area. (5) Even farther north, in Umueshi of the Nwabosi clan, northeast of Orlu, Okonko and Mmanwu exist side by side. Each genre, however, plays a very different role. Village groups to the north and east of Umueshi are strongholds of the Mmanwu tradition, in which masks play a judicial role, for example, placing injunctions on a disputed piece of land. Not to be outdone, Umueshi adopted the Mmanwu masquerade (Fig. 10); because of its ties to land disputes, Mmanwu functions within extended families or kindreds. The Okonko society, however, is much more entrenched there. It consists of five grades, each with an elaborate initiation process. While most Okonko masks at Umueshi are of a generic type, using the body suit with a profusion of raffia, there are also many elaborate and unique masks of great inventiveness (Figs. 11, 12). (6)

The South-North Trajectory: Owu, Egbukere, and Ulaga Masquerades

Another trajectory of fluid masking adaptation links the Niger Delta with the Igbo hinterland. The dominant masking genre of the Delta embodies water spirits. Known collectively as Owu, this genre typically includes long horizontal head-dresses representing aquatic animals such as sharks, crocodiles, and hippos, which often incorporate human features. Groups in the Ikwerre region share these masks with the Delta and have developed several distinct genres, including one called Owu and another called Egbukere or Egbukele, as has been described in Ekpeye and Abua by G.I. Jones (1939), Ekpo Eyo (1968), and John Picton (1988). Prior to the establishment of Rivers State, these groups were considered, at least by outsiders, to be Igbo, but as Picton suspected, some people at Ahoada, being now in Rivers State, no longer stress their Igbo affiliation, preferring to emphasize their riverain links.

As we move north along the Niger River, the horizontal headdress with an aquatic theme gradually becomes smaller, and the marine animal is replaced by a less specific animal or by a bird with a large beak and human features. Curled horns are sometimes added at the back to balance the large open mouth. These masks are called Ulaga or Uraga, and as noted earlier, Kenneth Murray observed that they show clear affinities with masks in the Delta. Murray suggested that Igbo traders along the Niger introduced them in Igboland (see also Jones 1984:151-53; Murray 1948). Such traders were likely to be Aro from the settlements around Oguta or from Awka in north-central Igboland. Aro traders often lived for extended periods in their trading areas, interacting with local populations. Today Ulaga is a minor type of mask that is largely used in children's masquerades.