{"id": "N.71449.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364720", "metadata": {"title": "Untitled", "idno": "N.71449.GIJ", "description": "A photograph of G.I. Jones sitting in front of a pyramid at the Nsude Village Shrine, Abaja Ibo, Northern Ibo. The pyramid is made of mud and consists of rounded graduated steps decreasing in size and culminating in a point at the top. The pyramids are surrounded by grasses and vegetation. GI is wearing shorts, white shirt and pith helmet.", "place": "W Africa; Nigeria; ?South Eastern Nigeria; Nsude", "cultural_affliation": "Igbo [historically Ibo]; Abaja", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "Publication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Alusi or Arunsi (shrines)\n3. Jones posing in front of pyramid Nsude village shrine, Abaja, Northern Igbo (11th image).\n\nPublication: Similar images of the Nsude pyramids taken in 1935 with the caption, \u201cThese ten circular stepped pyramids were associated with the Uto deity and were made of mud.\u201d African Legacy: School of Conservation Sciences, Bournemouth University, source [http://csweb.bournemouth.ac.uk/africanlegacy/culture.htm]\n\nBibliographical Reference: Chadwick, E.R. 1935, \u201cThe Nsude Pyramids\u201d, Nigerian Field, Vol. IV, No.2.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]", "raw_text_dump": "IDNO\n\nN.71449.GIJ\n\nDescription\n\nA photograph of G.I. Jones sitting in front of a pyramid at the Nsude Village Shrine, Abaja Ibo, Northern Ibo. The pyramid is made of mud and consists of rounded graduated steps decreasing in size and culminating in a point at the top. The pyramids are surrounded by grasses and vegetation. GI is wearing shorts, white shirt and pith helmet.\n\nPlace\n\nW Africa; Nigeria; ?South Eastern Nigeria; Nsude\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abaja\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Alusi or Arunsi (shrines)\n3. Jones posing in front of pyramid Nsude village shrine, Abaja, Northern Igbo (11th image).\n\nPublication: Similar images of the Nsude pyramids taken in 1935 with the caption, \u201cThese ten circular stepped pyramids were associated with the Uto deity and were made of mud.\u201d African Legacy: School of Conservation Sciences, Bournemouth University, source [http://csweb.bournemouth.ac.uk/africanlegacy/culture.htm]\n\nBibliographical Reference: Chadwick, E.R. 1935, \u201cThe Nsude Pyramids\u201d, Nigerian Field, Vol. IV, No.2.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]\n\nFM:206099\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71449_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656594_N.71449.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13283.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306555", "metadata": {"title": "Untitled", "idno": "N.13283.GIJ", "description": "A close up view of a masquerade character performing in the Okwanku masquerade wearing a wooden face mask with high forehead, slit eyes, long nose, mouth and long raffia hair. The face of the mask has white pigment. In the background are spectators.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village", "cultural_affliation": "Igbo [historically Ibo]; Ohaffia", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13283.GIJ\n\nDescription\n\nA close up view of a masquerade character performing in the Okwanku masquerade wearing a wooden face mask with high forehead, slit eyes, long nose, mouth and long raffia hair. The face of the mask has white pigment. In the background are spectators.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ohaffia\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147933\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13283_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000546_N.13283.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "T.170003.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464022", "metadata": {"title": "Untitled", "idno": "T.170003.GIJ", "description": "Obugulu Mau masqueraders sitting down. One of the masqueraders is wearing an elaborate headdress consisting of colourful felt, string and tassels. The mask is painted white with black markings around the eyes, nose, mouth and accentuating the eyebrows and cheeks and attached to a harlequin-like costume. The other masquerader is also wearing a white face mask, headdress and harlequin like costume. In the background are spectators and trees.[Description from record N.71510.GIJ, PB 25/08/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; IsuOchi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; October 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170003.GIJ\n\nDescription\n\nObugulu Mau masqueraders sitting down. One of the masqueraders is wearing an elaborate headdress consisting of colourful felt, string and tassels. The mask is painted white with black markings around the eyes, nose, mouth and accentuating the eyebrows and cheeks and attached to a harlequin-like costume. The other masquerader is also wearing a white face mask, headdress and harlequin like costume. In the background are spectators and trees.[Description from record N.71510.GIJ, PB 25/08/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; IsuOchi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; October 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310531\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170003_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128045_T.170003.GIJ_001.png"}, {"file_name": "T_170003_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128046_T.170003.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71949.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365220", "metadata": {"title": "Untitled", "idno": "N.71949.GIJ", "description": "The Ngbangbo Ikoro masquerade with the crowd dispersing. The crowd consists of masqueraders, women, men and children. One character is wearing a wooden mask which is dark and painted white with horns and attached to a piece of woven sack cloth; a young boy is touching the character. Another mask is shown upside down and shows a rounded face with white bulbous eyes. The audience wears a mixture of printed cloths and clothing. In the background is thatched building.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 41 of the negative album now numbered C17/.\n\nOn the GI Jones website, www.siu.edu/~anthro/mccall/jones/, under,\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Two masks Ngbagba Ikoro, Abiriba. (1st image).\nThis negative was found in pocket 32 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71949.GIJ\n\nDescription\n\nThe Ngbangbo Ikoro masquerade with the crowd dispersing. The crowd consists of masqueraders, women, men and children. One character is wearing a wooden mask which is dark and painted white with horns and attached to a piece of woven sack cloth; a young boy is touching the character. Another mask is shown upside down and shows a rounded face with white bulbous eyes. The audience wears a mixture of printed cloths and clothing. In the background is thatched building.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 41 of the negative album now numbered C17/.\n\nOn the GI Jones website, www.siu.edu/~anthro/mccall/jones/, under,\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Two masks Ngbagba Ikoro, Abiriba. (1st image).\nThis negative was found in pocket 32 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206599\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71949_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657045_N.71949.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169849.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463861", "metadata": {"title": "Untitled", "idno": "P.169849.GIJ", "description": "A man, possibly a drummer?, viewed from the back as he attends a masquerade. He is wearing woven materials around his waist and legs. He has a cloth head band with a feather? tucked into the front. Over his right shoulder and down to his left waist is a narrow band of material, possibly leather. His elbows are bent as if holding a drum. [PB 05/01/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo {Ibo]; South Ikwerri", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169849.GIJ\n\nDescription\n\nA man, possibly a drummer?, viewed from the back as he attends a masquerade. He is wearing woven materials around his waist and legs. He has a cloth head band with a feather? tucked into the front. Over his right shoulder and down to his left waist is a narrow band of material, possibly leather. His elbows are bent as if holding a drum. [PB 05/01/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo {Ibo]; South Ikwerri\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310336\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169849_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127789_P.169849.GIJ_001.png"}, {"file_name": "P_169849_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127791_P.169849.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13284.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306556", "metadata": {"title": "Untitled", "idno": "N.13284.GIJ", "description": "A close up view of a masquerade character performing in the Okwanku masquerade wearing a wooden face mask with high forehead, slit eyes, long nose, mouth, long raffia hair and a hat on top. The face of the mask has white pigment. The character is playing a horned instrument. In the background are spectators.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village", "cultural_affliation": "Igbo [historically Ibo]; Ohaffia", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13284.GIJ\n\nDescription\n\nA close up view of a masquerade character performing in the Okwanku masquerade wearing a wooden face mask with high forehead, slit eyes, long nose, mouth, long raffia hair and a hat on top. The face of the mask has white pigment. The character is playing a horned instrument. In the background are spectators.\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ohaffia\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147934\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13284_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000547_N.13284.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13302.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306574", "metadata": {"title": "Untitled", "idno": "N.13302.GIJ", "description": "Half-length portrait of an Igbo man, smiling, and wearing a white collar less shirt.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "?Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13302.GIJ\n\nDescription\n\nHalf-length portrait of an Igbo man, smiling, and wearing a white collar less shirt.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\n?Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147952\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13302_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000565_N.13302.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171079.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465140", "metadata": {"title": "Untitled", "idno": "P.171079.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade depicting four masqueraders:\nIro Ekpetu (Merciless), Eju Ono (Long Mouth), Iro Ekpetu (Merciless) and Awo Ohia (Traveller or he who travels through the bush) and his attendant.\nA Mau (Ghost) masquerade depicting four masqueraders:\nIro Ekpetu (Merciless), Eju Ono (Long Mouth), Iro Ekpetu (Merciless) and Awo Ohia (Traveller or he who travels through the bush) and his attendant. From left, Iro Ekpetu (Merciless) is wearing a black, fierce face mask, with eyes and protruding teeth painted white, cloth top and tights, and a raffia skirt around the waist. Iju (Eju) Onu (Long Mouth) is wearing an animal-like mask painted black with white marking and horns, a cloth top, tights and a raffia skirt around the waist, holding two sticks in a frightening? position. Iro Ekpetu (Merciless) is wearing a black,fierce face mask, with eyes, nose, mouth and ears painted white,with a cloth top and tights, and a raffia skirt around the waist. Awo Ohia (Traveller - he who travels through the bush) is wearing a netted striped costume in which the whole body is completely covered and concealed by netting; the netting on the head is black and the netting from the neck down is patterned and striped; this character is not wearing a mask. An attendant stands behind him. All characters are waving thin stick? switches. In the background are mud and thatch buildings, a child, trees and vegetation. [Description from record N.13244.GIJ, PB 13/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The perfomers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"", "raw_text_dump": "IDNO\n\nP.171079.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade depicting four masqueraders:\nIro Ekpetu (Merciless), Eju Ono (Long Mouth), Iro Ekpetu (Merciless) and Awo Ohia (Traveller or he who travels through the bush) and his attendant.\nA Mau (Ghost) masquerade depicting four masqueraders:\nIro Ekpetu (Merciless), Eju Ono (Long Mouth), Iro Ekpetu (Merciless) and Awo Ohia (Traveller or he who travels through the bush) and his attendant. From left, Iro Ekpetu (Merciless) is wearing a black, fierce face mask, with eyes and protruding teeth painted white, cloth top and tights, and a raffia skirt around the waist. Iju (Eju) Onu (Long Mouth) is wearing an animal-like mask painted black with white marking and horns, a cloth top, tights and a raffia skirt around the waist, holding two sticks in a frightening? position. Iro Ekpetu (Merciless) is wearing a black,fierce face mask, with eyes, nose, mouth and ears painted white,with a cloth top and tights, and a raffia skirt around the waist. Awo Ohia (Traveller - he who travels through the bush) is wearing a netted striped costume in which the whole body is completely covered and concealed by netting; the netting on the head is black and the netting from the neck down is patterned and striped; this character is not wearing a mask. An attendant stands behind him. All characters are waving thin stick? switches. In the background are mud and thatch buildings, a child, trees and vegetation. [Description from record N.13244.GIJ, PB 13/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The perfomers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nFM:311770\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171079_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144295_P.171079.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171251.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465312", "metadata": {"title": "Untitled", "idno": "P.171251.GIJ", "description": "A close up view of a seated masquerade character in the oji onu masquerade. The masquerader is wearing a janus-faced helmet mask. One face has deep-set eyes, a hooked nose and a wide open mouth. The other face has a hooked nose and a long downward curving beak. Both faces are painted white, with the features highlighted in dark pigment. On top of the mask is a carved bird with two curved tail feathers; on each side a small head with a conical hat. The mask is fringed with raffia. The neck and shoulders are covered in a mantle of grass which extends down to the ground to each side of the masquerader. The masquerader wears a strip of patterns cloth on front of back of torso. [PB 11/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra state; idemili; Akama", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767175.GIJ - P.767176.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171251.GIJ\n\nDescription\n\nA close up view of a seated masquerade character in the oji onu masquerade. The masquerader is wearing a janus-faced helmet mask. One face has deep-set eyes, a hooked nose and a wide open mouth. The other face has a hooked nose and a long downward curving beak. Both faces are painted white, with the features highlighted in dark pigment. On top of the mask is a carved bird with two curved tail feathers; on each side a small head with a conical hat. The mask is fringed with raffia. The neck and shoulders are covered in a mantle of grass which extends down to the ground to each side of the masquerader. The masquerader wears a strip of patterns cloth on front of back of torso. [PB 11/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra state; idemili; Akama\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767175.GIJ - P.767176.GIJ are mounted together on card.\n\nFM:311942\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171251_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144467_P.171251.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13172.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306444", "metadata": {"title": "Untitled", "idno": "N.13172.GIJ", "description": "An Ekpo mask with a stylised rounded face. Incised markings on the forehead, large round eyes, small nose, and incised markings to indicate mouth and rounded teeth.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?near Abak; ?near Ikot Ekpene", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: In Jones, 1984, p.130, Figure 43 with the caption, \u201cEkpo mask, stylised mode.\n\nContext: \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/2/2008]", "raw_text_dump": "IDNO\n\nN.13172.GIJ\n\nDescription\n\nAn Ekpo mask with a stylised rounded face. Incised markings on the forehead, large round eyes, small nose, and incised markings to indicate mouth and rounded teeth.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?near Abak; ?near Ikot Ekpene\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: In Jones, 1984, p.130, Figure 43 with the caption, \u201cEkpo mask, stylised mode.\n\nContext: \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/2/2008]\n\nFM:147822\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13172_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000434_N.13172.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.13265.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306537", "metadata": {"title": "Untitled", "idno": "N.13265.GIJ", "description": "A shrine of Alose (tutelary deity). The shrine consists of a wooden structure with a thatched roof. The Alose sculpture is inside the shrine. He is wearing a striped hat with a feather, and his face is painted white with dark pigments accentuating the eyes, nose, mouth and teeth. He is holding a club? or rifle? in one hand and another object in the other. His fingers and toes are painted white. In front of the figure are carved pots and stools. In the background is a large pot and vegetation further behind.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Abaga", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Alusi or Arunsi (shrines)\n3. Alusi (21st image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d(Jones, 1989, p. 37).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked lik\n\nContext: In relation to the Alusi figures, Cole and Aniakor write that, \u201cthe dead are conceived as part of the everyday world, and just as clearly, their presence can hold a positive or negative valence for the living; exactly the same is true of the tutelary deities, alusi. These forces, however, are neither personal (chi or ancestors) nor universal (Chineke, Chukwu). Rather, they are in part specific, usually tangible phenomena such as: Earth, the Niger or Imo river, Eke, Afo, Orie/Oye, or Nkwo market, an extraordinary tree, a binding oath at a particular shrine, or the canyon of erosion in Agulu. The preeminence of Ala/Ani does not eclipse the vitality of these other deities, especially those associated with water, or of Amadioha, god of thunder and lightening and, by extension, rain. These anthropomorphic male and female deities have priests and often elaborate cult apparatus, symbolic works of art, and finely decorated compounds. Each has general and specific powers, and although their priesthoods may be held by certain lineages, the more commanding of these cults have constituencies cutting across lines of kinship and stressing communal worship. Such tutelary deities are close to people, fast-acting (for good or ill), and often capricious, thus requiring frequent attention and sacrifice. ...(Cole and Aniakor, 1984, p.16).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1984, p.54)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989, Ibo Art (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/11/2007]", "raw_text_dump": "IDNO\n\nN.13265.GIJ\n\nDescription\n\nA shrine of Alose (tutelary deity). The shrine consists of a wooden structure with a thatched roof. The Alose sculpture is inside the shrine. He is wearing a striped hat with a feather, and his face is painted white with dark pigments accentuating the eyes, nose, mouth and teeth. He is holding a club? or rifle? in one hand and another object in the other. His fingers and toes are painted white. In front of the figure are carved pots and stools. In the background is a large pot and vegetation further behind.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abaga\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Alusi or Arunsi (shrines)\n3. Alusi (21st image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d(Jones, 1989, p. 37).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked lik\n\nContext: In relation to the Alusi figures, Cole and Aniakor write that, \u201cthe dead are conceived as part of the everyday world, and just as clearly, their presence can hold a positive or negative valence for the living; exactly the same is true of the tutelary deities, alusi. These forces, however, are neither personal (chi or ancestors) nor universal (Chineke, Chukwu). Rather, they are in part specific, usually tangible phenomena such as: Earth, the Niger or Imo river, Eke, Afo, Orie/Oye, or Nkwo market, an extraordinary tree, a binding oath at a particular shrine, or the canyon of erosion in Agulu. The preeminence of Ala/Ani does not eclipse the vitality of these other deities, especially those associated with water, or of Amadioha, god of thunder and lightening and, by extension, rain. These anthropomorphic male and female deities have priests and often elaborate cult apparatus, symbolic works of art, and finely decorated compounds. Each has general and specific powers, and although their priesthoods may be held by certain lineages, the more commanding of these cults have constituencies cutting across lines of kinship and stressing communal worship. Such tutelary deities are close to people, fast-acting (for good or ill), and often capricious, thus requiring frequent attention and sacrifice. ...(Cole and Aniakor, 1984, p.16).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1984, p.54)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989, Ibo Art (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/11/2007]\n\nFM:147915\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13265_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000528_N.13265.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71447.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364718", "metadata": {"title": "Untitled", "idno": "N.71447.GIJ", "description": "Pyramids at the Nsude Village Shrine, Abaja Ibo, Northern Ibo. A series of pyramid, possibly made of mud, arranged in a row consisting of rounded graduated levels decreasing in size and culminating in a point at the top. The pyramids are surrounded by grasses and vegetation.", "place": "W Africa; Nigeria; ?South Eastern Nigeria; Nsude", "cultural_affliation": "Igbo [historically Ibo]; Abaja", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "Publication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Alusi or Arunsi (shrines)\n3. Pyramids Nsude village shrine, Abaja, Northern Igbo (10th image).\n\nPublication: Similar images of the Nsude pyramids taken in 1935 with the caption, \u201cThese ten circular stepped pyramids were associated with the Uto deity and were made of mud.\u201d African Legacy: School of Conservation Sciences, Bournemouth University, source [http://csweb.bournemouth.ac.uk/africanlegacy/culture.htm]\n\nBibliographical Reference: Chadwick, E.R. 1935, \u201cThe Nsude Pyramids\u201d, Nigerian Field, Vol. IV, No.2.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]", "raw_text_dump": "IDNO\n\nN.71447.GIJ\n\nDescription\n\nPyramids at the Nsude Village Shrine, Abaja Ibo, Northern Ibo. A series of pyramid, possibly made of mud, arranged in a row consisting of rounded graduated levels decreasing in size and culminating in a point at the top. The pyramids are surrounded by grasses and vegetation.\n\nPlace\n\nW Africa; Nigeria; ?South Eastern Nigeria; Nsude\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abaja\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Alusi or Arunsi (shrines)\n3. Pyramids Nsude village shrine, Abaja, Northern Igbo (10th image).\n\nPublication: Similar images of the Nsude pyramids taken in 1935 with the caption, \u201cThese ten circular stepped pyramids were associated with the Uto deity and were made of mud.\u201d African Legacy: School of Conservation Sciences, Bournemouth University, source [http://csweb.bournemouth.ac.uk/africanlegacy/culture.htm]\n\nBibliographical Reference: Chadwick, E.R. 1935, \u201cThe Nsude Pyramids\u201d, Nigerian Field, Vol. IV, No.2.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]\n\nFM:206097\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71447_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656592_N.71447.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171312.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465373", "metadata": {"title": "Untitled", "idno": "P.171312.GIJ", "description": "A portrait of an Oganochi mgbedike masquerader standing, facing the camera. In the background are spectators seated and standing, a thatched hut and trees.\nThe masquerader is wearing a full length cloth costume with light and dark striped ruffles on body and his upper arms and legs, with porcupine quills hanging from the edges of the ruffles. The masquerader is wearing a dark wooden helmet mask, with white paint accentuating the mouth, teeth and eyes. It is similar to an 'lion elephant mask'. There are two feathers held in the front of the band at the bottom of the horns. On the top of the mask are four carved horns curling inwards, with a carved animal finial joining the tips of the horns. [Description from record P.767078.GIJ, PB 30/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767236.GIJ and P.767237.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171312.GIJ\n\nDescription\n\nA portrait of an Oganochi mgbedike masquerader standing, facing the camera. In the background are spectators seated and standing, a thatched hut and trees.\nThe masquerader is wearing a full length cloth costume with light and dark striped ruffles on body and his upper arms and legs, with porcupine quills hanging from the edges of the ruffles. The masquerader is wearing a dark wooden helmet mask, with white paint accentuating the mouth, teeth and eyes. It is similar to an 'lion elephant mask'. There are two feathers held in the front of the band at the bottom of the horns. On the top of the mask are four carved horns curling inwards, with a carved animal finial joining the tips of the horns. [Description from record P.767078.GIJ, PB 30/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767236.GIJ and P.767237.GIJ are mounted together on card.\n\nFM:312003\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171312_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144528_P.171312.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13308.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306580", "metadata": {"title": "Untitled", "idno": "N.13308.GIJ", "description": "Close up portrait of a man wearing a white tunic shirt and a striped knit hat with a pom-pom.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13308.GIJ\n\nDescription\n\nClose up portrait of a man wearing a white tunic shirt and a striped knit hat with a pom-pom.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147958\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13308_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000571_N.13308.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169681.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463690", "metadata": {"title": "Untitled", "idno": "P.169681.GIJ", "description": "A group of human remains, including one skull and four bones. The remains are lying in grassy open ground with bushes in the background. [PB 24/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169680.GIJ - P.169690.GIJ were located in a brown envelope now numbered C754/3/.", "raw_text_dump": "IDNO\n\nP.169681.GIJ\n\nDescription\n\nA group of human remains, including one skull and four bones. The remains are lying in grassy open ground with bushes in the background. [PB 24/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169680.GIJ - P.169690.GIJ were located in a brown envelope now numbered C754/3/.\n\nFM:310168\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169681_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127458_image_not_public.jpg"}, {"file_name": "P_169681_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127459_P.169681.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171341.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465402", "metadata": {"title": "Untitled", "idno": "P.171341.GIJ", "description": "The Ogbugulu Mau (Ghost) masquerade.\nA masquerader, Nwaogho Ehi, (Heifer), is dancing. He is wearing a helmet mask (painted white and with v-shaped markings above and below the eyes)dressed in a brightly coloured harlequin-like/appliqu\u00e9 costume. He has a cloth cloak tied around the neck, over woven? or net? cloth which is attached to the mask, wrappers around the waist and ankle-rattles (made of seeds?). Mud and thatch houses and trees and vegetation in the background. [Description from record T.170109.GIJ, PB 02/08/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767265.GIJ is mounted on card.\n\nPublication: Same image in Jones, 1984, p.61, Plate 11 with the caption, \"Nwabogho Efi (Heifer): Ogubugulu Mau masquerader. Isuochi Ibo.\"", "raw_text_dump": "IDNO\n\nP.171341.GIJ\n\nDescription\n\nThe Ogbugulu Mau (Ghost) masquerade.\nA masquerader, Nwaogho Ehi, (Heifer), is dancing. He is wearing a helmet mask (painted white and with v-shaped markings above and below the eyes)dressed in a brightly coloured harlequin-like/appliqu\u00e9 costume. He has a cloth cloak tied around the neck, over woven? or net? cloth which is attached to the mask, wrappers around the waist and ankle-rattles (made of seeds?). Mud and thatch houses and trees and vegetation in the background. [Description from record T.170109.GIJ, PB 02/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767265.GIJ is mounted on card.\n\nPublication: Same image in Jones, 1984, p.61, Plate 11 with the caption, \"Nwabogho Efi (Heifer): Ogubugulu Mau masquerader. Isuochi Ibo.\"\n\nFM:312032\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171341_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144557_P.171341.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171107.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465168", "metadata": {"title": "Untitled", "idno": "P.171107.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nIro Ekpetu (\u2018Merciless\u2019), the masquerader, wears a fierce-looking black carved mask (darkened, with white? painted eyes, pointed nose, and protruding teeth painted white?), and a raffia hairpiece, a cloth top and trousers, and a raffia skirt. The masquerader is holding up both arms. Behind the masquerader are mud huts, a walled area trees and vegetation. [Description from record P.767002.GIJ, PB 14/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767029.GIJ - P.767032.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nImage used in Jones G.I. The art of Eastern Nigeria. 1984. Cambridge: CUP. Fig 10 p60. Caption: \"Iro Ekpetu : Mau masquerade. Isuochi Ibo\"\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Iro Ekpetu (Merciless), G.I. Jones writes in the notes: \"There were two of these fierce masks, black with fang-like teeth, wearing a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia, and carrying a wand or a stick with which to theaten the crowd.\"", "raw_text_dump": "IDNO\n\nP.171107.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nIro Ekpetu (\u2018Merciless\u2019), the masquerader, wears a fierce-looking black carved mask (darkened, with white? painted eyes, pointed nose, and protruding teeth painted white?), and a raffia hairpiece, a cloth top and trousers, and a raffia skirt. The masquerader is holding up both arms. Behind the masquerader are mud huts, a walled area trees and vegetation. [Description from record P.767002.GIJ, PB 14/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767029.GIJ - P.767032.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nImage used in Jones G.I. The art of Eastern Nigeria. 1984. Cambridge: CUP. Fig 10 p60. Caption: \"Iro Ekpetu : Mau masquerade. Isuochi Ibo\"\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Iro Ekpetu (Merciless), G.I. Jones writes in the notes: \"There were two of these fierce masks, black with fang-like teeth, wearing a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia, and carrying a wand or a stick with which to theaten the crowd.\"\n\nFM:311798\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171107_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144323_P.171107.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.170058.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464088", "metadata": {"title": "Untitled", "idno": "T.170058.GIJ", "description": "Onu Kamma (Mouth stronger than sword) masquerade showing a close up view of three masqueraders wearing large conical shaped faceless masks made of layers of fibre and with a cloth panel in the front. The masqueraders are wearing tie-dyed/batik? tops and striped woven cloth trousers adorned with fibre skirts around the waist (cowrie shells are seen on the masquerader in the far right.) One of the masqueraders (left) is holding a metal gong and hitting it with a stick, the middle figure is also holding a gong. Behind the masqueraders is a large audience of bystanders in the background.[Description from record P.71567.GIJ, PB 14/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170058.GIJ\n\nDescription\n\nOnu Kamma (Mouth stronger than sword) masquerade showing a close up view of three masqueraders wearing large conical shaped faceless masks made of layers of fibre and with a cloth panel in the front. The masqueraders are wearing tie-dyed/batik? tops and striped woven cloth trousers adorned with fibre skirts around the waist (cowrie shells are seen on the masquerader in the far right.) One of the masqueraders (left) is holding a metal gong and hitting it with a stick, the middle figure is also holding a gong. Behind the masqueraders is a large audience of bystanders in the background.[Description from record P.71567.GIJ, PB 14/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310586\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170058_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128177_T.170058.GIJ_001.png"}, {"file_name": "T_170058_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128179_T.170058.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169659.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463657", "metadata": {"title": "Untitled", "idno": "P.169659.GIJ", "description": "Mgbedike masquerade. The masquerader is wearing an elaborate headdress carved of horns, figures, animals, and on the top of the headdress is a man with a white face riding a horse? The mask is covered with palm fronds, omu, and the masquerader is holding an object (machete? or knife?) in one hand. The costume is made of cloth, palm fronds, shells, seeds and porcupine quills jutting out around the neck. In the background are trees, bystanders, and houses. [Description from record N.71562.GIJ, PB 18/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nN.71562.GIJ is a close up view of the masquerade character.", "raw_text_dump": "IDNO\n\nP.169659.GIJ\n\nDescription\n\nMgbedike masquerade. The masquerader is wearing an elaborate headdress carved of horns, figures, animals, and on the top of the headdress is a man with a white face riding a horse? The mask is covered with palm fronds, omu, and the masquerader is holding an object (machete? or knife?) in one hand. The costume is made of cloth, palm fronds, shells, seeds and porcupine quills jutting out around the neck. In the background are trees, bystanders, and houses. [Description from record N.71562.GIJ, PB 18/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nN.71562.GIJ is a close up view of the masquerade character.\n\nFM:310146\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169659_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127419_P.169659.GIJ_001.png"}, {"file_name": "P_169659_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127421_P.169659.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13192.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306464", "metadata": {"title": "Untitled", "idno": "N.13192.GIJ", "description": "Two masks; a Benin mini mask and a wooden Ibiibio panel mask.\nThe Benin mini mask at the top consists of a head with a hairstyle of concentric rings, incised rows of hair, prominent forehead with scarification marks, almond shaped eyes, nose, and lips. Around the chin are seven looped markings. The bottom mask is a rectangular panel with five linear rows with markings; in the centre of the panel is a raised face which is round and consists of a high forehead, slit eyes, nose, linear mouth and etched markings in the centre of the forehead and on each cheek. [AF 14/1/2008]", "place": "W Africa; Nigeria; South Eastern Nigeria; ?Benin City", "cultural_affliation": "Ibibio; Edo [historically Bini]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo society masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society of doctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the centre of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]", "raw_text_dump": "IDNO\n\nN.13192.GIJ\n\nDescription\n\nTwo masks; a Benin mini mask and a wooden Ibiibio panel mask.\nThe Benin mini mask at the top consists of a head with a hairstyle of concentric rings, incised rows of hair, prominent forehead with scarification marks, almond shaped eyes, nose, and lips. Around the chin are seven looped markings. The bottom mask is a rectangular panel with five linear rows with markings; in the centre of the panel is a raised face which is round and consists of a high forehead, slit eyes, nose, linear mouth and etched markings in the centre of the forehead and on each cheek. [AF 14/1/2008]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?Benin City\n\nCultural Affliation\n\nIbibio; Edo [historically Bini]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo society masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society of doctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the centre of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]\n\nFM:147842\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13192_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000454_N.13192.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.170275.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464336", "metadata": {"title": "Untitled", "idno": "P.170275.GIJ", "description": "A documentation photograph of a face mask. The face is elongated. The mask has a thick stud-shaped crest on top, a prominent forehead above recessed eyes and wide nose, with a small straight open mouth. The mask is decorated with metallic paint, and has a beard of hair. [PB 07/11/23]", "place": "W Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; England; London; British Museum", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.\n\nRelated Object: This mask is in the British Museum collection, reference Af1950,45.835.\n\"Height: 41.90 centimetres\nWidth: 17.30 centimetres\nDepth: 17.30 centimetres\nDescription: 'Mask made of wood, metal, skin, hair'.\" [PB 07/11/23]", "raw_text_dump": "IDNO\n\nP.170275.GIJ\n\nDescription\n\nA documentation photograph of a face mask. The face is elongated. The mask has a thick stud-shaped crest on top, a prominent forehead above recessed eyes and wide nose, with a small straight open mouth. The mask is decorated with metallic paint, and has a beard of hair. [PB 07/11/23]\n\nPlace\n\nW Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; England; London; British Museum\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.\n\nRelated Object: This mask is in the British Museum collection, reference Af1950,45.835.\n\"Height: 41.90 centimetres\nWidth: 17.30 centimetres\nDepth: 17.30 centimetres\nDescription: 'Mask made of wood, metal, skin, hair'.\" [PB 07/11/23]\n\nFM:310833\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170275_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131717_P.170275.GIJ_001.png"}, {"file_name": "P_170275_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131718_P.170275.GIJ_002.png"}, {"file_name": "P_170275_GIJ_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131719_P.170275.GIJ_003.png"}], "source_id": "maa_cambridge"}
{"id": "N.71457.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364728", "metadata": {"title": "Untitled", "idno": "N.71457.GIJ", "description": "Two wooden Ikenga figures. The figure on the left is seated on a stool and is holding a staff in one hand and another object in the other. The figure has a stylised human face painted white with black markings accentuating the eyebrows, eyes, nose and mouth, the two horns are curled. The figure is sitting and around the neck are coiled rings, the torso is painted white and black and he is wearing a painted ruffled tunic, there are coils around the ankles. The figure on the right is also seated on a stool. The figure has a painted white face with distinctive markings for eyes, nose and mouth, there are etched markings on the side, and there are two pointed horns painted black and white. The figure is holding a head in one hand and a cutlass in the other (the head and cutlass are also painted white.) There is a gourd attached to the figure with a piece of twine. There are also coiled markings around the ankles.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "P.71450.GIJ to P.71456.GIJ were wrapped in paper, now numbered C302/8/ and were presumed to have come from box 5, now numbered C302/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Two Ikenga Nri-Awka Igbo (8th image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d In reference to Ikenga figures, he writes, \u201c The best known Ibo personal cult and the one that has given rise to the greatest number of carvings is that of Ikenga, a Lower Niger cult of a man\u2019s right arm and of success associated with it, which the Edo shared with the Western, Northern, most of the Southern Ibo and with Igala groups. The Ohuhu-Ngwa, Cross River and Northeastern Ibo did not participate in it. Most Ibo and Edo had a small cylindrical object with some geometrical carving on it and ending in a pair of pointed horns. Some Western Ibo increased the size so that it looked more like a circular stool . Other Ibo and Edo added a head and some carved a whole figure. The Nri-Akwa Ibo produced the most elaborate cult objects and in the greatest number. Older examples carved by them elaborated the horns and the head, which was shown smoking a pipe. Later ones consisted of complete figures which were shown standing or more usually seated on a circular stool with a cutlass in one hand and a human head in the other or, alternatively, holding a tusk horn and an ornamental staff (Jones, 1989, p.40). Also, see Jones, 1984, pp. 141-142.\n\nContext: Cole and Aniakor write in detail about Ikenga (see Chapter Two). They show that the concept of Ikenga reverberates throughout much of Igbo life . These images are found in the shrines of individual diviners and corporate tutelary cults and as representatives of age-grades and communities. ...They continue to describe that the basic Igbo Ikenga image is a human with horns, sometimes rendered very simply as an abstract head and horns base. Larger, more elaborate examples include fully realized males seated on stools, holding and wearing various symbols, and with more or less complex headdresses determined in part by horns and often including several other motifs (Cole and Aniakor, 1984, p.24).\n\nPublications: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71457.GIJ\n\nDescription\n\nTwo wooden Ikenga figures. The figure on the left is seated on a stool and is holding a staff in one hand and another object in the other. The figure has a stylised human face painted white with black markings accentuating the eyebrows, eyes, nose and mouth, the two horns are curled. The figure is sitting and around the neck are coiled rings, the torso is painted white and black and he is wearing a painted ruffled tunic, there are coils around the ankles. The figure on the right is also seated on a stool. The figure has a painted white face with distinctive markings for eyes, nose and mouth, there are etched markings on the side, and there are two pointed horns painted black and white. The figure is holding a head in one hand and a cutlass in the other (the head and cutlass are also painted white.) There is a gourd attached to the figure with a piece of twine. There are also coiled markings around the ankles.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71450.GIJ to P.71456.GIJ were wrapped in paper, now numbered C302/8/ and were presumed to have come from box 5, now numbered C302/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Two Ikenga Nri-Awka Igbo (8th image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d In reference to Ikenga figures, he writes, \u201c The best known Ibo personal cult and the one that has given rise to the greatest number of carvings is that of Ikenga, a Lower Niger cult of a man\u2019s right arm and of success associated with it, which the Edo shared with the Western, Northern, most of the Southern Ibo and with Igala groups. The Ohuhu-Ngwa, Cross River and Northeastern Ibo did not participate in it. Most Ibo and Edo had a small cylindrical object with some geometrical carving on it and ending in a pair of pointed horns. Some Western Ibo increased the size so that it looked more like a circular stool . Other Ibo and Edo added a head and some carved a whole figure. The Nri-Akwa Ibo produced the most elaborate cult objects and in the greatest number. Older examples carved by them elaborated the horns and the head, which was shown smoking a pipe. Later ones consisted of complete figures which were shown standing or more usually seated on a circular stool with a cutlass in one hand and a human head in the other or, alternatively, holding a tusk horn and an ornamental staff (Jones, 1989, p.40). Also, see Jones, 1984, pp. 141-142.\n\nContext: Cole and Aniakor write in detail about Ikenga (see Chapter Two). They show that the concept of Ikenga reverberates throughout much of Igbo life . These images are found in the shrines of individual diviners and corporate tutelary cults and as representatives of age-grades and communities. ...They continue to describe that the basic Igbo Ikenga image is a human with horns, sometimes rendered very simply as an abstract head and horns base. Larger, more elaborate examples include fully realized males seated on stools, holding and wearing various symbols, and with more or less complex headdresses determined in part by horns and often including several other motifs (Cole and Aniakor, 1984, p.24).\n\nPublications: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206107\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71457_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656600_N.71457.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171096.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465157", "metadata": {"title": "Untitled", "idno": "P.171096.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nA close up view of Iro Ekpetu (Merciless) wearing a fierce, black wooden face mask; the forehead is incised with decoration, the eyes consist of two small holes but accentuated with white paint around the eyes, a pointed nose, round ears and protruding mouth and teeth, accentuated by white paint. On the head is a protrusion, such as a keloid? or rhomboid?. Raffia \u2018hair\u2019 is attached to the back of the mask. The upper torso is covered in a cloth top, which is attached to the mask. The masquerader is holding up a stick switch. In the background is a mud and thatch building surrounded by trees and vegetation. [Description from record N.13254.GIJ, PB 13/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767019.GIJ - P.767028.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Iro Ekpetu (Merciless), G.I. Jones writes in the notes: \"There were two of these fierce masks, black with fang-like teeth, wearing a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia, and carrying a wand or a stick with which to theaten the crowd.\"", "raw_text_dump": "IDNO\n\nP.171096.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nA close up view of Iro Ekpetu (Merciless) wearing a fierce, black wooden face mask; the forehead is incised with decoration, the eyes consist of two small holes but accentuated with white paint around the eyes, a pointed nose, round ears and protruding mouth and teeth, accentuated by white paint. On the head is a protrusion, such as a keloid? or rhomboid?. Raffia \u2018hair\u2019 is attached to the back of the mask. The upper torso is covered in a cloth top, which is attached to the mask. The masquerader is holding up a stick switch. In the background is a mud and thatch building surrounded by trees and vegetation. [Description from record N.13254.GIJ, PB 13/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767019.GIJ - P.767028.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Iro Ekpetu (Merciless), G.I. Jones writes in the notes: \"There were two of these fierce masks, black with fang-like teeth, wearing a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia, and carrying a wand or a stick with which to theaten the crowd.\"\n\nFM:311787\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171096_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144312_P.171096.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71611.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364882", "metadata": {"title": "Untitled", "idno": "N.71611.GIJ", "description": "A group of boys playing in a band. There are various types of musical instruments including igba (membrane drums), made of wood with leather hides, pot drums, ngedegwu (zylophone) consisting of a pot base and wooden slats, ogene (metal gongs), and rattles made of small basketwork containers. The band is dressed in loin cloths and some have cloth kerchiefs on their head. Standing behind the band are a group of men as spectators wearing wrappers, jackets, shirts, and hats. The band is located under a tree with some musicians sitting and other standing. In the background are trees and vegetation.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River area", "cultural_affliation": "Igbo [historically Ibo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 31 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Igbo Musicians\n3. Band playing in Northern Igboland (5th image).\n\nContext: Jones describes the various types of musical instruments and the way they were played during masquerades. \u201cDrums of both types (slit and membrane) were combined with flutes, whistles, rattles, clappers of various sorts, single and double iron gongs and pots to form orchestras of varying size for dances and masquerades. The flutes and whistles were carved out of wood or were the horns of goats or small antelopes with a mouthpiece cut in the side or the end: the rattles were small basketwork or calabash containers half filled with hard seeds or shells or calabashes covered with loose net on which beads or seeds had been threaded. The pots were round narrow-necked water pots with a circular hole cut out the side which was beaten with the palm of the hand. Drums predominated and provided most of the variations and improvisations. There was usually one slit drum that was used for most of these, while the others were limited to the regular repetition of one or two notes: as were the other instruments. In masquerades where the characters danced and where the dancing and mining was at all elaborate, as amongst the Kalabari, the movements of the characters were governed not only by the rhythm of the drumming but by the coded instructions played on one particular drum, which the actor had to distinguish from the notes which accompanied it on the drums.\u201d (Jones, 1984, p.115)\n\nContext: Echezona provides a detailed description of the various Ibo musical instruments and discusses their various uses. Interestingly, he notes that, \u201cAlmost any type of Ibo musical instrument is used in \u201ctalking\u201d. Here are a few reasons why this is possible. Ibo language is tonal and the language calls to mind an agreeable succession of tones which combine themselves into interesting patterns and rhythms using syncopation, asymmetric divisions, nonaccented rhythms, changing meters, and shifted accents as some of the devices. In reference to drums he notes that the drum is extensively used for dancing, rejoicing, and wrestling. Gongs or ogene are also important because the, Ogene is principally used to supply rhythms for dancers. The two different pitches often employed in the use of the ogene can show whether a dancer is expected to use his right or his left leg or, when one foot is doing the motion, whether the foot should move up or done. The ogene is also used as a an accompaniment for other percussive instruments such as the ngededgwu (xylophone), abia (set of drums) and in combination with the udu (earthen pot instrument). The aja (clappers) are used to mark rhythms in a song or dance (Echezona, 1964)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nEchezona, W. Wilberforce 1964. \u201cIbo Musical Instruments\u201d Music Educators Journal, Vol. 50, No.5 pp.23-27+130-131.\n\nMAA Facebook: Image published on 30 April 2016 with the caption: \"Jazz music evolved out of African American communities during the late 19th and early 20th centuries. Over the next 100 years Jazz as a genre changed and transformed, begetting new genres like Bebop, Funk, Ska, and Reggae just to name a few. But always the roots of Jazz lead back to the rich tradition of self expression in black communities.\nIn the mid-20th century, African themes became popular as did instruments non-traditional to jazz, such as kalimbas and gourds.\nTo celebrate UNESCO International Jazz Day we wanted to share this photo, of \"a band of boys playing various instruments, including igba (membrane drums), made of wood with leather hides, pot drums, ngedegwu (zylophone) consisting of a pot base and wooden slats, ogene (metal gongs), and rattles made of small basketwork containers.\"\u2028Cross River area, Nigeria\u2028Photo by G.J. Jones. 1930 - 1939\u2028N.71611.GIJ\n\u202a#\u200eJazzDay\u202c \u202a#\u200eInternationalJazzDay2016\u202c\"\n19 Likes; 3 Share. [JD 17/05/2016]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]", "raw_text_dump": "IDNO\n\nN.71611.GIJ\n\nDescription\n\nA group of boys playing in a band. There are various types of musical instruments including igba (membrane drums), made of wood with leather hides, pot drums, ngedegwu (zylophone) consisting of a pot base and wooden slats, ogene (metal gongs), and rattles made of small basketwork containers. The band is dressed in loin cloths and some have cloth kerchiefs on their head. Standing behind the band are a group of men as spectators wearing wrappers, jackets, shirts, and hats. The band is located under a tree with some musicians sitting and other standing. In the background are trees and vegetation.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River area\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 31 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Igbo Musicians\n3. Band playing in Northern Igboland (5th image).\n\nContext: Jones describes the various types of musical instruments and the way they were played during masquerades. \u201cDrums of both types (slit and membrane) were combined with flutes, whistles, rattles, clappers of various sorts, single and double iron gongs and pots to form orchestras of varying size for dances and masquerades. The flutes and whistles were carved out of wood or were the horns of goats or small antelopes with a mouthpiece cut in the side or the end: the rattles were small basketwork or calabash containers half filled with hard seeds or shells or calabashes covered with loose net on which beads or seeds had been threaded. The pots were round narrow-necked water pots with a circular hole cut out the side which was beaten with the palm of the hand. Drums predominated and provided most of the variations and improvisations. There was usually one slit drum that was used for most of these, while the others were limited to the regular repetition of one or two notes: as were the other instruments. In masquerades where the characters danced and where the dancing and mining was at all elaborate, as amongst the Kalabari, the movements of the characters were governed not only by the rhythm of the drumming but by the coded instructions played on one particular drum, which the actor had to distinguish from the notes which accompanied it on the drums.\u201d (Jones, 1984, p.115)\n\nContext: Echezona provides a detailed description of the various Ibo musical instruments and discusses their various uses. Interestingly, he notes that, \u201cAlmost any type of Ibo musical instrument is used in \u201ctalking\u201d. Here are a few reasons why this is possible. Ibo language is tonal and the language calls to mind an agreeable succession of tones which combine themselves into interesting patterns and rhythms using syncopation, asymmetric divisions, nonaccented rhythms, changing meters, and shifted accents as some of the devices. In reference to drums he notes that the drum is extensively used for dancing, rejoicing, and wrestling. Gongs or ogene are also important because the, Ogene is principally used to supply rhythms for dancers. The two different pitches often employed in the use of the ogene can show whether a dancer is expected to use his right or his left leg or, when one foot is doing the motion, whether the foot should move up or done. The ogene is also used as a an accompaniment for other percussive instruments such as the ngededgwu (xylophone), abia (set of drums) and in combination with the udu (earthen pot instrument). The aja (clappers) are used to mark rhythms in a song or dance (Echezona, 1964)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nEchezona, W. Wilberforce 1964. \u201cIbo Musical Instruments\u201d Music Educators Journal, Vol. 50, No.5 pp.23-27+130-131.\n\nMAA Facebook: Image published on 30 April 2016 with the caption: \"Jazz music evolved out of African American communities during the late 19th and early 20th centuries. Over the next 100 years Jazz as a genre changed and transformed, begetting new genres like Bebop, Funk, Ska, and Reggae just to name a few. But always the roots of Jazz lead back to the rich tradition of self expression in black communities.\nIn the mid-20th century, African themes became popular as did instruments non-traditional to jazz, such as kalimbas and gourds.\nTo celebrate UNESCO International Jazz Day we wanted to share this photo, of \"a band of boys playing various instruments, including igba (membrane drums), made of wood with leather hides, pot drums, ngedegwu (zylophone) consisting of a pot base and wooden slats, ogene (metal gongs), and rattles made of small basketwork containers.\"\u2028Cross River area, Nigeria\u2028Photo by G.J. Jones. 1930 - 1939\u2028N.71611.GIJ\n\u202a#\u200eJazzDay\u202c \u202a#\u200eInternationalJazzDay2016\u202c\"\n19 Likes; 3 Share. [JD 17/05/2016]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nFM:206261\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71611_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656722_N.71611.GIJ.tif..png"}], "source_id": "maa_cambridge"}
{"id": "P.169757.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463766", "metadata": {"title": "Untitled", "idno": "P.169757.GIJ", "description": "Half-length portrait of young man in profile. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169757.GIJ\n\nDescription\n\nHalf-length portrait of young man in profile. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310244\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169757_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127608_P.169757.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171181.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465242", "metadata": {"title": "Untitled", "idno": "P.171181.GIJ", "description": "A portrait of a man sitting on a stool next to a carved wooden door. [PB 21/06/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Isuochi", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767100.GIJ - P.767105.GIJ are mounted together on paper.", "raw_text_dump": "IDNO\n\nP.171181.GIJ\n\nDescription\n\nA portrait of a man sitting on a stool next to a carved wooden door. [PB 21/06/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Isuochi\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767100.GIJ - P.767105.GIJ are mounted together on paper.\n\nFM:311872\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171181_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144397_P.171181.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171563.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465624", "metadata": {"title": "Untitled", "idno": "P.171563.GIJ", "description": "A documentation photograph of three ekpu ancestral figures representing the deceased head of a family lineage. [PB 23/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Oron; Ebughu", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171562.GIJ and P.171563.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171563.GIJ\n\nDescription\n\nA documentation photograph of three ekpu ancestral figures representing the deceased head of a family lineage. [PB 23/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Oron; Ebughu\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171562.GIJ and P.171563.GIJ are mounted on card.\n\nFM:312283\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171563_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144820_P.171563.GIJ_001.jpg"}, {"file_name": "P_171563_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144821_P.171563.GIJ_002_1.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71491.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364762", "metadata": {"title": "Untitled", "idno": "N.71491.GIJ", "description": "Boys\u2019 initiation dance in the Nri Akwa area. The male initiates are wearing tight loin cloths which are decorated with bells around the waist, knee bands made of seeds? or metal? and on their head they are wearing a black cap decorated like a coiffure and studded with round metal decorations. Some are wearing necklaces. In the background are spectators.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 59 of the negative album now numbered C15/.\n\nP.71490.GIJ to P.71496.GIJ were wrapped in paper, now numbered C302/14/ and were presumed to have come from box 5, now numbered C302/.\n\nContext: For a detailed discussion of initiation rites see Jones, 1962. Cole and Aniakor also discuss the importance of initiation rites. \u201cAdolescent initiation inot th serious business of manhood in Igboland is normally marked by entry into a masked organization. Several regional variations exist (Cole and Anaikor, 1984, p.112).\n\nContext: Green in her ethnographic study of the Igbo discusses the complexity of initiation rites. She writes, \u201cThe question of initiation rites is not an easy one to deal with. Those of the boys have gone underground to a considerable extent from fear of European disapproval and tend now to be held in connection with the initiation of a dibea. None were held in Umueke while I was living there, though when a dibea was initiated in the neighbouring village-group of Umunuma, we saw boys in initiation dress going to market with him in his public inception as a diviner and they had probably been passing through a period of initiation at the same time as he did his own. I obtained a number of descriptions of the normal boys\u2019 initiation rites, which used to be held every few years and through which most of the boys in the village except the quite young ones had passed. The boys of part of the next door Agbaja village also participated. The chief feature of the rites was described as being the acquiring of aggressive medicine or magic rather than the receiving of instruction. This medicine could only be used against people who had not themselves acquired it, against strangers that is to say, and more particularly against women because the latter never acquired it. The medicine was put into the boys\u2019 eyes and into cuts in the skin over a period of eight days. In so far as they were not supposed to cry it may be said that hardihood was inculcated. \u201c She continues to say that the initiation rites were important for group solidarity and a certain code of morality. (Green, 1947, pp.80-81.)\n\nBibliographical Reference: Jones, G.I. 1962, \u201cIbo Age Organization, with Special Reference to the Cross River and North-eastern Ibo.\u201d The Journal of the Royal Anthropological Institute of Great Britain and Ireland, Vol. 92, No. 2, pp.191-211.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\nGreen, M.M. 1964 (second edition) Igbo Village Affairs (Frank Cass and Co.).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]", "raw_text_dump": "IDNO\n\nN.71491.GIJ\n\nDescription\n\nBoys\u2019 initiation dance in the Nri Akwa area. The male initiates are wearing tight loin cloths which are decorated with bells around the waist, knee bands made of seeds? or metal? and on their head they are wearing a black cap decorated like a coiffure and studded with round metal decorations. Some are wearing necklaces. In the background are spectators.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 59 of the negative album now numbered C15/.\n\nP.71490.GIJ to P.71496.GIJ were wrapped in paper, now numbered C302/14/ and were presumed to have come from box 5, now numbered C302/.\n\nContext: For a detailed discussion of initiation rites see Jones, 1962. Cole and Aniakor also discuss the importance of initiation rites. \u201cAdolescent initiation inot th serious business of manhood in Igboland is normally marked by entry into a masked organization. Several regional variations exist (Cole and Anaikor, 1984, p.112).\n\nContext: Green in her ethnographic study of the Igbo discusses the complexity of initiation rites. She writes, \u201cThe question of initiation rites is not an easy one to deal with. Those of the boys have gone underground to a considerable extent from fear of European disapproval and tend now to be held in connection with the initiation of a dibea. None were held in Umueke while I was living there, though when a dibea was initiated in the neighbouring village-group of Umunuma, we saw boys in initiation dress going to market with him in his public inception as a diviner and they had probably been passing through a period of initiation at the same time as he did his own. I obtained a number of descriptions of the normal boys\u2019 initiation rites, which used to be held every few years and through which most of the boys in the village except the quite young ones had passed. The boys of part of the next door Agbaja village also participated. The chief feature of the rites was described as being the acquiring of aggressive medicine or magic rather than the receiving of instruction. This medicine could only be used against people who had not themselves acquired it, against strangers that is to say, and more particularly against women because the latter never acquired it. The medicine was put into the boys\u2019 eyes and into cuts in the skin over a period of eight days. In so far as they were not supposed to cry it may be said that hardihood was inculcated. \u201c She continues to say that the initiation rites were important for group solidarity and a certain code of morality. (Green, 1947, pp.80-81.)\n\nBibliographical Reference: Jones, G.I. 1962, \u201cIbo Age Organization, with Special Reference to the Cross River and North-eastern Ibo.\u201d The Journal of the Royal Anthropological Institute of Great Britain and Ireland, Vol. 92, No. 2, pp.191-211.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\nGreen, M.M. 1964 (second edition) Igbo Village Affairs (Frank Cass and Co.).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]\n\n\nFM:206141\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71491_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656619_N.71491.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169745.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463754", "metadata": {"title": "Untitled", "idno": "P.169745.GIJ", "description": "Half-length portrait of a man. There is the inside of a roofed building in the background. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169745.GIJ\n\nDescription\n\nHalf-length portrait of a man. There is the inside of a roofed building in the background. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310232\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169745_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127584_P.169745.GIJ_001.png"}, {"file_name": "P_169745_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127585_P.169745.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169796.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463805", "metadata": {"title": "Untitled", "idno": "P.169796.GIJ", "description": "A head and shoulders portrait of a man, wearing a cloth around his neck over a collarless shirt, and facing the camera. The man's right eye appears to be scarred or bruised, with the eyelid puffed up and eye closed. In the background there is open country with scattered bushes and trees. [PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169791.GIJ - P.169803.GIJ were located in an brown envelope now numbered C754/8/.", "raw_text_dump": "IDNO\n\nP.169796.GIJ\n\nDescription\n\nA head and shoulders portrait of a man, wearing a cloth around his neck over a collarless shirt, and facing the camera. The man's right eye appears to be scarred or bruised, with the eyelid puffed up and eye closed. In the background there is open country with scattered bushes and trees. [PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169791.GIJ - P.169803.GIJ were located in an brown envelope now numbered C754/8/.\n\nFM:310283\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169796_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127685_P.169796.GIJ_001.png"}, {"file_name": "P_169796_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127686_P.169796.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13257.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306529", "metadata": {"title": "Untitled", "idno": "N.13257.GIJ", "description": "Obugulu Mau (Ghost) masquerade.\n\nClose up portrait of a masquerader, Egu Agu, (\u2018Money Finish\u2019) , wearing a helmet mask with a superstructure decorated with cloth and tassles, and brightly coloured harlequin-like costume. Cloth cloak tied around the neck, over ?woven or ?net cloth which is attached to the mask. Male onlookers to the right.", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village", "cultural_affliation": "Isuochi; Nri-Awka Igbo; Northern Igbo; Igbo", "named_person": "Egu Agu; Money Finish [names of mask character]", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Ego Ago (money finish) Mmau masquerade, Amuda village, Isu Ochi (1st image).\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984: 143)\n\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 17/10/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13257.GIJ\n\nDescription\n\nObugulu Mau (Ghost) masquerade.\n\nClose up portrait of a masquerader, Egu Agu, (\u2018Money Finish\u2019) , wearing a helmet mask with a superstructure decorated with cloth and tassles, and brightly coloured harlequin-like costume. Cloth cloak tied around the neck, over ?woven or ?net cloth which is attached to the mask. Male onlookers to the right.\n\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIsuochi; Nri-Awka Igbo; Northern Igbo; Igbo\n\nNamed Person\n\nEgu Agu; Money Finish [names of mask character]\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Ego Ago (money finish) Mmau masquerade, Amuda village, Isu Ochi (1st image).\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984: 143)\n\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 17/10/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147907\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13257_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000520_N.13257.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.169862.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463881", "metadata": {"title": "Untitled", "idno": "P.169862.GIJ", "description": "Ikem masquerade play. A masquerader wearing an Anang carved female face mask over a square frame covered in a printed cloth and wearing a striped wrapper or waist cloth. The face of the mask is a very naturalistic and human, with accentuated dark eyebrows, eyes, fine nose , marks on both cheeks, and lips, with an elaborate black coiffure parted in the centre and in large plaits or braids, around the neck is a large necklace. The masquerader is holding and umbrella in one hand and a handkerchief in the other. To the side of the masquerader is a man \u201cattendant\u201d holding a musical instrument?; he is wearing a white top and plaid wrapper. Behind is a group of spectators and in the background are thatched houses and trees. [Description from record N.13198.GIJ, PB 18/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Umuahia", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169862.GIJ\n\nDescription\n\nIkem masquerade play. A masquerader wearing an Anang carved female face mask over a square frame covered in a printed cloth and wearing a striped wrapper or waist cloth. The face of the mask is a very naturalistic and human, with accentuated dark eyebrows, eyes, fine nose , marks on both cheeks, and lips, with an elaborate black coiffure parted in the centre and in large plaits or braids, around the neck is a large necklace. The masquerader is holding and umbrella in one hand and a handkerchief in the other. To the side of the masquerader is a man \u201cattendant\u201d holding a musical instrument?; he is wearing a white top and plaid wrapper. Behind is a group of spectators and in the background are thatched houses and trees. [Description from record N.13198.GIJ, PB 18/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Umuahia\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310349\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169862_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127823_P.169862.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.170262.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464323", "metadata": {"title": "Untitled", "idno": "P.170262.GIJ", "description": "A carved wooden Ekpo face mask. The mask is fringed with raffia grass and fibres. The face has a recessed figure of eight bow on the forehead, recessed eyes with almond-shaped eyeholes, a wide open mouth with jagged teeth, and ears with serrated pattern of scarification. The mask is propped against a reed fence. [PB 03/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Ediene Itak", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.", "raw_text_dump": "IDNO\n\nP.170262.GIJ\n\nDescription\n\nA carved wooden Ekpo face mask. The mask is fringed with raffia grass and fibres. The face has a recessed figure of eight bow on the forehead, recessed eyes with almond-shaped eyeholes, a wide open mouth with jagged teeth, and ears with serrated pattern of scarification. The mask is propped against a reed fence. [PB 03/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Ediene Itak\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.\n\nFM:310820\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170262_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131689_P.170262.GIJ_001.png"}, {"file_name": "P_170262_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131690_P.170262.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169635.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463610", "metadata": {"title": "Untitled", "idno": "P.169635.GIJ", "description": "Rumuji Owu play, the character is Abam (one who has visited places and learnt things) and the figure represents a fierce fish spirit. The headpiece is a long horizontal carved piece with a pointed head depicting sharp incised teeth, round eyes, and fins on the sides and top. The headpiece is painted in different colours. On top of the carving is a square cloth panel (like a sail) that has four pieces of cloth sewn in the centre. The masquerader is draped in block printed cotton cloth. In the background are spectators. [Description from record N.74264.GIJ, PB 01/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Ikwerri", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.", "raw_text_dump": "IDNO\n\nP.169635.GIJ\n\nDescription\n\nRumuji Owu play, the character is Abam (one who has visited places and learnt things) and the figure represents a fierce fish spirit. The headpiece is a long horizontal carved piece with a pointed head depicting sharp incised teeth, round eyes, and fins on the sides and top. The headpiece is painted in different colours. On top of the carving is a square cloth panel (like a sail) that has four pieces of cloth sewn in the centre. The masquerader is draped in block printed cotton cloth. In the background are spectators. [Description from record N.74264.GIJ, PB 01/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ikwerri\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nFM:310122\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169635_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127337_P.169635.GIJ_001.png"}, {"file_name": "P_169635_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127340_P.169635.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171133.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465194", "metadata": {"title": "Untitled", "idno": "P.171133.GIJ", "description": "An Ogbugulu mau mask. The mask consists of a side view of an Ogbugulu Mau helmet mask modelled by a male. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits with rounded pupils, delicate nose, and the mouth is open depicting teeth. There are designs on the cheek and round circles on the side of the face. The top of the mask depicts an elaborate crested coiffure in the central arched area there are pegs which are painted in different colours. The curls or swirled designs are incised to represent hair. The shape of the mask is extended forward at an angle. One can see the holes that were used to sew fabric to the mask. (The masquerader is not wearing a costume which suggests he is not performing). In the background is a thatched area and behind are trees. [Description from record N.13334.GIJ, PB 18/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Nsukka division", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171133.GIJ\n\nDescription\n\nAn Ogbugulu mau mask. The mask consists of a side view of an Ogbugulu Mau helmet mask modelled by a male. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits with rounded pupils, delicate nose, and the mouth is open depicting teeth. There are designs on the cheek and round circles on the side of the face. The top of the mask depicts an elaborate crested coiffure in the central arched area there are pegs which are painted in different colours. The curls or swirled designs are incised to represent hair. The shape of the mask is extended forward at an angle. One can see the holes that were used to sew fabric to the mask. (The masquerader is not wearing a costume which suggests he is not performing). In the background is a thatched area and behind are trees. [Description from record N.13334.GIJ, PB 18/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Nsukka division\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311824\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171133_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144349_P.171133.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171569.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465630", "metadata": {"title": "Untitled", "idno": "P.171569.GIJ", "description": "A documentation photograph of a carved wooden figure (possibly a ceremonial board staff?) in the shape of a board, above which project four short poles with finials shaped as heads. The board is decorated by various faces, bodies and geometric shapes in relief. [PB 31/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Ahiara", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171567.GIJ to P.171569.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171569.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden figure (possibly a ceremonial board staff?) in the shape of a board, above which project four short poles with finials shaped as heads. The board is decorated by various faces, bodies and geometric shapes in relief. [PB 31/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Ahiara\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171567.GIJ to P.171569.GIJ are mounted on card.\n\nFM:312289\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171569_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144833_P.171569.GIJ_001.jpg"}, {"file_name": "P_171569_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144834_P.171569.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.169971.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463990", "metadata": {"title": "Untitled", "idno": "T.169971.GIJ", "description": "Obugulu Mau (Ghost) masquerade.\n\nClose up portrait of Ojo (Eju) Oni (Long Mouth) masquerade character wearing a carved and painted wooden head mask, attached to a woven cloth costume which covers the whole of the top half of the wearer. The \u201canimal-like\u201d mask is carved with two horns, eyes, nose, ears, snout with teeth. It is painted with dark pigment, on to which pale spots and lines have been added. In the background are grasses, huts, and trees. [Description from record N.13239.GIJ, PB 17/08/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; October 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.169971.GIJ\n\nDescription\n\nObugulu Mau (Ghost) masquerade.\n\nClose up portrait of Ojo (Eju) Oni (Long Mouth) masquerade character wearing a carved and painted wooden head mask, attached to a woven cloth costume which covers the whole of the top half of the wearer. The \u201canimal-like\u201d mask is carved with two horns, eyes, nose, ears, snout with teeth. It is painted with dark pigment, on to which pale spots and lines have been added. In the background are grasses, huts, and trees. [Description from record N.13239.GIJ, PB 17/08/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; October 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310499\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_169971_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127981_T.169971.GIJ_001.png"}, {"file_name": "T_169971_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127982_T.169971.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169766.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463775", "metadata": {"title": "Untitled", "idno": "P.169766.GIJ", "description": "Half-length portrait of a male elder wearing a jacket and woollen hat holding a stick. To his side is another person. [Description from record N.13314.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169766.GIJ\n\nDescription\n\nHalf-length portrait of a male elder wearing a jacket and woollen hat holding a stick. To his side is another person. [Description from record N.13314.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310253\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169766_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127626_P.169766.GIJ_001.png"}, {"file_name": "P_169766_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127627_P.169766.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71443.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364714", "metadata": {"title": "Untitled", "idno": "N.71443.GIJ", "description": "A close up view of mural decorations on a wall in Nri Akwa. The murals depict two raised figures in relief. The stylised figure on the left is standing with his long (out of proportion) arms stretched out. The figure has a white painted clothing and body decorations, and his left arm is holding a gun? and is painted in spots. Around his head is white oval circular and designs. On either side of his legs are birds and leaf designs. He is standing on a decorated plinth. The figure on the right is standing and has his arms placed on his hips; his face is painted white and he is also painted with white markings and wearing a medal around his neck. Around the figures are designs, geometric swirled patterns and birds.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "Context: Jones provides a detailed discussion about wall paintings, he writes, \u201c In the brief boom period following the First World War the villages of this tribe were competing against each other in the building of meeting-houses and similar public monuments. The village of Umuajatta (Olokoro) conributed together to build the finest Ekpe (Egbo) society house in the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired an Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace thier Mbaja wall with a permanent one decorated in the same manner. This villag was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument.\u201d PP. 107-108.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 3/3/2008]", "raw_text_dump": "IDNO\n\nN.71443.GIJ\n\nDescription\n\nA close up view of mural decorations on a wall in Nri Akwa. The murals depict two raised figures in relief. The stylised figure on the left is standing with his long (out of proportion) arms stretched out. The figure has a white painted clothing and body decorations, and his left arm is holding a gun? and is painted in spots. Around his head is white oval circular and designs. On either side of his legs are birds and leaf designs. He is standing on a decorated plinth. The figure on the right is standing and has his arms placed on his hips; his face is painted white and he is also painted with white markings and wearing a medal around his neck. Around the figures are designs, geometric swirled patterns and birds.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\n\nContext: Jones provides a detailed discussion about wall paintings, he writes, \u201c In the brief boom period following the First World War the villages of this tribe were competing against each other in the building of meeting-houses and similar public monuments. The village of Umuajatta (Olokoro) conributed together to build the finest Ekpe (Egbo) society house in the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired an Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace thier Mbaja wall with a permanent one decorated in the same manner. This villag was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument.\u201d PP. 107-108.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 3/3/2008]\n\n\n\nFM:206093\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71443_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656588_N.71443.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71480.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364751", "metadata": {"title": "Untitled", "idno": "N.71480.GIJ", "description": "Four wooden Agwu Nsi figures. From left to right:", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; ?Nri Awka", "cultural_affliation": "Igbo [historically Ibo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 93 of the negative album now numbered C16/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Agwu Nsi Figures\n3. Agwu Nsi figures (Dibia) Nri-Awka Igbo (2nd image).\n\nContext: Jones writes about these figures and explains they were used by diviners. \u201cQuite as importantly, particularly in the Lower Niger area, were the figures representing personal deities decorating the meeting houses of wealthy Northern Ibo men, who vied each other in such displays. The best known of these cults was the Ikenga. Northern and Southern Ibo diviners carried with them as part of their paraphernalia their Agu Nsi, small carvings of humans, animals, Ikenga and other ritual objects which were believed to help them in their divination.\u201d (Jones, 1989, p.38)\n\nContext: As the Owerri creation story indicates, the deity Agwushi is a a critical force in Igbo life, standing between mankind and the various gods and ancestors. The priest/doctor/diviner, dibia, consults Agwushi to interpret the needs and dissatifactions of other deities. Diviners are wise, educated men who can elicit the meanings of things and see the past, present and future with clarity. They prescribe ritual procedures and sacrifices and prepare substances - magical medicines, ogwu - which correct mistakes, cure diseases, and otherwise bring the world of the client back into proper balance. Some of these medicinal preparations are rubbed on a patient or swallowed, but others are considered just for their existence. Agwushi creates order by arbitrating between mankind and the gods, giving something to each (Cole and Aniakor, 1984, pp. 16-17.)\n\nBibliographical Reference: Jones, G.I. Ibo Art. 1989 (Shire);\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 4/3/2008]", "raw_text_dump": "IDNO\n\nN.71480.GIJ\n\nDescription\n\nFour wooden Agwu Nsi figures. From left to right:\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; ?Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 93 of the negative album now numbered C16/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Agwu Nsi Figures\n3. Agwu Nsi figures (Dibia) Nri-Awka Igbo (2nd image).\n\nContext: Jones writes about these figures and explains they were used by diviners. \u201cQuite as importantly, particularly in the Lower Niger area, were the figures representing personal deities decorating the meeting houses of wealthy Northern Ibo men, who vied each other in such displays. The best known of these cults was the Ikenga. Northern and Southern Ibo diviners carried with them as part of their paraphernalia their Agu Nsi, small carvings of humans, animals, Ikenga and other ritual objects which were believed to help them in their divination.\u201d (Jones, 1989, p.38)\n\nContext: As the Owerri creation story indicates, the deity Agwushi is a a critical force in Igbo life, standing between mankind and the various gods and ancestors. The priest/doctor/diviner, dibia, consults Agwushi to interpret the needs and dissatifactions of other deities. Diviners are wise, educated men who can elicit the meanings of things and see the past, present and future with clarity. They prescribe ritual procedures and sacrifices and prepare substances - magical medicines, ogwu - which correct mistakes, cure diseases, and otherwise bring the world of the client back into proper balance. Some of these medicinal preparations are rubbed on a patient or swallowed, but others are considered just for their existence. Agwushi creates order by arbitrating between mankind and the gods, giving something to each (Cole and Aniakor, 1984, pp. 16-17.)\n\nBibliographical Reference: Jones, G.I. Ibo Art. 1989 (Shire);\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 4/3/2008]\n\nFM:206130\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71480_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656610_N.71480.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13200.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306472", "metadata": {"title": "Untitled", "idno": "N.13200.GIJ", "description": "An Ibibio tripod drum: skin covered wooden carved drum with three carved wooden human figures.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ibibio, Ijo and Ogoni\n2. Ibibio\n3. Tripod Drum (4th image).\n\nContext: Jones writes about the membrane drums and notes that, \u201cMembrane drums consisted of a cylinder, usually hollowed out of a tree trunk, with a membrane of skin stretched and pegged over the one end and with the other end left open. The tone was derived from the tension, which was controlled by the adjustable pegs.\u201d\n\nHe goes on to say that drums were often accompanied by other instruments such as flutes, whistles, rattles, clappers of various sorts, single and double iron gongs and pots to form orchestras of varying sizes for dances and masquerades. (Jones, 1984, pp.114-115).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13200.GIJ\n\nDescription\n\nAn Ibibio tripod drum: skin covered wooden carved drum with three carved wooden human figures.\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ibibio, Ijo and Ogoni\n2. Ibibio\n3. Tripod Drum (4th image).\n\nContext: Jones writes about the membrane drums and notes that, \u201cMembrane drums consisted of a cylinder, usually hollowed out of a tree trunk, with a membrane of skin stretched and pegged over the one end and with the other end left open. The tone was derived from the tension, which was controlled by the adjustable pegs.\u201d\n\nHe goes on to say that drums were often accompanied by other instruments such as flutes, whistles, rattles, clappers of various sorts, single and double iron gongs and pots to form orchestras of varying sizes for dances and masquerades. (Jones, 1984, pp.114-115).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147850\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13200_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000462_N.13200.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71826.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365097", "metadata": {"title": "Untitled", "idno": "N.71826.GIJ", "description": "Ajonku masquerade; a masquerade character taking part in a \u201cparade\u201d of masks. The masquerader is wearing a dark face mask with humanistic features consisting of almond shaped eyes, nose, and open mouth, defined with white paint. On top of the mask are feathers and raffia fiber \u201chair\u201d. The masquerader is holding a cutlass painted white with black lines and markings in one hand and some twigs in the other. The torso is covered with a cloth and there are two white cloths or handkerchiefs? hanging from the mask. The masquerader is with his supporters who are wearing striped hats, shirts and wrappers; some are holding twigs. In the background are bystanders, a large tree, and thatched rectangular buildings.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 86 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Isu Ikwu Ato\n3. Two masks Parade of masks, Ajonku masquerade, Ovim village (4th image).\n\nContext: In reference to the Abam/Ohaffia area, Jones writes that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin-covered heads in the Cross-River Style, usually called Ajonku. But they also had masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of the Abiriba. All these tribes, but particularly the Abiriba, were great doctors and traders and travelled extensively in the Cross River area and through the Ibibio country to the coastal trading states. Anang (Ibibio) sculpture was greatly admired, but it does not seem to have had much influence on the local styles\u201d (Jones, 1984, p.208)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 3/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71826.GIJ\n\nDescription\n\nAjonku masquerade; a masquerade character taking part in a \u201cparade\u201d of masks. The masquerader is wearing a dark face mask with humanistic features consisting of almond shaped eyes, nose, and open mouth, defined with white paint. On top of the mask are feathers and raffia fiber \u201chair\u201d. The masquerader is holding a cutlass painted white with black lines and markings in one hand and some twigs in the other. The torso is covered with a cloth and there are two white cloths or handkerchiefs? hanging from the mask. The masquerader is with his supporters who are wearing striped hats, shirts and wrappers; some are holding twigs. In the background are bystanders, a large tree, and thatched rectangular buildings.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 86 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Isu Ikwu Ato\n3. Two masks Parade of masks, Ajonku masquerade, Ovim village (4th image).\n\nContext: In reference to the Abam/Ohaffia area, Jones writes that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin-covered heads in the Cross-River Style, usually called Ajonku. But they also had masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of the Abiriba. All these tribes, but particularly the Abiriba, were great doctors and traders and travelled extensively in the Cross River area and through the Ibibio country to the coastal trading states. Anang (Ibibio) sculpture was greatly admired, but it does not seem to have had much influence on the local styles\u201d (Jones, 1984, p.208)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 3/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206476\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71826_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656923_N.71826.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171328.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465389", "metadata": {"title": "Untitled", "idno": "P.171328.GIJ", "description": "Documentary photograph of a mau (ghost) face mask painted white with black paint consisting of slit eyes, elongated nose, mouth with teeth and ears. It is carved and painted in darker colour(s) in extended triangles two underneath the eyes and two n the forehead. In the centre of the forehead and the near the ears are etched markings. There are additional areas of darkly painted circle decorations on the chin and on the top of the mask is a black, scalloped edge.\n[Description from record N.13337.GIJ, PB 01/08/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767252.GIJ is mounted on card.\n\nThe image is a cut out from the original photograph.", "raw_text_dump": "IDNO\n\nP.171328.GIJ\n\nDescription\n\nDocumentary photograph of a mau (ghost) face mask painted white with black paint consisting of slit eyes, elongated nose, mouth with teeth and ears. It is carved and painted in darker colour(s) in extended triangles two underneath the eyes and two n the forehead. In the centre of the forehead and the near the ears are etched markings. There are additional areas of darkly painted circle decorations on the chin and on the top of the mask is a black, scalloped edge.\n[Description from record N.13337.GIJ, PB 01/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767252.GIJ is mounted on card.\n\nThe image is a cut out from the original photograph.\n\n\n\nFM:312019\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171328_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144544_P.171328.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.170287.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464348", "metadata": {"title": "Untitled", "idno": "P.170287.GIJ", "description": "A documentation photograph of a carved wooden face mask with protruding eyes and mouth and natural hair attached as a beard. The head and crested headdress are painted black. [PB 07/11/23]", "place": "W Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; England; London; British Museum", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.\n\nRelated Object: This mask is in the British Museum collection, reference Af1954,23.512.\n\"Height: 45.80 centimetres\nWidth: 25.30 centimetres\nDepth: 25.30 centimetres\nDescription:\nCarved wood mask with protruding eyes and mouth and natural hair attached as a beard, the head and crested headdress are painted black.\" [PB 07/11/23]", "raw_text_dump": "IDNO\n\nP.170287.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden face mask with protruding eyes and mouth and natural hair attached as a beard. The head and crested headdress are painted black. [PB 07/11/23]\n\nPlace\n\nW Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; England; London; British Museum\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.\n\nRelated Object: This mask is in the British Museum collection, reference Af1954,23.512.\n\"Height: 45.80 centimetres\nWidth: 25.30 centimetres\nDepth: 25.30 centimetres\nDescription:\nCarved wood mask with protruding eyes and mouth and natural hair attached as a beard, the head and crested headdress are painted black.\" [PB 07/11/23]\n\nFM:310845\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170287_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131753_P.170287.GIJ_001.png"}, {"file_name": "P_170287_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131754_P.170287.GIJ_002.png"}, {"file_name": "P_170287_GIJ_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131755_P.170287.GIJ_003.png"}], "source_id": "maa_cambridge"}
{"id": "P.171246.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465307", "metadata": {"title": "Untitled", "idno": "P.171246.GIJ", "description": "Documentary photograph of a wooden face mask combining human and animal features. The face is painted white with arched black brow, slit eyes, nose, and open mouth with a few teeth outlined in black and with two horns protruding from the top of the head. There are itchi (scarification) marks in the centre of the forehead and a black scalloped design around the head. The two horns are pointed and painted in black with white tips. [Description from record N.13326.GIJ, PB 05/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767169.GIJ - P.767171.GIJ are mounted together on card.\n\nThis mask is in the Pitt Rivers Museum collection. 1938.15.19. Description: \"Face mask, a face with horns and two teeth. Mask carved from one piece of soft wood. A symmetrical design appearing to representing a human face with perforated eyes and two holes on the outer side of the eyes. The lips, ears and mouth are outlined in black. There is a black horizontal line on the forehead. The ears and lips are filled in with red, and there are two teeth protruding out of the mouth, originally there could have been more as there are three empty bored holes in the mouth. A strip of raised horizontal lines is carved on the forehead, and the hairline is scalloped. Two large horns curve backwards, and are black with white tips. The left horn is broken at the end. There is a split from the original perforation at the back between the horns. There a row of holes at the back of the mask where it could have been attached to a costume.\"", "raw_text_dump": "IDNO\n\nP.171246.GIJ\n\nDescription\n\nDocumentary photograph of a wooden face mask combining human and animal features. The face is painted white with arched black brow, slit eyes, nose, and open mouth with a few teeth outlined in black and with two horns protruding from the top of the head. There are itchi (scarification) marks in the centre of the forehead and a black scalloped design around the head. The two horns are pointed and painted in black with white tips. [Description from record N.13326.GIJ, PB 05/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767169.GIJ - P.767171.GIJ are mounted together on card.\n\nThis mask is in the Pitt Rivers Museum collection. 1938.15.19. Description: \"Face mask, a face with horns and two teeth. Mask carved from one piece of soft wood. A symmetrical design appearing to representing a human face with perforated eyes and two holes on the outer side of the eyes. The lips, ears and mouth are outlined in black. There is a black horizontal line on the forehead. The ears and lips are filled in with red, and there are two teeth protruding out of the mouth, originally there could have been more as there are three empty bored holes in the mouth. A strip of raised horizontal lines is carved on the forehead, and the hairline is scalloped. Two large horns curve backwards, and are black with white tips. The left horn is broken at the end. There is a split from the original perforation at the back between the horns. There a row of holes at the back of the mask where it could have been attached to a costume.\"\n\nFM:311937\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171246_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144462_P.171246.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171248.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465309", "metadata": {"title": "Untitled", "idno": "P.171248.GIJ", "description": "A close up of a character in the ajofia newi ('evil forest') masquerade. The mask is painted black, with bulbous forehead and cheeks. The eyeslits are tear-shaped with rims highlighted with light pigment. [PB 05/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra state; Nnewi; Otolo", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767172.GIJ - P.767174.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171248.GIJ\n\nDescription\n\nA close up of a character in the ajofia newi ('evil forest') masquerade. The mask is painted black, with bulbous forehead and cheeks. The eyeslits are tear-shaped with rims highlighted with light pigment. [PB 05/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra state; Nnewi; Otolo\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767172.GIJ - P.767174.GIJ are mounted together on card.\n\nFM:311939\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171248_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144464_P.171248.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171311.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465372", "metadata": {"title": "Untitled", "idno": "P.171311.GIJ", "description": "A close up portrait of an Oganochi mgbedike masquerader standing, facing the camera. In the background are spectators seated and standing, a thatched hut and trees.\nThe masquerader is wearing a full length cloth costume with light and dark striped ruffles on body and his upper arms and legs, with porcupine quills hanging from the edges of the ruffles. The masquerader is wearing a dark wooden helmet mask, with white paint accentuating the mouth, teeth and eyes. It is similar to an 'lion elephant mask'. There are two feathers held in the front of the band at the bottom of the horns. On the top of the mask are four carved horns curling inwards, with a carved animal finial joining the tips of the horns. [Description from record P.767078.GIJ, PB 30/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767235.GIJ is mounted on card.", "raw_text_dump": "IDNO\n\nP.171311.GIJ\n\nDescription\n\nA close up portrait of an Oganochi mgbedike masquerader standing, facing the camera. In the background are spectators seated and standing, a thatched hut and trees.\nThe masquerader is wearing a full length cloth costume with light and dark striped ruffles on body and his upper arms and legs, with porcupine quills hanging from the edges of the ruffles. The masquerader is wearing a dark wooden helmet mask, with white paint accentuating the mouth, teeth and eyes. It is similar to an 'lion elephant mask'. There are two feathers held in the front of the band at the bottom of the horns. On the top of the mask are four carved horns curling inwards, with a carved animal finial joining the tips of the horns. [Description from record P.767078.GIJ, PB 30/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767235.GIJ is mounted on card.\n\nFM:312002\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171311_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144527_P.171311.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.170004.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464023", "metadata": {"title": "Untitled", "idno": "T.170004.GIJ", "description": "Obugulu Mau masqueraders in performance. The masquerader in front is wearing an elaborate headdress consisting of colourful felt, string and tassels. The three masqueraders behind him are wearing headdresses with elaborate painted wooden crests. Behind them is a dancer wearing a waist cloth with tassels and bands below the knee. The masks are painted white with black markings around the eyes, nose, mouth and accentuating the eyebrows and cheeks and attached to a harlequin-like costume. In the background are spectators and trees. [PB 25/08/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; IsuOchi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; October 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170004.GIJ\n\nDescription\n\nObugulu Mau masqueraders in performance. The masquerader in front is wearing an elaborate headdress consisting of colourful felt, string and tassels. The three masqueraders behind him are wearing headdresses with elaborate painted wooden crests. Behind them is a dancer wearing a waist cloth with tassels and bands below the knee. The masks are painted white with black markings around the eyes, nose, mouth and accentuating the eyebrows and cheeks and attached to a harlequin-like costume. In the background are spectators and trees. [PB 25/08/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; IsuOchi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; October 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310532\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170004_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128047_T.170004.GIJ_001.png"}, {"file_name": "T_170004_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128048_T.170004.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "T.170102.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464163", "metadata": {"title": "Untitled", "idno": "T.170102.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts four figures; the one on the left is sitting; the second figure is standing with his arms stretched out, the third figure is standing and the fourth is sitting; each has an elaborate coiffure. An arched pattern frames the four figures at the top. Geometric borders and designs surround the scene.[Description from record N.13211.GIJ , PB 22/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170102.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts four figures; the one on the left is sitting; the second figure is standing with his arms stretched out, the third figure is standing and the fourth is sitting; each has an elaborate coiffure. An arched pattern frames the four figures at the top. Geometric borders and designs surround the scene.[Description from record N.13211.GIJ , PB 22/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310630\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170102_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128327_T.170102.GIJ_001.png"}, {"file_name": "T_170102_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128328_T.170102.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171616.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465677", "metadata": {"title": "Untitled", "idno": "P.171616.GIJ", "description": "A documentation photograph of a carved wooden female Ekpe helmet mask in profile, in front of a white sheet. The mask has carved hair bunches, and neck rings with amulets at the front. The facial features are finely detailed. [PB 05/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Ezinihite", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171615.GIJ and P.171616.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171616.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden female Ekpe helmet mask in profile, in front of a white sheet. The mask has carved hair bunches, and neck rings with amulets at the front. The facial features are finely detailed. [PB 05/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Ezinihite\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171615.GIJ and P.171616.GIJ are mounted on card.\n\nFM:312336\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171616_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144927_P.171616.GIJ_001.jpg"}, {"file_name": "P_171616_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144928_P.171616.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.170057.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464086", "metadata": {"title": "Untitled", "idno": "T.170057.GIJ", "description": "Agu Necheni (lion-elephant) or Mbdekike masquerade in which the masquerader is dressed in a bulky fibrous quill studded costume with a large, wooden mask standing in front of a barrier?/fence? The mask is comprised of large, curved horns and in between the horns is a carved figure also adorned with horns. The \u2018face\u2019 of the mask shows bulging eyes encircled in white? paint, long triangular nose, and oversized mouth with large teeth. In the background are bystanders, huts, and trees. [Description from record N.71564.GIJ , PB 14/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170057.GIJ\n\nDescription\n\nAgu Necheni (lion-elephant) or Mbdekike masquerade in which the masquerader is dressed in a bulky fibrous quill studded costume with a large, wooden mask standing in front of a barrier?/fence? The mask is comprised of large, curved horns and in between the horns is a carved figure also adorned with horns. The \u2018face\u2019 of the mask shows bulging eyes encircled in white? paint, long triangular nose, and oversized mouth with large teeth. In the background are bystanders, huts, and trees. [Description from record N.71564.GIJ , PB 14/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310585\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170057_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128174_T.170057.GIJ_001.png"}, {"file_name": "T_170057_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128175_T.170057.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171267.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465328", "metadata": {"title": "Untitled", "idno": "P.171267.GIJ", "description": "An object documentation photograph in profile of an ikenga figure. The figure has a bird-like tail and a human face, with a head crest. [PB 12/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra state; Idemili", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767191.GIJ - P.767192.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171267.GIJ\n\nDescription\n\nAn object documentation photograph in profile of an ikenga figure. The figure has a bird-like tail and a human face, with a head crest. [PB 12/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra state; Idemili\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767191.GIJ - P.767192.GIJ are mounted together on card.\n\nFM:311958\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171267_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144483_P.171267.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71562.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364833", "metadata": {"title": "Untitled", "idno": "N.71562.GIJ", "description": "A close up view of Mgbedike masquerade. The masquerader is wearing an elaborate headdress carved of horns, figures, animals, and on the top of the headdress is a man with a white face riding a horse? The mask is covered with palm fronds, omu, and the masquerader is holding an object (machete? or knife?) in one hand. The costume is made of cloth, palm fronds, shells, seeds and porcupine quills jutting out around the neck. In the background are trees, bystanders, and houses,", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 11 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Mgbedike or Agu neche Enyi (leopard/elephant) [close-up] Nimo (24th image).\n\nContext: Jones discusses the various types of masks and mentions that some are quite elaborate superstructures. In particular, \u201cNrii/Akwa and some other carvers also made emblem head-dresses in which small human figures were grouped together in a tableau, or more elaborate openwork constructions in which human, animal, bird, and reptile forms were intertwined to form a conical structure brought together at the apex by an animal figure whose legs straddled and held it together.\u201d (Jones, 1984, p. 126)\n\nCole and Aniakor write in depth about the specific characteristics of the Mgbedike or \u2018Time of Brave\u2019 masks. These spirit \u201cheads\u201d are large in size, dark coloration; bold outsized figures such as open mouth with large, menacing teeth; and elaborate, integrally carved head-dresses always displaying horns. Their bulky costumes are studded with quills. Many individually named spirits of Mgbedike type exist, their titles crystallizing the character of the spirits....Mystery, agression, bravado fearlessness, stubbornness, and medicinal power belong to these spirits.\n\nChorus singers, other escorts,and the masker himself are the strong men of middle age - farmers who are now taking titles or becoming well-known as diviners, wrestlers, and hunters, and in the old days, as intrepid warriors....They have physical strength supported by spiritual power enabling them to wrestle with the mysterious forces of the forest and aggressive medicines directed against them. While these are not the most powerful masked spirits in the community, they often carry strong medicines and can be destructive and wild. The spirits are the ideals of middle aged men in a theatrical context.\n\nIn reference to the appearance of the masquerader, masks and costumes of Mgebedike spirits are comprised of visual, aural, and sometimes olfactory material powers dramatically composed for maximum impact. Heads are at least twice life-sized and sometimes four or five times as large, and features are typically exaggerated - particularly eyes and mouths. The latter are usually agape, with snaggled, ovesized teeth, The usual diagnostic feature of such masks is an elaboration of horns...On carved examples, horns are often agrandized and extended into openwork superstructures featuring carved animals and human beings. These sometimes become quite elaborate tableaux with as many as ten or twelve creatures, and they are analogous to community ikenga superstructures... Costumes are usually composite with seedpods and porcupine quills and, more recently, pieces of metal sewn to enveloping cloth or fiber costumes, bulking out the wearer to superhuman size. Medicinal charms are normally present, along with young palm leaves, omu, both being evidence of the spiritual power and potential danger of such characters. (Cole and Aniakor,1984, pp. 131-132)\n\nBibliographical References:\n\nBoston, J.S. 1960 \u201cSome Northern Ibo Masquerades.\u201d Journal of the Royal Anthropological Institute, 90: 54-65.\n\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nMurray, K.C. 1948 Ibo Headdresses Combining Human and Animal Features, Man 48 (1): 1-2.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 22/10/2007]", "raw_text_dump": "IDNO\n\nN.71562.GIJ\n\nDescription\n\nA close up view of Mgbedike masquerade. The masquerader is wearing an elaborate headdress carved of horns, figures, animals, and on the top of the headdress is a man with a white face riding a horse? The mask is covered with palm fronds, omu, and the masquerader is holding an object (machete? or knife?) in one hand. The costume is made of cloth, palm fronds, shells, seeds and porcupine quills jutting out around the neck. In the background are trees, bystanders, and houses,\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 11 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Mgbedike or Agu neche Enyi (leopard/elephant) [close-up] Nimo (24th image).\n\nContext: Jones discusses the various types of masks and mentions that some are quite elaborate superstructures. In particular, \u201cNrii/Akwa and some other carvers also made emblem head-dresses in which small human figures were grouped together in a tableau, or more elaborate openwork constructions in which human, animal, bird, and reptile forms were intertwined to form a conical structure brought together at the apex by an animal figure whose legs straddled and held it together.\u201d (Jones, 1984, p. 126)\n\nCole and Aniakor write in depth about the specific characteristics of the Mgbedike or \u2018Time of Brave\u2019 masks. These spirit \u201cheads\u201d are large in size, dark coloration; bold outsized figures such as open mouth with large, menacing teeth; and elaborate, integrally carved head-dresses always displaying horns. Their bulky costumes are studded with quills. Many individually named spirits of Mgbedike type exist, their titles crystallizing the character of the spirits....Mystery, agression, bravado fearlessness, stubbornness, and medicinal power belong to these spirits.\n\nChorus singers, other escorts,and the masker himself are the strong men of middle age - farmers who are now taking titles or becoming well-known as diviners, wrestlers, and hunters, and in the old days, as intrepid warriors....They have physical strength supported by spiritual power enabling them to wrestle with the mysterious forces of the forest and aggressive medicines directed against them. While these are not the most powerful masked spirits in the community, they often carry strong medicines and can be destructive and wild. The spirits are the ideals of middle aged men in a theatrical context.\n\nIn reference to the appearance of the masquerader, masks and costumes of Mgebedike spirits are comprised of visual, aural, and sometimes olfactory material powers dramatically composed for maximum impact. Heads are at least twice life-sized and sometimes four or five times as large, and features are typically exaggerated - particularly eyes and mouths. The latter are usually agape, with snaggled, ovesized teeth, The usual diagnostic feature of such masks is an elaboration of horns...On carved examples, horns are often agrandized and extended into openwork superstructures featuring carved animals and human beings. These sometimes become quite elaborate tableaux with as many as ten or twelve creatures, and they are analogous to community ikenga superstructures... Costumes are usually composite with seedpods and porcupine quills and, more recently, pieces of metal sewn to enveloping cloth or fiber costumes, bulking out the wearer to superhuman size. Medicinal charms are normally present, along with young palm leaves, omu, both being evidence of the spiritual power and potential danger of such characters. (Cole and Aniakor,1984, pp. 131-132)\n\nBibliographical References:\n\nBoston, J.S. 1960 \u201cSome Northern Ibo Masquerades.\u201d Journal of the Royal Anthropological Institute, 90: 54-65.\n\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nMurray, K.C. 1948 Ibo Headdresses Combining Human and Animal Features, Man 48 (1): 1-2.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 22/10/2007]\n\nFM:206212\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71562_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656668_N.71562.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "T.170133.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464194", "metadata": {"title": "Untitled", "idno": "T.170133.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two figures; one is on the ground with legs open and the other is holding the figure and he has an erect penis. The scene is framed with linear and chevron designs around it.[Description from record N.13223.GIJ, PB 29/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; Umuajatta village", "cultural_affliation": "Anang; Ibibio Olokoro; Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; October 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170133.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two figures; one is on the ground with legs open and the other is holding the figure and he has an erect penis. The scene is framed with linear and chevron designs around it.[Description from record N.13223.GIJ, PB 29/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; Umuajatta village\n\nCultural Affliation\n\nAnang; Ibibio Olokoro; Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; October 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310661\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170133_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128389_T.170133.GIJ_001.png"}, {"file_name": "T_170133_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128390_T.170133.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169651.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463642", "metadata": {"title": "Untitled", "idno": "P.169651.GIJ", "description": "Ogbukere Play with the masquerade character known as Egidi wearing a fish-like mask. The mask consists of a long horizontal wooden headdress that has coloured fringe and plumes attached to it with a large fin in the centre of the mask painted with the name Egidi and a smaller fin behind. Attendants are next to the mask and they are wearing wrappers around the waist; one attendant is wearing a white sun helmet, another man behind is blowing a metal horn. In the background are spectators.[Description from record N.61379.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River Area", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.", "raw_text_dump": "IDNO\n\nP.169651.GIJ\n\nDescription\n\nOgbukere Play with the masquerade character known as Egidi wearing a fish-like mask. The mask consists of a long horizontal wooden headdress that has coloured fringe and plumes attached to it with a large fin in the centre of the mask painted with the name Egidi and a smaller fin behind. Attendants are next to the mask and they are wearing wrappers around the waist; one attendant is wearing a white sun helmet, another man behind is blowing a metal horn. In the background are spectators.[Description from record N.61379.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River Area\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nFM:310138\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169651_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127399_P.169651.GIJ_001.png"}, {"file_name": "P_169651_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127401_P.169651.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71753.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365024", "metadata": {"title": "Untitled", "idno": "N.71753.GIJ", "description": "A Lughulu female face mask consisting of a an oval shaped face with arched eyebrows, slit eyes, long nose and open mouth with incised teeth, markings (scarification marks) on the temples and rounded ears with holes. The facial features are accentuated with white paint outlining the eyes, nose, teeth and forehead. The top of the mask consists of two rounded arches meeting in the centre and with an incised tooth like pattern.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Alayi", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 4 of the negative album now numbered C16/.\n\nPublication: Similar to the mask published in Jones, 1973, p.59, Figure 3 with the caption, \u201cFemale Mask from Lughulu Maskerade of Ugwueke Village. Alayi Tribe, Isu-Item Ibo.\u201d\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Alayi Igbo (Isu-Ikem)\n3. Lughulu Mask Ugwu Eke village (1st image).\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that in the Isu-Item maskerade, the beautiful female makser are carved in either a rounded or naturalistic mode whilte the fierce or comic male masks are stylised(Jone s, 1973, p.61\u00a7).\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/11/2007]", "raw_text_dump": "IDNO\n\nN.71753.GIJ\n\nDescription\n\nA Lughulu female face mask consisting of a an oval shaped face with arched eyebrows, slit eyes, long nose and open mouth with incised teeth, markings (scarification marks) on the temples and rounded ears with holes. The facial features are accentuated with white paint outlining the eyes, nose, teeth and forehead. The top of the mask consists of two rounded arches meeting in the centre and with an incised tooth like pattern.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Alayi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 4 of the negative album now numbered C16/.\n\nPublication: Similar to the mask published in Jones, 1973, p.59, Figure 3 with the caption, \u201cFemale Mask from Lughulu Maskerade of Ugwueke Village. Alayi Tribe, Isu-Item Ibo.\u201d\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Alayi Igbo (Isu-Ikem)\n3. Lughulu Mask Ugwu Eke village (1st image).\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that in the Isu-Item maskerade, the beautiful female makser are carved in either a rounded or naturalistic mode whilte the fierce or comic male masks are stylised(Jone s, 1973, p.61\u00a7).\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/11/2007]\n\nFM:206403\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71753_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1192696_N.71753.GIJ_001.jpg"}, {"file_name": "N_71753_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1192697_N.71753.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171155.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465216", "metadata": {"title": "Untitled", "idno": "P.171155.GIJ", "description": "Oganochi, an mgbedike masquerader standing, with legs apart and arms to the side, facing the camera. In the background are spectators seated and standing, a thatched hut and trees. There is an attendant beating a side drum.\nThe masquerader is wearing a full length cloth costume with light and dark striped ruffles on body and his upper arms and legs, with porcupine quills hanging from the edges of the ruffles. The masquerader is wearing a dark wooden helmet mask, with white paint accentuating the mouth, teeth and eyes. It is similar to an 'lion elephant mask'. There are two feathers held in the front of the band at the bottom of the horns. On the top of the mask are four carved horns curling inwards, with a carved animal finial joining the tips of the horns. [PB 21/06/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767078.GIJ - P.767083.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171155.GIJ\n\nDescription\n\nOganochi, an mgbedike masquerader standing, with legs apart and arms to the side, facing the camera. In the background are spectators seated and standing, a thatched hut and trees. There is an attendant beating a side drum.\nThe masquerader is wearing a full length cloth costume with light and dark striped ruffles on body and his upper arms and legs, with porcupine quills hanging from the edges of the ruffles. The masquerader is wearing a dark wooden helmet mask, with white paint accentuating the mouth, teeth and eyes. It is similar to an 'lion elephant mask'. There are two feathers held in the front of the band at the bottom of the horns. On the top of the mask are four carved horns curling inwards, with a carved animal finial joining the tips of the horns. [PB 21/06/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767078.GIJ - P.767083.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311846\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171155_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144371_P.171155.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171488.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465549", "metadata": {"title": "Untitled", "idno": "P.171488.GIJ", "description": "The Obugulu Mau masquerade, with a grandmother mask character. The masquerader is performing in front of an audience. The mask consists of a white face with black markings around the eyes, nose and three linear markings on the forehead. The top of the mask consists of cone-shaped headdress (coiffure) with a curved structure in the centre, painted white and black. There is woven cloth attached to the mask, a scarf tied around the neck and a harlequin-like costume, the sleeves are white covering the hands. In one hand there is a fly whisk and around the ankles are very thick ivory anklets. In the background are spectators and trees. [Description from record T.170111.GIJ , PB 20/09/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.768147.GIJ to P.768149.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171488.GIJ\n\nDescription\n\nThe Obugulu Mau masquerade, with a grandmother mask character. The masquerader is performing in front of an audience. The mask consists of a white face with black markings around the eyes, nose and three linear markings on the forehead. The top of the mask consists of cone-shaped headdress (coiffure) with a curved structure in the centre, painted white and black. There is woven cloth attached to the mask, a scarf tied around the neck and a harlequin-like costume, the sleeves are white covering the hands. In one hand there is a fly whisk and around the ankles are very thick ivory anklets. In the background are spectators and trees. [Description from record T.170111.GIJ , PB 20/09/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.768147.GIJ to P.768149.GIJ are mounted on card.\n\nFM:312189\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171488_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144705_P.171488.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171217.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465278", "metadata": {"title": "Untitled", "idno": "P.171217.GIJ", "description": "A documentation image of an ikenga figure. [PB 04/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Colour Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767141.GIJ - P.7670143.GIJ are mounted together on paper.\n\nThis figure is in the Simon Ottenberg collection.", "raw_text_dump": "IDNO\n\nP.171217.GIJ\n\nDescription\n\nA documentation image of an ikenga figure. [PB 04/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Colour Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767141.GIJ - P.7670143.GIJ are mounted together on paper.\n\nThis figure is in the Simon Ottenberg collection.\n\nFM:311908\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171217_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144433_P.171217.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13279.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306551", "metadata": {"title": "Untitled", "idno": "N.13279.GIJ", "description": "A close up view of one of the masquerade characters performing in the Okwanku masquerade. The wooden face mask is round with arched brows, slit eyes, long nose, slit mouth and long raffia hair. The face has white pigment on it. In the background are spectators.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village", "cultural_affliation": "Igbo [historically Ibo]; Ohaffia", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13279.GIJ\n\nDescription\n\nA close up view of one of the masquerade characters performing in the Okwanku masquerade. The wooden face mask is round with arched brows, slit eyes, long nose, slit mouth and long raffia hair. The face has white pigment on it. In the background are spectators.\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ohaffia\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147929\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13279_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000542_N.13279.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71325.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364596", "metadata": {"title": "Untitled", "idno": "N.71325.GIJ", "description": "A close up view of a masquerader in an Ikem Play. The mask consists of a naturalistic female face that depicts inset eyes, arched black eyebrows, nose, open painted mouth, ears, black dots on the cheeks and a black line from the nose to the mouth. The hairstyle is an elaborate coiffure painted black and consisting of a cone shaped hair with twisted braids The face is varnished. Around the upper body is square shaped frame that is covered in a printed cloth. Around the neck is a necklace. In the background are attendants and spectators.", "place": "W Africa; Nigeria; South Eastern Nigeria; Umuahia", "cultural_affliation": "Ibibio", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 84 of the negative album now numbered C21/.\n\nContext: Jones writes about the Cross River Style and the Modern Anang (Ibibio) style . He notes, \u201cThe Cross River masquerade called Ikem spread from Old Calabar to the Ibibio country in the early decades of the twentieth century and Anang carvers were producing by the 1930s, if not well before this, skin-covered heads in this style equal to the best that had been made in Ejagham country and in Old Calabar. There were certain minor differences that distinguished these Anang heads, the most obvious being their drooping upper eyelids. The Ikem masquerade and heads in this modified Cross River diffused into the Umuahia area and as far north as Ozu Item. But the Ikem masquerade seems to have inspired the Akang to produce similar masquerades and their own variant of these heads in what was locally held to be a completely naturalistic style. The hair, eyes and lips were painted in natural colours and in place of the covering of skin the face and neck were painted with clear varnish(as in the photograph). The associated masquerade, which received different names in different areas, was spread widely to their Ibibio and Ibo neighbours. During the colonial period there was an increasing demand for Anang sculpture but primarily for masks, heads and figures in this modern naturalistic style. For it was a very successful compromise between the Traditional Anang (Ibibio) and the \u2018traditional European\u2019 style, meaning by the latter term Victorian naturalism and the classical Greek sculpture which inspired it. Europeans bought this sculpture because it looked sufficiently African but not too African. Nigerians bought it because it looked sufficiently modern and European. In response to this demand Anang carvers developed a minor local industry in the Ikot Ekpene district mass-producing inferior masks, heads, and dolls. The inferiority was due primarily for the buyers\u2019 reluctance to pay for something better (Jones, 1984, pp. 184-185).\u201d\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 16/1/2008]", "raw_text_dump": "IDNO\n\nN.71325.GIJ\n\nDescription\n\nA close up view of a masquerader in an Ikem Play. The mask consists of a naturalistic female face that depicts inset eyes, arched black eyebrows, nose, open painted mouth, ears, black dots on the cheeks and a black line from the nose to the mouth. The hairstyle is an elaborate coiffure painted black and consisting of a cone shaped hair with twisted braids The face is varnished. Around the upper body is square shaped frame that is covered in a printed cloth. Around the neck is a necklace. In the background are attendants and spectators.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Umuahia\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 84 of the negative album now numbered C21/.\n\nContext: Jones writes about the Cross River Style and the Modern Anang (Ibibio) style . He notes, \u201cThe Cross River masquerade called Ikem spread from Old Calabar to the Ibibio country in the early decades of the twentieth century and Anang carvers were producing by the 1930s, if not well before this, skin-covered heads in this style equal to the best that had been made in Ejagham country and in Old Calabar. There were certain minor differences that distinguished these Anang heads, the most obvious being their drooping upper eyelids. The Ikem masquerade and heads in this modified Cross River diffused into the Umuahia area and as far north as Ozu Item. But the Ikem masquerade seems to have inspired the Akang to produce similar masquerades and their own variant of these heads in what was locally held to be a completely naturalistic style. The hair, eyes and lips were painted in natural colours and in place of the covering of skin the face and neck were painted with clear varnish(as in the photograph). The associated masquerade, which received different names in different areas, was spread widely to their Ibibio and Ibo neighbours. During the colonial period there was an increasing demand for Anang sculpture but primarily for masks, heads and figures in this modern naturalistic style. For it was a very successful compromise between the Traditional Anang (Ibibio) and the \u2018traditional European\u2019 style, meaning by the latter term Victorian naturalism and the classical Greek sculpture which inspired it. Europeans bought this sculpture because it looked sufficiently African but not too African. Nigerians bought it because it looked sufficiently modern and European. In response to this demand Anang carvers developed a minor local industry in the Ikot Ekpene district mass-producing inferior masks, heads, and dolls. The inferiority was due primarily for the buyers\u2019 reluctance to pay for something better (Jones, 1984, pp. 184-185).\u201d\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 16/1/2008]\n\nFM:205975\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71325_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656557_N.71325.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71455.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364726", "metadata": {"title": "Untitled", "idno": "N.71455.GIJ", "description": "An Ikenga figure seated on a stool with an elaborately carved headdress holding a staff in one hand and a mirror? in the other. The headdress consists of a rounded platform resting on the two horns with three figures (two with pith helmets and one with a fez) and a horse painted black and white. The face of the Ikenga is painted white with black to define the hairline, eyes, nose and mouth. There are painted designs of dots under the eyes and chevron markings on the side of the mouth. The figure is sitting on a round stool and is wearing a tunic costume painted black and white.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "P.71450.GIJ to P.71456.GIJ were wrapped in paper, now numbered C302/8/ and were presumed to have come from box 5, now numbered C302/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Ikenga Nimo, Nri-Awka Igbo (Pitt Rivers Museum Oxford (1938 15 43) (7th image)\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d In reference to Ikenga figures, he writes, \u201c The best known Ibo personal cult and the one that has given rise to the greatest number of carvings is that of Ikenga, a Lower Niger cult of a man\u2019s right arm and of success associated with it, which the Edo shared with the Western, Northern, most of the Southern Ibo and with Igala groups. The Ohuhu-Ngwa, Cross River and Northeastern Ibo did not participate in it. Most Ibo and Edo had a small cylindrical object with some geometrical carving on it and ending in a pair of pointed horns. Some Western Ibo increased the size so that it looked more like a circular stool . Other Ibo and Edo added a head and some carved a whole figure. The Nri-Akwa Ibo produced the most elaborate cult objects and in the greatest number. Older examples carved by them elaborated the horns and the head, which was shown smoking a pipe. Later ones consisted of complete figures which were shown standing or more usually seated on a circular stool with a cutlass in one hand and a human head in the other or, alternatively, holding a tusk horn and an ornamental staff (Jones, 1989, p.40). Also, see Jones, 1984, pp. 141-142.\n\nContext: Cole and Aniakor write in detail about Ikenga (see Chapter Two). They show that the concept of Ikenga reverberates throughout much of Igbo life . These images are found in the shrines of individual diviners and corporate tutelary cults and as representatives of age-grades and communities. ...They continue to describe that the basic Igbo Ikenga image is a human with horns, sometimes rendered very simply as an abstract head and horns base. Larger, more elaborate examples include fully realized males seated on stools, holding and wearing various symbols, and with more or less complex headdresses determined in part by horns and often including several other motifs (Cole and Aniakor, 1984, p.24).\n\nPublications: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71455.GIJ\n\nDescription\n\nAn Ikenga figure seated on a stool with an elaborately carved headdress holding a staff in one hand and a mirror? in the other. The headdress consists of a rounded platform resting on the two horns with three figures (two with pith helmets and one with a fez) and a horse painted black and white. The face of the Ikenga is painted white with black to define the hairline, eyes, nose and mouth. There are painted designs of dots under the eyes and chevron markings on the side of the mouth. The figure is sitting on a round stool and is wearing a tunic costume painted black and white.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71450.GIJ to P.71456.GIJ were wrapped in paper, now numbered C302/8/ and were presumed to have come from box 5, now numbered C302/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Ikenga Nimo, Nri-Awka Igbo (Pitt Rivers Museum Oxford (1938 15 43) (7th image)\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d In reference to Ikenga figures, he writes, \u201c The best known Ibo personal cult and the one that has given rise to the greatest number of carvings is that of Ikenga, a Lower Niger cult of a man\u2019s right arm and of success associated with it, which the Edo shared with the Western, Northern, most of the Southern Ibo and with Igala groups. The Ohuhu-Ngwa, Cross River and Northeastern Ibo did not participate in it. Most Ibo and Edo had a small cylindrical object with some geometrical carving on it and ending in a pair of pointed horns. Some Western Ibo increased the size so that it looked more like a circular stool . Other Ibo and Edo added a head and some carved a whole figure. The Nri-Akwa Ibo produced the most elaborate cult objects and in the greatest number. Older examples carved by them elaborated the horns and the head, which was shown smoking a pipe. Later ones consisted of complete figures which were shown standing or more usually seated on a circular stool with a cutlass in one hand and a human head in the other or, alternatively, holding a tusk horn and an ornamental staff (Jones, 1989, p.40). Also, see Jones, 1984, pp. 141-142.\n\nContext: Cole and Aniakor write in detail about Ikenga (see Chapter Two). They show that the concept of Ikenga reverberates throughout much of Igbo life . These images are found in the shrines of individual diviners and corporate tutelary cults and as representatives of age-grades and communities. ...They continue to describe that the basic Igbo Ikenga image is a human with horns, sometimes rendered very simply as an abstract head and horns base. Larger, more elaborate examples include fully realized males seated on stools, holding and wearing various symbols, and with more or less complex headdresses determined in part by horns and often including several other motifs (Cole and Aniakor, 1984, p.24).\n\nPublications: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206105\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71455_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656599_N.71455.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171157.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465218", "metadata": {"title": "Untitled", "idno": "P.171157.GIJ", "description": "An Mgbedike or Agu neche enyi masquerade with supporters and onlookers. The mask or head-dress consists of a fierce looking face with white v-shaped marking on the forehead, large eyes, pointed nose, over-sized mouth and menacing teeth painted white?, and crescent shaped ears. Protruding (twisted) horns encircle the top of the head in which there is an elaborate superstructure, with animals, horned figures and European or colonial officers (oyibo) dressed in European clothing with pith helmets. There is a painted serpent with its mouth wide open showing its teeth. The bulky costume of the masquerader is made of cloth, the upper body is adorned with leaves? or v-shaped dark material, a belt made of strands of cowrie shells with a metal bell attached, around the waist is a light coloured cloth, and rattles made of seeds around the legs. The masquerader is holding a club? or machete in one hand. In the left hand side of the photograph, a group of male supporters (wearing feathers in their hair) are next to the masquerader playing instruments - two are playing metal gongs, one is holding a fan?. In the background is a large group of onlookers watching the masquerade and behind them are trees and vegetation.[Description from record N.71560.GIJ, PB 21/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767078.GIJ - P.767083.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171157.GIJ\n\nDescription\n\nAn Mgbedike or Agu neche enyi masquerade with supporters and onlookers. The mask or head-dress consists of a fierce looking face with white v-shaped marking on the forehead, large eyes, pointed nose, over-sized mouth and menacing teeth painted white?, and crescent shaped ears. Protruding (twisted) horns encircle the top of the head in which there is an elaborate superstructure, with animals, horned figures and European or colonial officers (oyibo) dressed in European clothing with pith helmets. There is a painted serpent with its mouth wide open showing its teeth. The bulky costume of the masquerader is made of cloth, the upper body is adorned with leaves? or v-shaped dark material, a belt made of strands of cowrie shells with a metal bell attached, around the waist is a light coloured cloth, and rattles made of seeds around the legs. The masquerader is holding a club? or machete in one hand. In the left hand side of the photograph, a group of male supporters (wearing feathers in their hair) are next to the masquerader playing instruments - two are playing metal gongs, one is holding a fan?. In the background is a large group of onlookers watching the masquerade and behind them are trees and vegetation.[Description from record N.71560.GIJ, PB 21/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767078.GIJ - P.767083.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311848\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171157_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144373_P.171157.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13239.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306511", "metadata": {"title": "Untitled", "idno": "N.13239.GIJ", "description": "Obugulu Mau (Ghost) masquerade.\n\nOjo (Eju) Oni (Long Mouth) masquerade character wearing a carved and painted wooden head mask, attached to a woven cloth costume which covers the whole of the top half of the wearer. The \u201canimal-like\u201d mask is carved with two horns, eyes, nose, ears, snout with teeth, and a criss-cross pattern in the centre of the forehead. It is painted with dark pigment, on to which pale spots and lines have been added. In the background are grasses, huts, and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Eju Onu (Long Mouth) [close-up] Mmau masquerade, Amuda village, Isu Ochi (5th image).\n\nContext: Jones describes the head mask for the character called Ulaga or Oji Onu (Long Mouth) among the Northern Ibo. It belonged to the benign or comic animal category. The front part of his head mask projected forward as a muzzle or pair of jaws, the middle section carried a high human forehead and a high-carinated nose, occasionally flanked by bulbous eyes; the rear part was finished off with horns or animal ears or more abstract projections. Whatever its origin, whether in the Lower Niger or Delta area, this type of mask seems to have ranged from the Central Delta to the confluence of the Niger and the Benue River and as far up the latter as the Jukun and Chamba territory.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Meek, C. 1931. A Sudanese Kingdom, (London)\n\nMAA Exhibition: This image is included in the G.I. Jones' slide show in the Nigerian case, Maudslay Gallery, with the following caption:\n\"Ojo Oni (Long Mouth) character in the Obugulu Mau (Ghost) masquerade.\nThe Oji Onu (Long Mouth) is a comical animal character. His mask starts with a muzzle or jaws, a high-carinated nose, flanked by bulbous eyes, a high human forehead, and finished off with horns or animal ears.\u201d [JD 5/8/2014]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 17/10/2007]", "raw_text_dump": "IDNO\n\nN.13239.GIJ\n\nDescription\n\nObugulu Mau (Ghost) masquerade.\n\nOjo (Eju) Oni (Long Mouth) masquerade character wearing a carved and painted wooden head mask, attached to a woven cloth costume which covers the whole of the top half of the wearer. The \u201canimal-like\u201d mask is carved with two horns, eyes, nose, ears, snout with teeth, and a criss-cross pattern in the centre of the forehead. It is painted with dark pigment, on to which pale spots and lines have been added. In the background are grasses, huts, and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Eju Onu (Long Mouth) [close-up] Mmau masquerade, Amuda village, Isu Ochi (5th image).\n\nContext: Jones describes the head mask for the character called Ulaga or Oji Onu (Long Mouth) among the Northern Ibo. It belonged to the benign or comic animal category. The front part of his head mask projected forward as a muzzle or pair of jaws, the middle section carried a high human forehead and a high-carinated nose, occasionally flanked by bulbous eyes; the rear part was finished off with horns or animal ears or more abstract projections. Whatever its origin, whether in the Lower Niger or Delta area, this type of mask seems to have ranged from the Central Delta to the confluence of the Niger and the Benue River and as far up the latter as the Jukun and Chamba territory.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Meek, C. 1931. A Sudanese Kingdom, (London)\n\nMAA Exhibition: This image is included in the G.I. Jones' slide show in the Nigerian case, Maudslay Gallery, with the following caption:\n\"Ojo Oni (Long Mouth) character in the Obugulu Mau (Ghost) masquerade.\nThe Oji Onu (Long Mouth) is a comical animal character. His mask starts with a muzzle or jaws, a high-carinated nose, flanked by bulbous eyes, a high human forehead, and finished off with horns or animal ears.\u201d [JD 5/8/2014]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 17/10/2007]\n\n\n\nFM:147889\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13239_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000502_N.13239.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.170295.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464356", "metadata": {"title": "Untitled", "idno": "P.170295.GIJ", "description": "A documentation photograph of two carved animal figures standing in front of a woven fence. The figures are of lions or leopards.\n\nThe much larger figure to the right is painted in white with facial features highlighted in dark paint. It is in side profile with raised pointed tail, and a fierce open jaw with teeth.\nThe much smaller figure to the left stands behind with a curved tail and a stumpy head with roughty carved features. [PB 10/11/23]", "place": "W Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Uto Etim Ekpo village", "cultural_affliation": "Anang; Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170288.GIJ - P.170277.GIJ were located in a folder, now numbered C759/7.", "raw_text_dump": "IDNO\n\nP.170295.GIJ\n\nDescription\n\nA documentation photograph of two carved animal figures standing in front of a woven fence. The figures are of lions or leopards.\n\nThe much larger figure to the right is painted in white with facial features highlighted in dark paint. It is in side profile with raised pointed tail, and a fierce open jaw with teeth.\nThe much smaller figure to the left stands behind with a curved tail and a stumpy head with roughty carved features. [PB 10/11/23]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Uto Etim Ekpo village\n\nCultural Affliation\n\nAnang; Ibibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170288.GIJ - P.170277.GIJ were located in a folder, now numbered C759/7.\n\nFM:310853\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170295_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1132156_P.170295.GIJ_001.png"}, {"file_name": "P_170295_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1132157_P.170295.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171191.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465252", "metadata": {"title": "Untitled", "idno": "P.171191.GIJ", "description": "Ogbugulu Mau masquerade, a grandmother mask. The masquerader is sitting down on a wooden chair. The mask consists of a white face with black markings around the eyes, nose and three markings on the forehead. The top of the mask consists of cone-shaped headdress (coiffure) with a curved structure in the centre, painted white and black. There is woven cloth attached to the mask, a scarf tied around the neck and a harlequin-like costume. In the background is an open space and trees. [Description from record P.71511.GIJ, PB 02/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767113.GIJ - P.767116.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171191.GIJ\n\nDescription\n\nOgbugulu Mau masquerade, a grandmother mask. The masquerader is sitting down on a wooden chair. The mask consists of a white face with black markings around the eyes, nose and three markings on the forehead. The top of the mask consists of cone-shaped headdress (coiffure) with a curved structure in the centre, painted white and black. There is woven cloth attached to the mask, a scarf tied around the neck and a harlequin-like costume. In the background is an open space and trees. [Description from record P.71511.GIJ, PB 02/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767113.GIJ - P.767116.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311882\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171191_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144407_P.171191.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.71954.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365225", "metadata": {"title": "Untitled", "idno": "P.71954.GIJ", "description": "A Ngbagba Ikoro masquerade with the chorus and band of the masquerade. Some of the members are wearing small masks on top of their heads which do not cover their faces. The masks vary but most are dark with the addition of white paint. The band and chorus are sitting under the sloped roof of a building; the roof is made of raffia.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71946.GIJ to P.71968.GIJ were found wrapped in paper, now numbered C298/9/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nP.71954.GIJ\n\nDescription\n\nA Ngbagba Ikoro masquerade with the chorus and band of the masquerade. Some of the members are wearing small masks on top of their heads which do not cover their faces. The masks vary but most are dark with the addition of white paint. The band and chorus are sitting under the sloped roof of a building; the roof is made of raffia.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71946.GIJ to P.71968.GIJ were found wrapped in paper, now numbered C298/9/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nFM:206604\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_71954_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657054_N.71955.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13184.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306456", "metadata": {"title": "Untitled", "idno": "N.13184.GIJ", "description": "Carved wooden face mask with movable jaw and ?fur attached to chin. Features include holes for eyes, nose, lips, teeth, protruding forehead and cheeks. Raised ?\u2018scarification\u2019 patterns on cheeks and forehead. Superstructure on top of head.\n\nObject documentation photograph.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Igbo\n3. Mask \u201cCross River mask\u201d collected by P. A. Talbot, probably Abiriba. In Pitt Rivers Museum, Oxford. (3rd image).\n\nContext: Jones discusses the different styles of sculpture in the Cross River area. In reference to the mask in this photograph, he writes. \u201cThe range of Cross River carvings is striking: their only constant features are the techniques of covering the carvings with skin and the netted fiber costumes. One type is a closely fitted coat (as in this photo), the other consists of closely fitted tights worn by a fierce faceless characters called Egbo runnes in in nineteenth century Old Calabar. In the Umuahia ara, this Cross River style of heads and costumes is associated with the Ekpe (Egbo) secret society which has spread to many villages under various names (Ekpe, Akang, Okonko, Mbon) (Jones, 1973, p.61).\n\nContext: In reference to the Abam/Ohaffia area, Jones writes that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin-covered heads in the Cross-River Style, usually called Ajonku. But they also had masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of the Abiriba. All these tribes, but particularly the Abiriba, were great doctors and traders and travelled extensively in the Cross River area and through the Ibibio country to the coastal trading states. Anang (Ibibio) sculpture was greatly admired, but it does not seem to have had much influence on the local styles\u201d (Jones, 1984, p.208)\n\nContext: Cole and Aniakor talk about the skin covered masks and headdresses which were common in the Cross River Area. Through the work of Nicklin, Salmons, Jones and Campbell, some provenances of these masquerades are now being sorted out. It is acknowledged that Ejagham peoples originated the genre, but not often mentioned that Cross River Igbo were also exponents of it, creating some variants that stand as important works of art. Examples are documented from Isu-Item, Bende, Umuahia, Abiribia, Ohafia, Arochukwu, and some north-eastern Igbo peoples, and it is probable that a number of of masks labeled Ekoi are also of Igbo origin. They were danced in the masquerades of men\u2019s societies: Ekpe (Ohuhu-Ngwa), Ikem, Oiyima, Ajonkwu, Ekong, and probably others as well...Jones\u2019 designation of \u201cCross River Style\u201d for these and other skin covered masks is understandable since the peoples of the region carved for one another in several substyles, traded dances and associations, and thus confounded any but the most broad classifications. (Cole and Aniakor, 1984, p.182). [AF 3/12/2007]\n\nBibliographical Reference: A brief history is provided by Emmanuel Eze on the website: History, Culture and Politics in Isuikwuato LGA; Emmanuel Eze reporting from Abia\nSubmitted on 25/07/2005\nIsuikwuato is one of the Local Government Areas in Abia state. The name itself means a union of three main components or kindreds as [ikwu] represents in igbo language. It is bounded in the North by by Uturu, in the east by Alayi, to the suoth by Akoli and Mkpa, and to the west by Otanchara and Otanzu. However, the present political structure of Isuikwuato has Uturu as part of it.\nThe people of Isuikwuato speak Igbo language though with a distinct dialect. The people are quite friendly and hospitable. They are into farming as the area has a large landmass though it is hilly and undulating as per the topography. In addition, they are also businessmen cum women and professionals in different fields. Like all other igbos they are seasoned sojourners and can be found in all parts of Nigeria and beyond.\nOwing to the topography of Isuikwuato, there are many rivers cum streams from were the indigenes get their water, the only difficulty being the long distance .\nIn recent times, the area has come to produce great Academicians and intellectuals one of whom is Dr Chinweizu; Author of Anatomy of Female Power, among others.\nThere are a number of cultural celebrations such as the Ajonkwu in Ovim[ Ovum], Ebo in Umuobiala and the New Yam festival which is a general festival in Igboland. [Source: nigerianmasses.com, AF 3/12/2007]\n\nBibliographical Reference:\nJones, G.I. 1973. \u201cSculpture of the Umuahia Ara of Nigeria\u201d African Arts 6(4):58-63, 96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]", "raw_text_dump": "IDNO\n\nN.13184.GIJ\n\nDescription\n\nCarved wooden face mask with movable jaw and ?fur attached to chin. Features include holes for eyes, nose, lips, teeth, protruding forehead and cheeks. Raised ?\u2018scarification\u2019 patterns on cheeks and forehead. Superstructure on top of head.\n\nObject documentation photograph.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Igbo\n3. Mask \u201cCross River mask\u201d collected by P. A. Talbot, probably Abiriba. In Pitt Rivers Museum, Oxford. (3rd image).\n\nContext: Jones discusses the different styles of sculpture in the Cross River area. In reference to the mask in this photograph, he writes. \u201cThe range of Cross River carvings is striking: their only constant features are the techniques of covering the carvings with skin and the netted fiber costumes. One type is a closely fitted coat (as in this photo), the other consists of closely fitted tights worn by a fierce faceless characters called Egbo runnes in in nineteenth century Old Calabar. In the Umuahia ara, this Cross River style of heads and costumes is associated with the Ekpe (Egbo) secret society which has spread to many villages under various names (Ekpe, Akang, Okonko, Mbon) (Jones, 1973, p.61).\n\nContext: In reference to the Abam/Ohaffia area, Jones writes that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin-covered heads in the Cross-River Style, usually called Ajonku. But they also had masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of the Abiriba. All these tribes, but particularly the Abiriba, were great doctors and traders and travelled extensively in the Cross River area and through the Ibibio country to the coastal trading states. Anang (Ibibio) sculpture was greatly admired, but it does not seem to have had much influence on the local styles\u201d (Jones, 1984, p.208)\n\nContext: Cole and Aniakor talk about the skin covered masks and headdresses which were common in the Cross River Area. Through the work of Nicklin, Salmons, Jones and Campbell, some provenances of these masquerades are now being sorted out. It is acknowledged that Ejagham peoples originated the genre, but not often mentioned that Cross River Igbo were also exponents of it, creating some variants that stand as important works of art. Examples are documented from Isu-Item, Bende, Umuahia, Abiribia, Ohafia, Arochukwu, and some north-eastern Igbo peoples, and it is probable that a number of of masks labeled Ekoi are also of Igbo origin. They were danced in the masquerades of men\u2019s societies: Ekpe (Ohuhu-Ngwa), Ikem, Oiyima, Ajonkwu, Ekong, and probably others as well...Jones\u2019 designation of \u201cCross River Style\u201d for these and other skin covered masks is understandable since the peoples of the region carved for one another in several substyles, traded dances and associations, and thus confounded any but the most broad classifications. (Cole and Aniakor, 1984, p.182). [AF 3/12/2007]\n\nBibliographical Reference: A brief history is provided by Emmanuel Eze on the website: History, Culture and Politics in Isuikwuato LGA; Emmanuel Eze reporting from Abia\nSubmitted on 25/07/2005\nIsuikwuato is one of the Local Government Areas in Abia state. The name itself means a union of three main components or kindreds as [ikwu] represents in igbo language. It is bounded in the North by by Uturu, in the east by Alayi, to the suoth by Akoli and Mkpa, and to the west by Otanchara and Otanzu. However, the present political structure of Isuikwuato has Uturu as part of it.\nThe people of Isuikwuato speak Igbo language though with a distinct dialect. The people are quite friendly and hospitable. They are into farming as the area has a large landmass though it is hilly and undulating as per the topography. In addition, they are also businessmen cum women and professionals in different fields. Like all other igbos they are seasoned sojourners and can be found in all parts of Nigeria and beyond.\nOwing to the topography of Isuikwuato, there are many rivers cum streams from were the indigenes get their water, the only difficulty being the long distance .\nIn recent times, the area has come to produce great Academicians and intellectuals one of whom is Dr Chinweizu; Author of Anatomy of Female Power, among others.\nThere are a number of cultural celebrations such as the Ajonkwu in Ovim[ Ovum], Ebo in Umuobiala and the New Yam festival which is a general festival in Igboland. [Source: nigerianmasses.com, AF 3/12/2007]\n\nBibliographical Reference:\nJones, G.I. 1973. \u201cSculpture of the Umuahia Ara of Nigeria\u201d African Arts 6(4):58-63, 96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]\n\nFM:147834\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13184_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000446_N.13184.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "T.170096.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464157", "metadata": {"title": "Untitled", "idno": "T.170096.GIJ", "description": "A beautiful female mask. The wooden face mask is carved delicately and consists of two slit eyes, long nose, mouth, etched markings on either side of the temples and squarish ears. The centre of the forehead is incised with a diamond shaped marking with striations, and emanating from the forehead is a long hairstyle or coiffure with incised horizontal striations, the top of the mask is plain and rounded. The holes for attaching the mask are visible in the photograph.[Description from record N.71762.GIJ, PB 22/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Item", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nPublication: Image published in Jones, G.I. 1984. The Art of Eastern Nigeria. (Cambridge: CUP), fig. 110, p. 201, and captioned as \"Beautiful' mask: covering top half of wearer's face. Lughulu masquerade. Item tribe (N.M.). Isu/Item Ibo.\" [PB 22/09/2023]", "raw_text_dump": "IDNO\n\nT.170096.GIJ\n\nDescription\n\nA beautiful female mask. The wooden face mask is carved delicately and consists of two slit eyes, long nose, mouth, etched markings on either side of the temples and squarish ears. The centre of the forehead is incised with a diamond shaped marking with striations, and emanating from the forehead is a long hairstyle or coiffure with incised horizontal striations, the top of the mask is plain and rounded. The holes for attaching the mask are visible in the photograph.[Description from record N.71762.GIJ, PB 22/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nItem\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nPublication: Image published in Jones, G.I. 1984. The Art of Eastern Nigeria. (Cambridge: CUP), fig. 110, p. 201, and captioned as \"Beautiful' mask: covering top half of wearer's face. Lughulu masquerade. Item tribe (N.M.). Isu/Item Ibo.\" [PB 22/09/2023]\n\nFM:310624\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170096_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128315_T.170096.GIJ_001.png"}, {"file_name": "T_170096_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128316_T.170096.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71623.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364894", "metadata": {"title": "Untitled", "idno": "N.71623.GIJ", "description": "Omuko (very old elder) sitting and flanked by three attendants. The masked character is wearing a white cloth covering the entire body and face. Attached to the cloth is a wooden face mask, painted dark with white paint accentuating the eyes, nose, and mouth, attached to the chin is a black beard. On top of the head is a white sun helmet. A dark shawl is draped around the shoulders, and he is holding a long staff with a u-shaped tip. One attendant is sitting next to him ; he is wearing a wrapper, white shirt and a felt hat. The other two attendants are standing behind him. They are wearing plaid wrappers, hats and the on the left is holding a metal gong; the attendant immediately behind the masquerader is holding his head. In the background are trees and vegetation.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 24 of the negative album now numbered C15/.\n\nContext: Jones provides a detailed description of the various characters in this masquerade in Amobia Village which he had observed and photographed in the field, \u201cA performance in the Northern Ibo village of Amobia was opened by a hooded character called \u201cGovernment\u201d. He had no face and was crowned with a Homburg hat; an elephant tusk horn, symbol of authority, was laid on the ground in front of him and he read in ghostly gibberish from an important-looking document. He and his acolyte withdrew and were succeeded by a parade of ghostly policemen and court messengers wearing imitations of police and messenger uniforms and with cloth masks over their faces and head. They performed a spirited guard drill before being posted by their commander to their stations to control the crowd. Their followed a supercilious white-faced sun-helmeted figure in white drill jacket and trousers called Oyibo (White Man), who inspected the audience and then took his seat amongst the places reserved for the distinguished visitors who had come to watch the play. After him came a succession of characters, some white-faced, representing female spirits, some black or multi-coloured fierce and masculine creatures with masks that combined animal and human features; others again, mainly harmless or comic or benign, representing antelopes, or other animal spirits or characters drawn from village life. Each had his or her special role to play and having acted it withdrew to the secret enclosure or sat on seats at the ringside waiting to repeat his performance. \u201c Jones also writes that this masquerade was \u201c a large concerted display which included characters contributed by all the local societies.\u201d (Jones, 1984, pp.59-60.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71623.GIJ\n\nDescription\n\nOmuko (very old elder) sitting and flanked by three attendants. The masked character is wearing a white cloth covering the entire body and face. Attached to the cloth is a wooden face mask, painted dark with white paint accentuating the eyes, nose, and mouth, attached to the chin is a black beard. On top of the head is a white sun helmet. A dark shawl is draped around the shoulders, and he is holding a long staff with a u-shaped tip. One attendant is sitting next to him ; he is wearing a wrapper, white shirt and a felt hat. The other two attendants are standing behind him. They are wearing plaid wrappers, hats and the on the left is holding a metal gong; the attendant immediately behind the masquerader is holding his head. In the background are trees and vegetation.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 24 of the negative album now numbered C15/.\n\nContext: Jones provides a detailed description of the various characters in this masquerade in Amobia Village which he had observed and photographed in the field, \u201cA performance in the Northern Ibo village of Amobia was opened by a hooded character called \u201cGovernment\u201d. He had no face and was crowned with a Homburg hat; an elephant tusk horn, symbol of authority, was laid on the ground in front of him and he read in ghostly gibberish from an important-looking document. He and his acolyte withdrew and were succeeded by a parade of ghostly policemen and court messengers wearing imitations of police and messenger uniforms and with cloth masks over their faces and head. They performed a spirited guard drill before being posted by their commander to their stations to control the crowd. Their followed a supercilious white-faced sun-helmeted figure in white drill jacket and trousers called Oyibo (White Man), who inspected the audience and then took his seat amongst the places reserved for the distinguished visitors who had come to watch the play. After him came a succession of characters, some white-faced, representing female spirits, some black or multi-coloured fierce and masculine creatures with masks that combined animal and human features; others again, mainly harmless or comic or benign, representing antelopes, or other animal spirits or characters drawn from village life. Each had his or her special role to play and having acted it withdrew to the secret enclosure or sat on seats at the ringside waiting to repeat his performance. \u201c Jones also writes that this masquerade was \u201c a large concerted display which included characters contributed by all the local societies.\u201d (Jones, 1984, pp.59-60.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206273\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71623_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656733_N.71623.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171604.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465665", "metadata": {"title": "Untitled", "idno": "P.171604.GIJ", "description": "A documentation photograph of a carved wooden ancestral figure in profile. Body and limbs are carved with deep angular cuts. The head has a low brow line above which diagonal lines etch the forehead, with a hair bun above incised rings. The eyes, mouth and ears are rimmed. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171604.GIJ and P.1716035.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171604.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden ancestral figure in profile. Body and limbs are carved with deep angular cuts. The head has a low brow line above which diagonal lines etch the forehead, with a hair bun above incised rings. The eyes, mouth and ears are rimmed. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171604.GIJ and P.1716035.GIJ are mounted on card.\n\nFM:312324\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171604_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144903_P.171604.GIJ_001.jpg"}, {"file_name": "P_171604_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144904_P.171604.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.7039.ACH1", "source_url": "https://collections.maa.cam.ac.uk/photographs/300311", "metadata": {"title": "Untitled", "idno": "P.7039.ACH1", "description": "On Catalogue Card: Medicine for ? of house, in courtyard of same. Ekoi country.", "place": "W Africa; Nigeria; south eastern Nigeria; near Cross River", "cultural_affliation": "?Ekoi", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Mounted Haddon Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "", "raw_text_dump": "IDNO\n\nP.7039.ACH1\n\nDescription\n\nOn Catalogue Card: Medicine for ? of house, in courtyard of same. Ekoi country.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; near Cross River\n\nCultural Affliation\n\n?Ekoi\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nMounted Haddon Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nFM:141689\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_7039_ACH1_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/866762_P.7039.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169651.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463641", "metadata": {"title": "Untitled", "idno": "P.169651.GIJ", "description": "Ogbukere Play with the masquerade character known as Egidi wearing a fish-like mask. The mask consists of a long horizontal wooden headdress that has coloured fringe and plumes attached to it with a large fin in the centre of the mask painted with the name Egidi and a smaller fin behind. Attendants are next to the mask and they are wearing wrappers around the waist; one attendant is wearing a white sun helmet, another man behind is blowing a metal horn. In the background are spectators.[Description from record N.61379.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River Area", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.", "raw_text_dump": "IDNO\n\nP.169651.GIJ\n\nDescription\n\nOgbukere Play with the masquerade character known as Egidi wearing a fish-like mask. The mask consists of a long horizontal wooden headdress that has coloured fringe and plumes attached to it with a large fin in the centre of the mask painted with the name Egidi and a smaller fin behind. Attendants are next to the mask and they are wearing wrappers around the waist; one attendant is wearing a white sun helmet, another man behind is blowing a metal horn. In the background are spectators.[Description from record N.61379.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River Area\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nFM:310138\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169651_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127400_P.169651.GIJ_001.png"}, {"file_name": "P_169651_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127402_P.169651.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71766.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365037", "metadata": {"title": "Untitled", "idno": "N.71766.GIJ", "description": "A beautiful Item female mask. The wooden face mask is carved delicately and consists of two slit eyes, long nose, mouth, etched markings on either side of the temples and square-ish ears. The centre of the forehead is incised with a diamond shaped marking with striations, and emanating from the forehead is a long hairstyle or coiffure with incised horizontal striations, the top of the mask is plain and rounded. The holes for attaching the mask are visible in the photograph.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Item", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 73 of the negative album now numbered C17/.\n\nPublication: Same image published in Jones (1984), p. 207, Figure 110 with the caption \u201cbeautiful mask\u201d.\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]", "raw_text_dump": "IDNO\n\nN.71766.GIJ\n\nDescription\n\nA beautiful Item female mask. The wooden face mask is carved delicately and consists of two slit eyes, long nose, mouth, etched markings on either side of the temples and square-ish ears. The centre of the forehead is incised with a diamond shaped marking with striations, and emanating from the forehead is a long hairstyle or coiffure with incised horizontal striations, the top of the mask is plain and rounded. The holes for attaching the mask are visible in the photograph.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nItem\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 73 of the negative album now numbered C17/.\n\nPublication: Same image published in Jones (1984), p. 207, Figure 110 with the caption \u201cbeautiful mask\u201d.\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nFM:206416\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71766_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656873_N.71766.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71653.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364924", "metadata": {"title": "Untitled", "idno": "N.71653.GIJ", "description": "An Ikenga figure carved of wood. The figure is standing on a circular base, holding a cutlass in one hand and another long object(possibly a pipe?) inthe other. The face of the figure is painted white with black etched designs on the forehead, almond shaped eyes, nose and lips painted black, protruding from the head are two curled horns painted black. The figure has a thick neck, squat torso and thick legs with rounded knee bands. The figure is painted a dark colour but accentuated with a lighter colour to show a necklace, waist bands, and knee rings.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "Publication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Ikenga Amobia, Nri-Awka Igbo (Now in Pitt Rivers Museum, Oxford (1938 15 43) (2nd image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d In reference to Ikenga figures, he writes, \u201c The best known Ibo personal cult and the one that has given rise to the greatest number of carvings is that of Ikenga, a Lower Niger cult of a man\u2019s right arm and of success associated with it, which the Edo shared with the Western, Northern, most of the Southern Ibo and with Igala groups. The Ohuhu-Ngwa, Cross River and Northeastern Ibo did not participate in it. Most Ibo and Edo had a small cylindrical object with some geometrical carving on it and ending in a pair of pointed horns. Some Western Ibo increased the size so that it looked more like a circular stool . Other Ibo and Edo added a head and some carved a whole figure. The Nri-Akwa Ibo produced the most elaborate cult objects and in the greatest number. Older examples carved by them elaborated the horns and the head, which was shown smoking a pipe. Later ones consisted of complete figures which were shown standing or more usually seated on a circular stool with a cutlass in one hand and a human head in the other or, alternatively, holding a tusk horn and an ornamental staff (Jones, 1989, p.40). Also, see Jones, 1984, pp. 141-142.\n\nContext: Cole and Aniakor write in detail about Ikenga (see Chapter Two). They show that the concept of Ikenga reverberates throughout much of Igbo life . These images are found in the shrines of individual diviners and corporate tutelary cults and as representatives of age-grades and communities. ...They continue to describe that the basic Igbo Ikenga image is a human with horns, sometimes rendered very simply as an abstract head and horns base. Larger, more elaborate examples include fully realized males seated on stools, holding and wearing various symbols, and with more or less complex headdresses determined in part by horns and often including several other motifs (Cole and Aniakor, 1984, p.24).\n\nPublications: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989 Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/11/2007]", "raw_text_dump": "IDNO\n\nN.71653.GIJ\n\nDescription\n\nAn Ikenga figure carved of wood. The figure is standing on a circular base, holding a cutlass in one hand and another long object(possibly a pipe?) inthe other. The face of the figure is painted white with black etched designs on the forehead, almond shaped eyes, nose and lips painted black, protruding from the head are two curled horns painted black. The figure has a thick neck, squat torso and thick legs with rounded knee bands. The figure is painted a dark colour but accentuated with a lighter colour to show a necklace, waist bands, and knee rings.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Ikenga Amobia, Nri-Awka Igbo (Now in Pitt Rivers Museum, Oxford (1938 15 43) (2nd image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d In reference to Ikenga figures, he writes, \u201c The best known Ibo personal cult and the one that has given rise to the greatest number of carvings is that of Ikenga, a Lower Niger cult of a man\u2019s right arm and of success associated with it, which the Edo shared with the Western, Northern, most of the Southern Ibo and with Igala groups. The Ohuhu-Ngwa, Cross River and Northeastern Ibo did not participate in it. Most Ibo and Edo had a small cylindrical object with some geometrical carving on it and ending in a pair of pointed horns. Some Western Ibo increased the size so that it looked more like a circular stool . Other Ibo and Edo added a head and some carved a whole figure. The Nri-Akwa Ibo produced the most elaborate cult objects and in the greatest number. Older examples carved by them elaborated the horns and the head, which was shown smoking a pipe. Later ones consisted of complete figures which were shown standing or more usually seated on a circular stool with a cutlass in one hand and a human head in the other or, alternatively, holding a tusk horn and an ornamental staff (Jones, 1989, p.40). Also, see Jones, 1984, pp. 141-142.\n\nContext: Cole and Aniakor write in detail about Ikenga (see Chapter Two). They show that the concept of Ikenga reverberates throughout much of Igbo life . These images are found in the shrines of individual diviners and corporate tutelary cults and as representatives of age-grades and communities. ...They continue to describe that the basic Igbo Ikenga image is a human with horns, sometimes rendered very simply as an abstract head and horns base. Larger, more elaborate examples include fully realized males seated on stools, holding and wearing various symbols, and with more or less complex headdresses determined in part by horns and often including several other motifs (Cole and Aniakor, 1984, p.24).\n\nPublications: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989 Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/11/2007]\n\nFM:206303\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71653_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656757_N.71653.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169683.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463692", "metadata": {"title": "Untitled", "idno": "P.169683.GIJ", "description": "A group of human remains, including one skull and two part skulls with several bones and bone fragments. The remains are lying between two logs on bare ground. The remains are lying among leaf debris. [PB 24/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169680.GIJ - P.169690.GIJ were located in a brown envelope now numbered C754/3/.", "raw_text_dump": "IDNO\n\nP.169683.GIJ\n\nDescription\n\nA group of human remains, including one skull and two part skulls with several bones and bone fragments. The remains are lying between two logs on bare ground. The remains are lying among leaf debris. [PB 24/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169680.GIJ - P.169690.GIJ were located in a brown envelope now numbered C754/3/.\n\nFM:310170\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169683_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127461_image_not_public.jpg"}, {"file_name": "P_169683_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127462_P.169683.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.170245.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464306", "metadata": {"title": "Untitled", "idno": "P.170245.GIJ", "description": "Obugulu Mau daughter masks. Two masqueraders wearing white \"daughter\" masks standing. The masks consist of white face with black markings and etched markings on the cheeks and forehead. The top of the mask culminates into a rounded superstructure decorated in colourful felt and cloth attached to the back of the mask are strips of cloth and felt. The masqueraders are wearing harlequin-like costumes and white gloves. There are spectators in the background. [PB 02/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170244.GIJ - P.170247.GIJ were located in a brown envelope, now numbered C759/2.", "raw_text_dump": "IDNO\n\nP.170245.GIJ\n\nDescription\n\nObugulu Mau daughter masks. Two masqueraders wearing white \"daughter\" masks standing. The masks consist of white face with black markings and etched markings on the cheeks and forehead. The top of the mask culminates into a rounded superstructure decorated in colourful felt and cloth attached to the back of the mask are strips of cloth and felt. The masqueraders are wearing harlequin-like costumes and white gloves. There are spectators in the background. [PB 02/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170244.GIJ - P.170247.GIJ were located in a brown envelope, now numbered C759/2.\n\nFM:310803\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170245_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131594_P.170245.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171489.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465550", "metadata": {"title": "Untitled", "idno": "P.171489.GIJ", "description": "Obugulu Mau masquerade. Several characters in 'mother' and 'daughter' costumes dancing in line. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appliqu\u00e9d costumes with pointed breasts; their hands and feet are covered with cloth. [Description from record T.170063.GIJ , PB 20/09/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.768147.GIJ to P.768149.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171489.GIJ\n\nDescription\n\nObugulu Mau masquerade. Several characters in 'mother' and 'daughter' costumes dancing in line. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appliqu\u00e9d costumes with pointed breasts; their hands and feet are covered with cloth. [Description from record T.170063.GIJ , PB 20/09/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.768147.GIJ to P.768149.GIJ are mounted on card.\n\nFM:312190\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171489_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144706_P.171489.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171580.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465641", "metadata": {"title": "Untitled", "idno": "P.171580.GIJ", "description": "A documentation photograph of two tall and slender carved wooden figures, standing against a mud wall. The figure on the left is female with a central hair crest, the figure on the right is male with a high head topped by a pith helmet. The figure on the left has a row of horizontal notches from neck to waist. The figure on the right a cross of these notches, from neck to groin, and from side to side of the waist with a raised knob on the navel. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Inyiogugu", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171580.GIJ is mounted on card.", "raw_text_dump": "IDNO\n\nP.171580.GIJ\n\nDescription\n\nA documentation photograph of two tall and slender carved wooden figures, standing against a mud wall. The figure on the left is female with a central hair crest, the figure on the right is male with a high head topped by a pith helmet. The figure on the left has a row of horizontal notches from neck to waist. The figure on the right a cross of these notches, from neck to groin, and from side to side of the waist with a raised knob on the navel. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Inyiogugu\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171580.GIJ is mounted on card.\n\nFM:312300\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171580_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144855_P.171580.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.170051.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464074", "metadata": {"title": "Untitled", "idno": "T.170051.GIJ", "description": "Obugulu Mau daughter masks. Three masqueraders wearing white \u201cdaughter\u201d masks sitting down. The masks consists of white face with black markings and etched markings on the cheeks and forehead. The top of the mask culminates into a rounded superstructure decorated in colourful felt and cloth attached to the back of the mask are strips of cloth and felt. The masqueraders are wearing harlequin-like costumes and white gloves. There are spectators in the background.[Description from record P.71515.GIJ, PB 14/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170051.GIJ\n\nDescription\n\nObugulu Mau daughter masks. Three masqueraders wearing white \u201cdaughter\u201d masks sitting down. The masks consists of white face with black markings and etched markings on the cheeks and forehead. The top of the mask culminates into a rounded superstructure decorated in colourful felt and cloth attached to the back of the mask are strips of cloth and felt. The masqueraders are wearing harlequin-like costumes and white gloves. There are spectators in the background.[Description from record P.71515.GIJ, PB 14/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310579\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170051_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128149_T.170051.GIJ_001.png"}, {"file_name": "T_170051_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128151_T.170051.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13341.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306613", "metadata": {"title": "Untitled", "idno": "N.13341.GIJ", "description": "Agu Necheanyi (lion waits for elephant) mask. The mask is unfinished and is being \u201cmodelled\u2019 by a seated man. The mask is unpainted and consists of a carved face with large rounded eyes, pointed nose and large muzzle with pointed teeth, jutting out from the side of the jaw are two curved horns and on the forehead is a small head and emanating from that are two pointed horns making up the front part of the \u201csuperstructure\u201d with four other projections behind, perched on top is a carved animal perhaps a dog? with a curled tail. In the background are wooden chairs, thatched huts and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "Agu Neche Enyi (Wait for Elephant)", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "Prior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) (Jones, 1984).\n\nContext: The wide variety of masks in the Nri Akwa area is discussed further. Antelopes, goats, and similar animal spirits were given head masks and those with long muzzles were called Oji Onu (long mouth) or Ulaga. Some animals (for example, Tortoise) were carved as a complete figure which was worn on the actor\u2019s head. There was a range of masks in various shapes, sizes, styles and materials representing comic, stupid, and other human and animal types. There was also faceless characters where the actor\u2019s own face was concealed under a cloth or raffia hood. Some of these were said to be very old and senior, other were abstractions like the spirit called Government or three raffia-covered characters who sang together in thirds and were called Onukamma (the tongue is stronger than the sword). Some of the masks used in Nri-Akwa masquerades were borrowed from elsewhere, mainly from the Ibibio. (Jones, 1989, pp.46-47.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13341.GIJ\n\nDescription\n\nAgu Necheanyi (lion waits for elephant) mask. The mask is unfinished and is being \u201cmodelled\u2019 by a seated man. The mask is unpainted and consists of a carved face with large rounded eyes, pointed nose and large muzzle with pointed teeth, jutting out from the side of the jaw are two curved horns and on the forehead is a small head and emanating from that are two pointed horns making up the front part of the \u201csuperstructure\u201d with four other projections behind, perched on top is a carved animal perhaps a dog? with a curled tail. In the background are wooden chairs, thatched huts and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nAgu Neche Enyi (Wait for Elephant)\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPrior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) (Jones, 1984).\n\nContext: The wide variety of masks in the Nri Akwa area is discussed further. Antelopes, goats, and similar animal spirits were given head masks and those with long muzzles were called Oji Onu (long mouth) or Ulaga. Some animals (for example, Tortoise) were carved as a complete figure which was worn on the actor\u2019s head. There was a range of masks in various shapes, sizes, styles and materials representing comic, stupid, and other human and animal types. There was also faceless characters where the actor\u2019s own face was concealed under a cloth or raffia hood. Some of these were said to be very old and senior, other were abstractions like the spirit called Government or three raffia-covered characters who sang together in thirds and were called Onukamma (the tongue is stronger than the sword). Some of the masks used in Nri-Akwa masquerades were borrowed from elsewhere, mainly from the Ibibio. (Jones, 1989, pp.46-47.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147991\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13341_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000604_N.13341.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13281.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306553", "metadata": {"title": "Untitled", "idno": "N.13281.GIJ", "description": "A close up view of the masquerade character called Onyeabu (Singer) performing in the Okwanku masquerade. The masquerader is wearing a dark wooden round face mask with high forehead, slits for eyes, triangular shaped nose, open mouth, rounded cheek, and long raffia hair. He is raising one hand upright. In the background are spectators, a thatched building and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village", "cultural_affliation": "Igbo [historically Ibo]; Ohaffia", "named_person": "Onyeabu; Singer [name of masque character]", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ohafia/Abam Igbo\n2. Okwanko masquerade, Akanu Ohafia\n3. Another mask of the Okwanko group (6th image).\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13281.GIJ\n\nDescription\n\nA close up view of the masquerade character called Onyeabu (Singer) performing in the Okwanku masquerade. The masquerader is wearing a dark wooden round face mask with high forehead, slits for eyes, triangular shaped nose, open mouth, rounded cheek, and long raffia hair. He is raising one hand upright. In the background are spectators, a thatched building and trees.\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ohaffia\n\nNamed Person\n\nOnyeabu; Singer [name of masque character]\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ohafia/Abam Igbo\n2. Okwanko masquerade, Akanu Ohafia\n3. Another mask of the Okwanko group (6th image).\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147931\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13281_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000544_N.13281.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169784.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463793", "metadata": {"title": "Untitled", "idno": "P.169784.GIJ", "description": "A broken wooded bridge over a creek. In the foreground a young man is clambering over broken timbers to reach the sound boards of the bridge. There is a cloth hanging on one of the uprights of the bridge. To the left a man wearing a flat hat is steering a canoe approaching the far side of the creek. The canoe is carrying a passenger who is standing and a bicycle. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169780.GIJ - P.169790.GIJ were located in an brown envelope now numbered C754/7/.", "raw_text_dump": "IDNO\n\nP.169784.GIJ\n\nDescription\n\nA broken wooded bridge over a creek. In the foreground a young man is clambering over broken timbers to reach the sound boards of the bridge. There is a cloth hanging on one of the uprights of the bridge. To the left a man wearing a flat hat is steering a canoe approaching the far side of the creek. The canoe is carrying a passenger who is standing and a bicycle. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169780.GIJ - P.169790.GIJ were located in an brown envelope now numbered C754/7/.\n\nFM:310271\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169784_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127662_P.169784.GIJ_001.png"}, {"file_name": "P_169784_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127663_P.169784.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13191.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306463", "metadata": {"title": "Untitled", "idno": "N.13191.GIJ", "description": "Ibibio wooden mask from Utu Etin Ekpo village. The mask depicts an animal with two curved horns at the top, a rounded border at the top of the forehead, two eyes with overhanging lids, wide nose and moveable jaw.\n\nObject documentation photograph; mask photographed in front of a plain backdrop.", "place": "W Africa; Nigeria; South Eastern Nigeria; Abak area", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 16/1/2008]", "raw_text_dump": "IDNO\n\nN.13191.GIJ\n\nDescription\n\nIbibio wooden mask from Utu Etin Ekpo village. The mask depicts an animal with two curved horns at the top, a rounded border at the top of the forehead, two eyes with overhanging lids, wide nose and moveable jaw.\n\nObject documentation photograph; mask photographed in front of a plain backdrop.\n\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Abak area\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 16/1/2008]\n\nFM:147841\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13191_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000453_N.13191.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13337.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306609", "metadata": {"title": "Untitled", "idno": "N.13337.GIJ", "description": "A mau (ghost) face mask painted white with black paint consisting of slit eyes, elongated nose, mouth with teeth and ears. It is carved and painted in darker colour(s) in extended triangles two underneath the eyes and two n the forehead. In the centre of the forehead and the near the ears are etched markings. There are additional areas of darkly painted circle decorations on the chin and on the top of the mask is a black, scalloped edge.\n\nObject documentation photograph of a face mask.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "Prior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\n1938.15.6. [Pitt Rivers Museum accession number for mask depicted in photograph];\n\nPublication: The mask depicted in this photograph was collected by G. I. Jones in 1937 and donated to the Pitt Rivers Museum, University of Oxford in 1938.\n\nContext: In reference to this photograph Jones describes the markings as representations of these facial scars can easily be confused with the circles, crosses and other simple figures that were painted on peple and reproduced on their carvings. The most striking of these are the curved triangles stretched diagonally across the cheeks and foreheads of many of the Nri Akwa Ibo white faced masks (Jones, 1989, p.18)\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) (Jones, 1984)\n\nBibliographical Reference: Jones, G.I. 1989 Ibo Art (Shire).\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]", "raw_text_dump": "IDNO\n\nN.13337.GIJ\n\nDescription\n\nA mau (ghost) face mask painted white with black paint consisting of slit eyes, elongated nose, mouth with teeth and ears. It is carved and painted in darker colour(s) in extended triangles two underneath the eyes and two n the forehead. In the centre of the forehead and the near the ears are etched markings. There are additional areas of darkly painted circle decorations on the chin and on the top of the mask is a black, scalloped edge.\n\nObject documentation photograph of a face mask.\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPrior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\n1938.15.6. [Pitt Rivers Museum accession number for mask depicted in photograph];\n\nPublication: The mask depicted in this photograph was collected by G. I. Jones in 1937 and donated to the Pitt Rivers Museum, University of Oxford in 1938.\n\nContext: In reference to this photograph Jones describes the markings as representations of these facial scars can easily be confused with the circles, crosses and other simple figures that were painted on peple and reproduced on their carvings. The most striking of these are the curved triangles stretched diagonally across the cheeks and foreheads of many of the Nri Akwa Ibo white faced masks (Jones, 1989, p.18)\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) (Jones, 1984)\n\nBibliographical Reference: Jones, G.I. 1989 Ibo Art (Shire).\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]\n\n\n\nFM:147987\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13337_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000600_N.13337.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171325.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465386", "metadata": {"title": "Untitled", "idno": "P.171325.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\n\u2018Eju Onu\u2019 (\u2018Long Mouth\u2019) dancing? in centre of image, wearing a carved and painted wooden head mask attached to a woven cloth top, cloth tights and a raffia skirt. The mask is carved with two horns, eyes, nose, ears, and a muzzle with teeth. It is painted with dark pigment, on to which pale spots and lines have been added. In background is \u2018Iro Ekpetu\u2019 (\u2018Merciless\u2019), a character wearing a fierce carved and painted wooden face mask, cloth top and tights, and a raffia skirt. [Description from record P.767016.GIJ, PB 13/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767249.GIJ is mounted on card.\n\nThis image is a cut out from the original photograph.", "raw_text_dump": "IDNO\n\nP.171325.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\n\u2018Eju Onu\u2019 (\u2018Long Mouth\u2019) dancing? in centre of image, wearing a carved and painted wooden head mask attached to a woven cloth top, cloth tights and a raffia skirt. The mask is carved with two horns, eyes, nose, ears, and a muzzle with teeth. It is painted with dark pigment, on to which pale spots and lines have been added. In background is \u2018Iro Ekpetu\u2019 (\u2018Merciless\u2019), a character wearing a fierce carved and painted wooden face mask, cloth top and tights, and a raffia skirt. [Description from record P.767016.GIJ, PB 13/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767249.GIJ is mounted on card.\n\nThis image is a cut out from the original photograph.\n\nFM:312016\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171325_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144541_P.171325.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.170297.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464358", "metadata": {"title": "Untitled", "idno": "P.170297.GIJ", "description": "A documentation photograph of a painted doll-like female figure, standing in front of a blanket.\nThe figure has dark-painted hair bunches with partings, hanging out from head. Facial features are highlighted in dark paint. A ball hanging on a cord is around the neck. The figure is holding her arms out in front of her with hands outstretched. The face, torso and limbs are painted white with bracelets and leg bands highlighted in dark paint. [PB 10/11/23]", "place": "W Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Uto Etim Ekpo village", "cultural_affliation": "Anang; Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170288.GIJ - P.170277.GIJ were located in a folder, now numbered C759/7.", "raw_text_dump": "IDNO\n\nP.170297.GIJ\n\nDescription\n\nA documentation photograph of a painted doll-like female figure, standing in front of a blanket.\nThe figure has dark-painted hair bunches with partings, hanging out from head. Facial features are highlighted in dark paint. A ball hanging on a cord is around the neck. The figure is holding her arms out in front of her with hands outstretched. The face, torso and limbs are painted white with bracelets and leg bands highlighted in dark paint. [PB 10/11/23]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Uto Etim Ekpo village\n\nCultural Affliation\n\nAnang; Ibibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170288.GIJ - P.170277.GIJ were located in a folder, now numbered C759/7.\n\nFM:310855\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170297_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1132160_P.170297.GIJ_001.png"}, {"file_name": "P_170297_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1132161_P.170297.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.170280.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464341", "metadata": {"title": "Untitled", "idno": "P.170280.GIJ", "description": "A documentation photograph of a wooden Okonkwo face mask. The mask as two loops on top, a painted hairline, a central vertical ridge on forehead, ridged eyebrows and carinated nose, eyeholes highlighted with light paint, and an open mouth with even pointed teeth. [PB 07/11/23]", "place": "W Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; Abia State; Bende; England; London; British Museum", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.\n\nRelated Object: This mask is in the British Museum collection, reference Af1931,0506.1\n\"Height: 23.80 centimetres\nWidth: 16.90 centimetres\nDepth: 9 centimetres\nDescription:\n'Okonkwo mask made of wood. Eth.Doc.240 is T Elton Miller's account of the gift. It reads as a continuous narrative, and is here transcribed in full: A. Akonkwo dance mask.\nThe Akonkwo secret society (still existing) used to be an extremely powerful society for males only in the days previous to the advent of British rule. Death was the penalty for any outsider or woman witnessing\u2026\" [PB 07/1123]", "raw_text_dump": "IDNO\n\nP.170280.GIJ\n\nDescription\n\nA documentation photograph of a wooden Okonkwo face mask. The mask as two loops on top, a painted hairline, a central vertical ridge on forehead, ridged eyebrows and carinated nose, eyeholes highlighted with light paint, and an open mouth with even pointed teeth. [PB 07/11/23]\n\nPlace\n\nW Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; Abia State; Bende; England; London; British Museum\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.\n\nRelated Object: This mask is in the British Museum collection, reference Af1931,0506.1\n\"Height: 23.80 centimetres\nWidth: 16.90 centimetres\nDepth: 9 centimetres\nDescription:\n'Okonkwo mask made of wood. Eth.Doc.240 is T Elton Miller's account of the gift. It reads as a continuous narrative, and is here transcribed in full: A. Akonkwo dance mask.\nThe Akonkwo secret society (still existing) used to be an extremely powerful society for males only in the days previous to the advent of British rule. Death was the penalty for any outsider or woman witnessing\u2026\" [PB 07/1123]\n\nFM:310838\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170280_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131732_P.170280.GIJ_001.png"}, {"file_name": "P_170280_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131733_P.170280.GIJ_002.png"}, {"file_name": "P_170280_GIJ_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131734_P.170280.GIJ_003.png"}], "source_id": "maa_cambridge"}
{"id": "P.169880.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463899", "metadata": {"title": "Untitled", "idno": "P.169880.GIJ", "description": "View of Ekpe (Egbo) society meeting house in Umuajatta (Olokoro) village. The house has a tall thatched roof, and a wall painted by an Anang artist in the style of Ngwomo ghost houses. Surrounded by trees. [Description from record N.13222.GIJ, PB 18/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River Area; Umuajatta village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nImage is a close up view of wall on house in image N.13222.GIJ.", "raw_text_dump": "IDNO\n\nP.169880.GIJ\n\nDescription\n\nView of Ekpe (Egbo) society meeting house in Umuajatta (Olokoro) village. The house has a tall thatched roof, and a wall painted by an Anang artist in the style of Ngwomo ghost houses. Surrounded by trees. [Description from record N.13222.GIJ, PB 18/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River Area; Umuajatta village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nImage is a close up view of wall on house in image N.13222.GIJ.\n\nFM:310367\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169880_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127848_P.169880.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171280.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465341", "metadata": {"title": "Untitled", "idno": "P.171280.GIJ", "description": "An object documentation photograph of a carved alose figure. The figure is of an infant. The top of the head has a hair cap. The forehead is lined with cross-hatched markings. Hair cap, forehead, shoulders, arms and feet are painted in a red pigment. The head, torso and legs are painted white. The ear is rounded and well-defined. Eyes, nose and mouth are small. [PB 18/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Enugu state; Nsukka", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1920; 1989", "collection_name": "Jones Collection", "source": "", "format": "Print Colour", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nIn the letter to G.I. Jones dated 12/7/89, to which the photographs are attached, Jim Dealy writes: \"I'm including a photo of an alusi ... it is the infant of a family group of which two school aged and one adolescent brothers were still together when I bought it and were later sold in Houston, Texas. The dealer gave the carver as Ungokeh of Nsukka (d. about 1920).", "raw_text_dump": "IDNO\n\nP.171280.GIJ\n\nDescription\n\nAn object documentation photograph of a carved alose figure. The figure is of an infant. The top of the head has a hair cap. The forehead is lined with cross-hatched markings. Hair cap, forehead, shoulders, arms and feet are painted in a red pigment. The head, torso and legs are painted white. The ear is rounded and well-defined. Eyes, nose and mouth are small. [PB 18/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Enugu state; Nsukka\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1920; 1989\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Colour\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nIn the letter to G.I. Jones dated 12/7/89, to which the photographs are attached, Jim Dealy writes: \"I'm including a photo of an alusi ... it is the infant of a family group of which two school aged and one adolescent brothers were still together when I bought it and were later sold in Houston, Texas. The dealer gave the carver as Ungokeh of Nsukka (d. about 1920).\n\nFM:311971\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171280_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144496_P.171280.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.170070.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464113", "metadata": {"title": "Untitled", "idno": "T.170070.GIJ", "description": "Obugulu Mau (Ghost) masquerade.\n\nA portrait in side profile of Nwabogho Ehi, (Heifer), wearing a helmet mask (painted white and with v-shaped markings above and below the eyes)dressed in a brightly coloured harlequin-like/appliqu\u00e9 costume. Cloth cloak tied around the neck, over ?woven or ?net cloth which is attached to the mask, wrappers around the waist and ankle-rattles, made of ?seeds.\n\nThe masquerader is leaning on a long stick held in his right hand. In his left a chicken is hanging down.\n\nSpectators, mud and thatch houses and trees and vegetation are in the background. [PB 15/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170070.GIJ\n\nDescription\n\nObugulu Mau (Ghost) masquerade.\n\nA portrait in side profile of Nwabogho Ehi, (Heifer), wearing a helmet mask (painted white and with v-shaped markings above and below the eyes)dressed in a brightly coloured harlequin-like/appliqu\u00e9 costume. Cloth cloak tied around the neck, over ?woven or ?net cloth which is attached to the mask, wrappers around the waist and ankle-rattles, made of ?seeds.\n\nThe masquerader is leaning on a long stick held in his right hand. In his left a chicken is hanging down.\n\nSpectators, mud and thatch houses and trees and vegetation are in the background. [PB 15/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310598\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170070_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128226_T.170070.GIJ_001.png"}, {"file_name": "T_170070_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128227_T.170070.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169769.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463778", "metadata": {"title": "Untitled", "idno": "P.169769.GIJ", "description": "Head and shoulders profile portrait of an Igbo man with itchi facial markings on his upper cheek, forehead and eyelid, and wearing a collared shirt. [PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169769.GIJ\n\nDescription\n\nHead and shoulders profile portrait of an Igbo man with itchi facial markings on his upper cheek, forehead and eyelid, and wearing a collared shirt. [PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310256\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169769_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127632_P.169769.GIJ_001.png"}, {"file_name": "P_169769_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127633_P.169769.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171163.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465224", "metadata": {"title": "Untitled", "idno": "P.171163.GIJ", "description": "Omuko (very old elder) sitting with an attendant standing behind him. The masked character is wearing a white cloth covering the entire body and face. Attached to the cloth is a wooden face mask with slit eyes and mouth, painted dark with white paint accentuating the eyes, nose, and ears, attached to the chin is a black beard. On top of the head is a white sun helmet. A dark shawl is draped around the shoulders, and in front of him is a long staff. In the background are spectators, trees and vegetation. [Description from record P.71626.GIJ, PB 21/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767084.GIJ - P.767087.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171163.GIJ\n\nDescription\n\nOmuko (very old elder) sitting with an attendant standing behind him. The masked character is wearing a white cloth covering the entire body and face. Attached to the cloth is a wooden face mask with slit eyes and mouth, painted dark with white paint accentuating the eyes, nose, and ears, attached to the chin is a black beard. On top of the head is a white sun helmet. A dark shawl is draped around the shoulders, and in front of him is a long staff. In the background are spectators, trees and vegetation. [Description from record P.71626.GIJ, PB 21/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767084.GIJ - P.767087.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311854\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171163_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144379_P.171163.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171309.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465370", "metadata": {"title": "Untitled", "idno": "P.171309.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nA close up portrait of Ojo (Eju) Onu (Long Mouth) masquerade character wearing a carved and painted wooden head mask, attached to a woven cloth costume which covers the whole of the top half of the wearer. The \u201canimal-like\u201d mask is carved with two horns, eyes, nose, ears, snout with teeth, and a criss-cross pattern in the centre of the forehead. It is painted with dark pigment, on to which pale spots and lines have been added. In the background are spectators, grasses, huts and trees. [Description from record P.767013.GIJ, PB 30/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767231.GIJ and P.767234.GIJ are mounted together on paper.", "raw_text_dump": "IDNO\n\nP.171309.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nA close up portrait of Ojo (Eju) Onu (Long Mouth) masquerade character wearing a carved and painted wooden head mask, attached to a woven cloth costume which covers the whole of the top half of the wearer. The \u201canimal-like\u201d mask is carved with two horns, eyes, nose, ears, snout with teeth, and a criss-cross pattern in the centre of the forehead. It is painted with dark pigment, on to which pale spots and lines have been added. In the background are spectators, grasses, huts and trees. [Description from record P.767013.GIJ, PB 30/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767231.GIJ and P.767234.GIJ are mounted together on paper.\n\nFM:312000\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171309_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144525_P.171309.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169668.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463676", "metadata": {"title": "Untitled", "idno": "P.169668.GIJ", "description": "A Mgbedike or Agu neche enyi mask displayed on a piece of cloth. The mask or headdress consists of a fierce looking face with white v-shaped marking on the forehead, large eyes, pointed nose, over-sized mouth and menacing teeth (painted white?, and crescent shaped ears. Protruding (twisted) horns encircle the top of the head in which there is an elaborate superstructure, with animals, horned figures and European or colonial officers (oyibo) dressed in European clothing with pith helmets. There is a painted serpent with its mouth wide open with teeth. A male is behind the mask holding it with vegetation in the background. [Description from record P.71555.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo town", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169668.GIJ\n\nDescription\n\nA Mgbedike or Agu neche enyi mask displayed on a piece of cloth. The mask or headdress consists of a fierce looking face with white v-shaped marking on the forehead, large eyes, pointed nose, over-sized mouth and menacing teeth (painted white?, and crescent shaped ears. Protruding (twisted) horns encircle the top of the head in which there is an elaborate superstructure, with animals, horned figures and European or colonial officers (oyibo) dressed in European clothing with pith helmets. There is a painted serpent with its mouth wide open with teeth. A male is behind the mask holding it with vegetation in the background. [Description from record P.71555.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo town\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\n\n\nFM:310155\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169668_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127442_P.169668.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171590.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465651", "metadata": {"title": "Untitled", "idno": "P.171590.GIJ", "description": "A documentation photograph of an old carved wooden juju figure, in profile. The figure has a human body, with a high forehead and bun-shaped top incised with parallel diagonal lines. The face has rimmed eyes and mouth, the arms are bent at the elbows with the hands upraised. There is a old cloth wrapped around the waist. The knees are bent. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171588.GIJ to P.171590.GIJ are mounted on card.\n\nP.171589.GIJ and P.171590.GIJ are of the same figure.", "raw_text_dump": "IDNO\n\nP.171590.GIJ\n\nDescription\n\nA documentation photograph of an old carved wooden juju figure, in profile. The figure has a human body, with a high forehead and bun-shaped top incised with parallel diagonal lines. The face has rimmed eyes and mouth, the arms are bent at the elbows with the hands upraised. There is a old cloth wrapped around the waist. The knees are bent. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171588.GIJ to P.171590.GIJ are mounted on card.\n\nP.171589.GIJ and P.171590.GIJ are of the same figure.\n\nFM:312310\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171590_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144875_P.171590.GIJ_001.jpg"}, {"file_name": "P_171590_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144876_P.171590.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169875.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463894", "metadata": {"title": "Untitled", "idno": "P.169875.GIJ", "description": "A full-length rear view of the masquerade character called Oki. The Oki mask is placed on top of the wearer\u2019s head and consists of a large horizontal wooden structure with coloured fringe around the base of the mask and in the centre of the mask are carved, painted designs and three large pointed fins. The masquerader is wearing different pieces of coloured cloth with long strands of palm fronds around the neck. The character is facing and close to a group of spectators including women and children.\n[PB 12/01/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169875.GIJ\n\nDescription\n\nA full-length rear view of the masquerade character called Oki. The Oki mask is placed on top of the wearer\u2019s head and consists of a large horizontal wooden structure with coloured fringe around the base of the mask and in the centre of the mask are carved, painted designs and three large pointed fins. The masquerader is wearing different pieces of coloured cloth with long strands of palm fronds around the neck. The character is facing and close to a group of spectators including women and children.\n[PB 12/01/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310362\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169875_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127841_P.169875.GIJ_001.png"}, {"file_name": "P_169875_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127842_P.169875.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171298.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465359", "metadata": {"title": "Untitled", "idno": "P.171298.GIJ", "description": "A diviner\u2019s Agu Nsi, a carved wooden figure. The figure is human and consists of a helmet shaped head with incised striations along a raised forehead, almond shaped eyes, small nose and mouth, the body is squat protruding umbilicus, with carved arms along the sides, and squat bent legs. On the back is attached a carving shaped like a swan or the number two. [Description from record P.71422.GIJ, PB 30/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767222.GIJ is mounted on paper.\n\nImage used in Jones G.I. Ibo Art. 1989. Princes Risborough: Shire. Fig 32 p38. Caption: \"Diviner's Agu Nsi. Nri-Awka Ibo, representing a familiar spirit who aids him in his work.\"", "raw_text_dump": "IDNO\n\nP.171298.GIJ\n\nDescription\n\nA diviner\u2019s Agu Nsi, a carved wooden figure. The figure is human and consists of a helmet shaped head with incised striations along a raised forehead, almond shaped eyes, small nose and mouth, the body is squat protruding umbilicus, with carved arms along the sides, and squat bent legs. On the back is attached a carving shaped like a swan or the number two. [Description from record P.71422.GIJ, PB 30/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767222.GIJ is mounted on paper.\n\nImage used in Jones G.I. Ibo Art. 1989. Princes Risborough: Shire. Fig 32 p38. Caption: \"Diviner's Agu Nsi. Nri-Awka Ibo, representing a familiar spirit who aids him in his work.\"\n\n\n\nFM:311989\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171298_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144514_P.171298.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171623.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465684", "metadata": {"title": "Untitled", "idno": "P.171623.GIJ", "description": "A cut out image of a carved wooden female ancestral figure, with a central head crest, flat collar, angled limbs and waist cloth. [PB 05/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171623.GIJ and P.171624.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171623.GIJ\n\nDescription\n\nA cut out image of a carved wooden female ancestral figure, with a central head crest, flat collar, angled limbs and waist cloth. [PB 05/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171623.GIJ and P.171624.GIJ are mounted on card.\n\nFM:312343\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171623_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144941_P.171623.GIJ_001.jpg"}, {"file_name": "P_171623_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144942_P.171623.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71861.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365132", "metadata": {"title": "Untitled", "idno": "N.71861.GIJ", "description": "The interior of an Obu House with two Obu house carvings. The carvings are stylised and painted in dark and light colours. The figure on the left is female and is standing and holding a pot on top of her head and is wearing a cloth wrapper around the waist; the other figure is male and he is holding a machete in one hand and a head in the other. Behind the carvings, is a bamboo panel with raffia, possibly a shrine? Another figure is visible on the right hand side.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 62 of the negative album now numbered C19/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. Figures in Obu house Female with pot on head, male with cutlass and trophy head, Abiriba. (8th image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]", "raw_text_dump": "IDNO\n\nN.71861.GIJ\n\nDescription\n\nThe interior of an Obu House with two Obu house carvings. The carvings are stylised and painted in dark and light colours. The figure on the left is female and is standing and holding a pot on top of her head and is wearing a cloth wrapper around the waist; the other figure is male and he is holding a machete in one hand and a head in the other. Behind the carvings, is a bamboo panel with raffia, possibly a shrine? Another figure is visible on the right hand side.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 62 of the negative album now numbered C19/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. Figures in Obu house Female with pot on head, male with cutlass and trophy head, Abiriba. (8th image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\nFM:206511\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71861_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656952_N.71861.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71820.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365091", "metadata": {"title": "Untitled", "idno": "N.71820.GIJ", "description": "Small boys masquerade in Ovim Village, Isu Ikwa Ato. The photograph shows a crowd surrounding a masquerader who is in the centre of the ring and is wearing striped netted leggings, a raffia skirt, head covered, and a headdress. The men in the circle are wearing plaid wrappers, some are wearing t-shirts and they are holding branches in their hands. In the foreground are two men wearing striped hats and watching the masquerade. In the background are spectators, tress and buildings.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Isu Ikuru Ato", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 83 of the negative album now numbered C17/.\n\nContext: In reference to the Abam/Ohaffia area, Jones writes that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin-covered heads in the Cross-River Style, usually called Ajonku. But they also had masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of the Abiriba. All these tribes, but particularly the Abiriba, were great doctors and traders and travelled extensively in the Cross River area and through the Ibibio country to the coastal trading states. Anang (Ibibio) sculpture was greatly admired, but it does not seem to have had much influence on the local styles\u201d (Jones, 1984, p.208)\n\nContext: Cole and Aniakor talk about the skin covered masks and headdresses which were common in the Cross River Area. Through the work of Nicklin, Salmons, Jones and Campbell, some provenances of these masquerades are now being sorted out. It is acknowledged that Ejagham peoples originated the genre, but not often mentioned that Cross River Igbo were also exponents of it, creating some variants that stand as important works of art. Examples are documented from Isu-Item, Bende, Umuahia, Abiribia, Ohafia, Arochukwu, and some north-eastern Igbo peoples, and it is probable that a number of of masks labeled Ekoi are also of Igbo origin. They were danced in the masquerades of men\u2019s societies: Ekpe (Ohuhu-Ngwa), Ikem, Oiyima, Ajonkwu, Ekong, and probably others as well...Jones\u2019 designation of \u201cCross River Style\u201d for these and other skin covered masks is understandable since the peoples of the region carved for one another in several substyles, traded dances and associations, and thus confounded any but the most broad classifications. (Cole and Aniakor, 1984, p.182). [AF 3/12/2007]\n\nBibliographical Reference: A brief history is provided by Emmanuel Eze on the website: History, Culture and Politics in Isuikwuato LGA; Emmanuel Eze reporting from Abia\nSubmitted on 25/07/2005\nIsuikwuato is one of the Local Government Areas in Abia state. The name itself means a union of three main components or kindreds as [ikwu] represents in igbo language. It is bounded in the North by by Uturu, in the east by Alayi, to the suoth by Akoli and Mkpa, and to the west by Otanchara and Otanzu. However, the present political structure of Isuikwuato has Uturu as part of it.\nThe people of Isuikwuato speak Igbo language though with a distinct dialect. The people are quite friendly and hospitable. They are into farming as the area has a large landmass though it is hilly and undulating as per the topography. In addition, they are also businessmen cum women and professionals in different fields. Like all other igbos they are seasoned sojourners and can be found in all parts of Nigeria and beyond.\nOwing to the topography of Isuikwuato, there are many rivers cum streams from were the indigenes get their water, the only difficulty being the long distance .\nIn recent times, the area has come to produce great Academicians and intellectuals one of whom is Dr Chinweizu; Author of Anatomy of Female Power, among others.\nThere are a number of cultural celebrations such as the Ajonkwu in Ovim[ Ovum], Ebo in Umuobiala and the New Yam festival which is a general festival in Igboland. [Source: nigerianmasses.com, AF 3/12/2007]\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 3/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71820.GIJ\n\nDescription\n\nSmall boys masquerade in Ovim Village, Isu Ikwa Ato. The photograph shows a crowd surrounding a masquerader who is in the centre of the ring and is wearing striped netted leggings, a raffia skirt, head covered, and a headdress. The men in the circle are wearing plaid wrappers, some are wearing t-shirts and they are holding branches in their hands. In the foreground are two men wearing striped hats and watching the masquerade. In the background are spectators, tress and buildings.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isu Ikuru Ato\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 83 of the negative album now numbered C17/.\n\nContext: In reference to the Abam/Ohaffia area, Jones writes that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin-covered heads in the Cross-River Style, usually called Ajonku. But they also had masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of the Abiriba. All these tribes, but particularly the Abiriba, were great doctors and traders and travelled extensively in the Cross River area and through the Ibibio country to the coastal trading states. Anang (Ibibio) sculpture was greatly admired, but it does not seem to have had much influence on the local styles\u201d (Jones, 1984, p.208)\n\nContext: Cole and Aniakor talk about the skin covered masks and headdresses which were common in the Cross River Area. Through the work of Nicklin, Salmons, Jones and Campbell, some provenances of these masquerades are now being sorted out. It is acknowledged that Ejagham peoples originated the genre, but not often mentioned that Cross River Igbo were also exponents of it, creating some variants that stand as important works of art. Examples are documented from Isu-Item, Bende, Umuahia, Abiribia, Ohafia, Arochukwu, and some north-eastern Igbo peoples, and it is probable that a number of of masks labeled Ekoi are also of Igbo origin. They were danced in the masquerades of men\u2019s societies: Ekpe (Ohuhu-Ngwa), Ikem, Oiyima, Ajonkwu, Ekong, and probably others as well...Jones\u2019 designation of \u201cCross River Style\u201d for these and other skin covered masks is understandable since the peoples of the region carved for one another in several substyles, traded dances and associations, and thus confounded any but the most broad classifications. (Cole and Aniakor, 1984, p.182). [AF 3/12/2007]\n\nBibliographical Reference: A brief history is provided by Emmanuel Eze on the website: History, Culture and Politics in Isuikwuato LGA; Emmanuel Eze reporting from Abia\nSubmitted on 25/07/2005\nIsuikwuato is one of the Local Government Areas in Abia state. The name itself means a union of three main components or kindreds as [ikwu] represents in igbo language. It is bounded in the North by by Uturu, in the east by Alayi, to the suoth by Akoli and Mkpa, and to the west by Otanchara and Otanzu. However, the present political structure of Isuikwuato has Uturu as part of it.\nThe people of Isuikwuato speak Igbo language though with a distinct dialect. The people are quite friendly and hospitable. They are into farming as the area has a large landmass though it is hilly and undulating as per the topography. In addition, they are also businessmen cum women and professionals in different fields. Like all other igbos they are seasoned sojourners and can be found in all parts of Nigeria and beyond.\nOwing to the topography of Isuikwuato, there are many rivers cum streams from were the indigenes get their water, the only difficulty being the long distance .\nIn recent times, the area has come to produce great Academicians and intellectuals one of whom is Dr Chinweizu; Author of Anatomy of Female Power, among others.\nThere are a number of cultural celebrations such as the Ajonkwu in Ovim[ Ovum], Ebo in Umuobiala and the New Yam festival which is a general festival in Igboland. [Source: nigerianmasses.com, AF 3/12/2007]\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 3/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206470\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71820_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656916_N.71820.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13297.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306569", "metadata": {"title": "Untitled", "idno": "N.13297.GIJ", "description": "Close up portrait of a man wearing a torn shirt.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13297.GIJ\n\nDescription\n\nClose up portrait of a man wearing a torn shirt.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147947\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13297_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000560_N.13297.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71863.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365134", "metadata": {"title": "Untitled", "idno": "N.71863.GIJ", "description": "The interior of an Obu House with the close up view of the upper half of a large wooden sculpture. The face of the sculpture consists of a humanised figure with carved arched eyebrows, elliptical shaped eyes, nose, lips and curved ears and on top of the head is a projection - possibly a coiffure. The figure was painted but is peeling. Behind the figure is a wall and other objects.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 59 of the negative album now numbered C19/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. Figures in Obu house Female with pot on head, male with cutlass and trophy head, Abiriba. (8th image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]", "raw_text_dump": "IDNO\n\nN.71863.GIJ\n\nDescription\n\nThe interior of an Obu House with the close up view of the upper half of a large wooden sculpture. The face of the sculpture consists of a humanised figure with carved arched eyebrows, elliptical shaped eyes, nose, lips and curved ears and on top of the head is a projection - possibly a coiffure. The figure was painted but is peeling. Behind the figure is a wall and other objects.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 59 of the negative album now numbered C19/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. Figures in Obu house Female with pot on head, male with cutlass and trophy head, Abiriba. (8th image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\n\nFM:206513\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71863_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656954_N.71863.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171275.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465336", "metadata": {"title": "Untitled", "idno": "P.171275.GIJ", "description": "An object documentation photograph in profile of an ogbugulu mau face mask. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open. There are elaborate painted designs above and beneath the eyes and on the cheeks. The top of the mask consists of a dark arched crest with white circles on the side and with swirled incised designs representing uli on the sides of the crest. [PB 18/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra; Oyi; Ogbunike", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767199.GIJ - P.767200.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171275.GIJ\n\nDescription\n\nAn object documentation photograph in profile of an ogbugulu mau face mask. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open. There are elaborate painted designs above and beneath the eyes and on the cheeks. The top of the mask consists of a dark arched crest with white circles on the side and with swirled incised designs representing uli on the sides of the crest. [PB 18/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra; Oyi; Ogbunike\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767199.GIJ - P.767200.GIJ are mounted together on card.\n\nFM:311966\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171275_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144491_P.171275.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.170242.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464303", "metadata": {"title": "Untitled", "idno": "P.170242.GIJ", "description": "A documentation photograph of a wooden face mask in side profile. The mask is propped against a mud wall and resting on slatted wood. The mask has a fringe of raffia. The face combines human and animal features, with a long open bird's beak with movable jaw, a short pointed nose, wide eyeholes in rimmed eye recesses. There are notched ridges in middle forehead and temples. [PB 02/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Abak division", "cultural_affliation": "\u00e7", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170232.GIJ - P.170243.GIJ were located in a brown envelope, now numbered C759/1.", "raw_text_dump": "IDNO\n\nP.170242.GIJ\n\nDescription\n\nA documentation photograph of a wooden face mask in side profile. The mask is propped against a mud wall and resting on slatted wood. The mask has a fringe of raffia. The face combines human and animal features, with a long open bird's beak with movable jaw, a short pointed nose, wide eyeholes in rimmed eye recesses. There are notched ridges in middle forehead and temples. [PB 02/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Abak division\n\nCultural Affliation\n\n\u00e7\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170232.GIJ - P.170243.GIJ were located in a brown envelope, now numbered C759/1.\n\nFM:310800\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170242_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131586_P.170242.GIJ_001.png"}, {"file_name": "P_170242_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131587_P.170242.GIJ_002.png"}, {"file_name": "P_170242_GIJ_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131588_P.170242.GIJ_003.png"}, {"file_name": "P_170242_GIJ_3.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131589_P.170242.GIJ_004.png"}], "source_id": "maa_cambridge"}
{"id": "P.170277.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464338", "metadata": {"title": "Untitled", "idno": "P.170277.GIJ", "description": "A documentation photograph of two wooden masks resting on white cloth.\nThe mask at the top of the image is a mask with a human face and vertical projection above the crown; painted in pink, black and yellow; perforated for fitting on the head.\nThe mask at the bottom of the image is a small round unpainted mask of polished dark wood, with prominent brow, mouth and ears and recessed wide eyeholes. [PB 07/11/23]", "place": "W Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; England; London; British Museum", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.\n\nRelated Object: The masks are in the British Museum collection. The larger mask is Museum number Af1919,0207.1\n\"Height: 35.50 centimetres\nWidth: 10.80 centimetres\nDepth: 9 centimetres\nDescription: Wooden mask with a human face and vertical projection above the crown; painted in pink, black and yellow; perforated for fitting on the head. 'Dancing mask from Southern Nigeria'. A later annotation by W.B. Fagg adds 'Ibo of Afikpo'.\" [PB 07/11/23]", "raw_text_dump": "IDNO\n\nP.170277.GIJ\n\nDescription\n\nA documentation photograph of two wooden masks resting on white cloth.\nThe mask at the top of the image is a mask with a human face and vertical projection above the crown; painted in pink, black and yellow; perforated for fitting on the head.\nThe mask at the bottom of the image is a small round unpainted mask of polished dark wood, with prominent brow, mouth and ears and recessed wide eyeholes. [PB 07/11/23]\n\nPlace\n\nW Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; England; London; British Museum\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.\n\nRelated Object: The masks are in the British Museum collection. The larger mask is Museum number Af1919,0207.1\n\"Height: 35.50 centimetres\nWidth: 10.80 centimetres\nDepth: 9 centimetres\nDescription: Wooden mask with a human face and vertical projection above the crown; painted in pink, black and yellow; perforated for fitting on the head. 'Dancing mask from Southern Nigeria'. A later annotation by W.B. Fagg adds 'Ibo of Afikpo'.\" [PB 07/11/23]\n\nFM:310835\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170277_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131723_P.170277.GIJ_001.png"}, {"file_name": "P_170277_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131724_P.170277.GIJ_002.png"}, {"file_name": "P_170277_GIJ_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131725_P.170277.GIJ_003.png"}], "source_id": "maa_cambridge"}
{"id": "P.171189.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465250", "metadata": {"title": "Untitled", "idno": "P.171189.GIJ", "description": "A masquerade character called Ogbuseyoloalu (one who carries poison). The masquerader is dancing and is wearing a wooden face mask which is oval in shape; half of the face is painted white and the other half a darker colour. The eyes are square and framed by arched eyebrows, long nose, and large mouth with a chin that juts out. Attached to the top of the mask is raffia which emulates thick hair. The costume consists of a tie-dyed or batik long sleeved top with seeds or nut attached to it, woven cloth trousers, and a raffia skirt around the waist and a waist band made of shells? or nuts?. The arms are outstretched and in one hand, the masquerader is holding a woven, matt fan. To the left side, is a drummer beating a long cylindrical membrane drum with his hands. In the background are spectators and trees. [Description from record P.71606.GIJ, PB 02/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767113.GIJ - P.767116.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171189.GIJ\n\nDescription\n\nA masquerade character called Ogbuseyoloalu (one who carries poison). The masquerader is dancing and is wearing a wooden face mask which is oval in shape; half of the face is painted white and the other half a darker colour. The eyes are square and framed by arched eyebrows, long nose, and large mouth with a chin that juts out. Attached to the top of the mask is raffia which emulates thick hair. The costume consists of a tie-dyed or batik long sleeved top with seeds or nut attached to it, woven cloth trousers, and a raffia skirt around the waist and a waist band made of shells? or nuts?. The arms are outstretched and in one hand, the masquerader is holding a woven, matt fan. To the left side, is a drummer beating a long cylindrical membrane drum with his hands. In the background are spectators and trees. [Description from record P.71606.GIJ, PB 02/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767113.GIJ - P.767116.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311880\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171189_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144405_P.171189.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71937.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365208", "metadata": {"title": "Untitled", "idno": "N.71937.GIJ", "description": "Two men standing against a wall \u201cmodelling\u201d two wooden face masks, The mask on the left is a dark rounded mask with an overhanging forehead, slit eyes, open squarish mouth, etched markings the side and a crest-like fan, incised protrusion on the top. The man is wearing a short sleeved shirt and he is holding the mask with one one hand. The mask on the right is more rectangular in shape with squared eyes, long pointed nose, slightly protruding jaw and lips. On the top of the mask is an incised ridge or crest. Facial features such as the eyes are outlined in white. In the background is a mud building with an open window.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 74 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nN.71937.GIJ\n\nDescription\n\nTwo men standing against a wall \u201cmodelling\u201d two wooden face masks, The mask on the left is a dark rounded mask with an overhanging forehead, slit eyes, open squarish mouth, etched markings the side and a crest-like fan, incised protrusion on the top. The man is wearing a short sleeved shirt and he is holding the mask with one one hand. The mask on the right is more rectangular in shape with squared eyes, long pointed nose, slightly protruding jaw and lips. On the top of the mask is an incised ridge or crest. Facial features such as the eyes are outlined in white. In the background is a mud building with an open window.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 74 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nFM:206587\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71937_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657028_N.71937.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13277.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306549", "metadata": {"title": "Untitled", "idno": "N.13277.GIJ", "description": "A close up view of the masquerade character performing in the Okwanku masquerade. The masquerader is wearing a dark wooden round face mask with slits for eyes, nose and open mouth and long raffia hair. The mask has white pigmentation. In the background are spectators, a thatched building and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village", "cultural_affliation": "Igbo [historically Ibo]; Ohaffia", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13277.GIJ\n\nDescription\n\nA close up view of the masquerade character performing in the Okwanku masquerade. The masquerader is wearing a dark wooden round face mask with slits for eyes, nose and open mouth and long raffia hair. The mask has white pigmentation. In the background are spectators, a thatched building and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ohaffia\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147927\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13277_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000540_N.13277.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169666.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463671", "metadata": {"title": "Untitled", "idno": "P.169666.GIJ", "description": "Omuko (very old elder) sitting with an attendant standing behind him. The masked character is wearing a white cloth covering the entire body and face. Attached to the cloth is a wooden face mask with slit eyes and mouth, painted dark with white paint accentuating the eyes, nose, and ears, attached to the chin is a black beard. On top of the head is a white sun helmet. A dark shawl is draped around the shoulders, and in front of him is a long staff. In the background are spectators, trees and vegetation. [Description from record P.71626.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169666.GIJ\n\nDescription\n\nOmuko (very old elder) sitting with an attendant standing behind him. The masked character is wearing a white cloth covering the entire body and face. Attached to the cloth is a wooden face mask with slit eyes and mouth, painted dark with white paint accentuating the eyes, nose, and ears, attached to the chin is a black beard. On top of the head is a white sun helmet. A dark shawl is draped around the shoulders, and in front of him is a long staff. In the background are spectators, trees and vegetation. [Description from record P.71626.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nFM:310153\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169666_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127437_P.169666.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.170294.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464355", "metadata": {"title": "Untitled", "idno": "P.170294.GIJ", "description": "A documentation photograph of a group of three carved wooden figures standing on another figure which lies horizontally to form the base of the carving.\n\nThe base figure is in side profile, is painted in light paint with European features of short hair, eyebrows, round eyes, pointed nose and lips picked out in dark paint. The torso is bowl-shaped to carry the three standing figures, and lower body is in the form of a handle.\n\nThe standing figure on the left of the image is facing to the left and in side profile. He is wearing a flat topped hat. Hair, ears, eyebrows, eyes, nose and mouth are defined and highlighted in dark paint. The arms are separately carved and attached by nails (?movable arms). The figure is holding a staff in his hands.\nThe figure in the centre is a seated female figure facing forwards, holding an infant. She has a central hair crest and side hair bunches. She is painted in light paint, with hair, eyebrows, eyes, nostrils, mouth, nipples highlighted in dark paint. The infant is in side profile.\nThe standing figure to the right of the image is in side profile and facing to the right. He is holding a staff in his hands. [PB 10/11/23]", "place": "W Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Ukana", "cultural_affliation": "Anang; Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170288.GIJ - P.170277.GIJ were located in a folder, now numbered C759/7.", "raw_text_dump": "IDNO\n\nP.170294.GIJ\n\nDescription\n\nA documentation photograph of a group of three carved wooden figures standing on another figure which lies horizontally to form the base of the carving.\n\nThe base figure is in side profile, is painted in light paint with European features of short hair, eyebrows, round eyes, pointed nose and lips picked out in dark paint. The torso is bowl-shaped to carry the three standing figures, and lower body is in the form of a handle.\n\nThe standing figure on the left of the image is facing to the left and in side profile. He is wearing a flat topped hat. Hair, ears, eyebrows, eyes, nose and mouth are defined and highlighted in dark paint. The arms are separately carved and attached by nails (?movable arms). The figure is holding a staff in his hands.\nThe figure in the centre is a seated female figure facing forwards, holding an infant. She has a central hair crest and side hair bunches. She is painted in light paint, with hair, eyebrows, eyes, nostrils, mouth, nipples highlighted in dark paint. The infant is in side profile.\nThe standing figure to the right of the image is in side profile and facing to the right. He is holding a staff in his hands. [PB 10/11/23]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Ukana\n\nCultural Affliation\n\nAnang; Ibibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170288.GIJ - P.170277.GIJ were located in a folder, now numbered C759/7.\n\nFM:310852\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170294_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1132154_P.170294.GIJ_001.png"}, {"file_name": "P_170294_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1132155_P.170294.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171164.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465225", "metadata": {"title": "Untitled", "idno": "P.171164.GIJ", "description": "Anumbi (horned beast) masquerader sitting down. The mask consists of a white painted face with slit eyes, long pointed nose, mouth, pointed ears and black incised striations along the forehead and black painted facial decorations below the eye. The top of the mask consists of two curved horns and an animal. The costume consists of dark woven cloth adorned with the shells of seeds. In the background are trees. [Description from record P.71589.GIJ, PB 21/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767088.GIJ - P.767090.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171164.GIJ\n\nDescription\n\nAnumbi (horned beast) masquerader sitting down. The mask consists of a white painted face with slit eyes, long pointed nose, mouth, pointed ears and black incised striations along the forehead and black painted facial decorations below the eye. The top of the mask consists of two curved horns and an animal. The costume consists of dark woven cloth adorned with the shells of seeds. In the background are trees. [Description from record P.71589.GIJ, PB 21/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767088.GIJ - P.767090.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311855\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171164_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144380_P.171164.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171546.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465607", "metadata": {"title": "Untitled", "idno": "P.171546.GIJ", "description": "A documentation photograph of an ekwe drum, standing vertically on the ground in a village compound, with thatched buildings in the background. A person is holding the drum upright, their arm visible in the photograph. The drum has a rectangular opening, with a lengthways slit. The grooves of the carved wood form parallel lines on the surface of the wood. On the end of the drum is a carved head, with bulbous cheeks and forehead, and a high peg on the top of the head. [PB 22/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Ebonyi State; Okposi", "cultural_affliation": "Igbo [historically Ibo]; Oba", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171545.GIJ and P.171546.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171546.GIJ\n\nDescription\n\nA documentation photograph of an ekwe drum, standing vertically on the ground in a village compound, with thatched buildings in the background. A person is holding the drum upright, their arm visible in the photograph. The drum has a rectangular opening, with a lengthways slit. The grooves of the carved wood form parallel lines on the surface of the wood. On the end of the drum is a carved head, with bulbous cheeks and forehead, and a high peg on the top of the head. [PB 22/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ebonyi State; Okposi\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oba\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171545.GIJ and P.171546.GIJ are mounted on card.\n\nFM:312266\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171546_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144786_P.171546.GIJ_001.jpg"}, {"file_name": "P_171546_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144787_P.171546.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171167.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465228", "metadata": {"title": "Untitled", "idno": "P.171167.GIJ", "description": "An Alose (tutelary deity) standing on a rock plinth inside a shrine. The Alose wooden sculpture has is painted in different colours. The face is white but accentuated with black markings outlining the eyes, nose, and mouth. The figure is wearing a sun helmet with ringed line decoration. The figure is holding a blade in one hand and a cutter in the other. In front of the figure stools. The figure is housed under a thatched roof supported by wooden beams. [PB 21/06/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Obioma", "cultural_affliation": "Igbo [historically Ibo]; Abaja", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767091.GIJ - P.767092.GIJ are mounted together on paper.", "raw_text_dump": "IDNO\n\nP.171167.GIJ\n\nDescription\n\nAn Alose (tutelary deity) standing on a rock plinth inside a shrine. The Alose wooden sculpture has is painted in different colours. The face is white but accentuated with black markings outlining the eyes, nose, and mouth. The figure is wearing a sun helmet with ringed line decoration. The figure is holding a blade in one hand and a cutter in the other. In front of the figure stools. The figure is housed under a thatched roof supported by wooden beams. [PB 21/06/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Obioma\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abaja\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767091.GIJ - P.767092.GIJ are mounted together on paper.\n\nFM:311858\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171167_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144383_P.171167.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169792.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463801", "metadata": {"title": "Untitled", "idno": "P.169792.GIJ", "description": "A close portrait of a man in profile. He is wearing a piece of cloth around his neck. In the background, on the left, there are several men looking on, and on the right there is the rear of a car, with its spare wheel visible. [PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169791.GIJ - P.169803.GIJ were located in an brown envelope now numbered C754/8/.\n\nThe print is numbered 23 in manuscript on top right hand corner.", "raw_text_dump": "IDNO\n\nP.169792.GIJ\n\nDescription\n\nA close portrait of a man in profile. He is wearing a piece of cloth around his neck. In the background, on the left, there are several men looking on, and on the right there is the rear of a car, with its spare wheel visible. [PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169791.GIJ - P.169803.GIJ were located in an brown envelope now numbered C754/8/.\n\nThe print is numbered 23 in manuscript on top right hand corner.\n\n\nFM:310279\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169792_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127677_P.169792.GIJ_001.png"}, {"file_name": "P_169792_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127678_P.169792.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169667.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463674", "metadata": {"title": "Untitled", "idno": "P.169667.GIJ", "description": "Ghost policemen standing in line and carrying wooden guns; the sergeant or more senior police official is on the right hand side. The policemen are wearing dark uniforms which consist of black shirts with rank markings in white, pockets, cropped trousers and socks. Belted around the waist are pouches. Their heads are covered with dark knitted face masks outlining the facial features in white with a cap on top. [Description from record N.71639.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169667.GIJ\n\nDescription\n\nGhost policemen standing in line and carrying wooden guns; the sergeant or more senior police official is on the right hand side. The policemen are wearing dark uniforms which consist of black shirts with rank markings in white, pockets, cropped trousers and socks. Belted around the waist are pouches. Their heads are covered with dark knitted face masks outlining the facial features in white with a cap on top. [Description from record N.71639.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\n\n\nFM:310154\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169667_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127440_P.169667.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.71758.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365029", "metadata": {"title": "Untitled", "idno": "N.71758.GIJ", "description": "A comic Lughulu mask. The mask is round in shape and has two large circular eyes, long nose and it is painted with white markings and spots all over with a dark background.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Item", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 68 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Item Igbo\n3. Lugbulu Mask Comic male mask (6th image).\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]", "raw_text_dump": "IDNO\n\nN.71758.GIJ\n\nDescription\n\nA comic Lughulu mask. The mask is round in shape and has two large circular eyes, long nose and it is painted with white markings and spots all over with a dark background.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Item\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 68 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Item Igbo\n3. Lugbulu Mask Comic male mask (6th image).\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nFM:206408\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71758_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656869_N.71758.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.170251.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464312", "metadata": {"title": "Untitled", "idno": "P.170251.GIJ", "description": "A group of males referred to as the body guard wearing coats of mail (hardnut shells). There are ten youths, nine of whom are wearing white hats/caps on their head and one youth with feathers in his hair and holding a mask? in one hand and a machete in the other. The other youths are holding sticks and two are carrying gong instruments. The costume consists of a cloth tunic adorned with the shells of hardnuts, white shorts, and a short raffia skirt around the waist; some of them are wearing bands around the knees. [Description from record P.71595.GIJ, PB 02/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170248.GIJ - P.170251.GIJ were located in a paper sleeve, now numbered C759/4.", "raw_text_dump": "IDNO\n\nP.170251.GIJ\n\nDescription\n\nA group of males referred to as the body guard wearing coats of mail (hardnut shells). There are ten youths, nine of whom are wearing white hats/caps on their head and one youth with feathers in his hair and holding a mask? in one hand and a machete in the other. The other youths are holding sticks and two are carrying gong instruments. The costume consists of a cloth tunic adorned with the shells of hardnuts, white shorts, and a short raffia skirt around the waist; some of them are wearing bands around the knees. [Description from record P.71595.GIJ, PB 02/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170248.GIJ - P.170251.GIJ were located in a paper sleeve, now numbered C759/4.\n\nFM:310809\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170251_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131601_P.170251.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171289.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465350", "metadata": {"title": "Untitled", "idno": "P.171289.GIJ", "description": "A row of clay figures sitting on a mud wall in the interior of a building. The wall behind and to the side is painted with swirling geometric shapes. The figures include a man holding a bowl, a crouching dog, a child standing next its mother, with its hands holding hers and a young woman with her hand on her mother's arm, holding a pot on her lap. The figures are part painted, with features and clothing highlighted. [PB 30/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra state; Idemili", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767213.GIJ is mounted on card.", "raw_text_dump": "IDNO\n\nP.171289.GIJ\n\nDescription\n\nA row of clay figures sitting on a mud wall in the interior of a building. The wall behind and to the side is painted with swirling geometric shapes. The figures include a man holding a bowl, a crouching dog, a child standing next its mother, with its hands holding hers and a young woman with her hand on her mother's arm, holding a pot on her lap. The figures are part painted, with features and clothing highlighted. [PB 30/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra state; Idemili\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767213.GIJ is mounted on card.\n\n\n\nFM:311980\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171289_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144505_P.171289.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171203.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465264", "metadata": {"title": "Untitled", "idno": "P.171203.GIJ", "description": "Young adult males performing in an age set dance, surrounded by crowds. They are wearing waist ornaments and bands, some of which have bells attached to them, knee-rattles, and head-gear (which appears to be a wig with pale round ornaments sewn onto it). [Description from record N.13261.GIJ, PB 02/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; near Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nIn his notes in the folder about 'Age Set Passage Dance, N. Ibo. (?Nri-Awka Area) , G.I. Jones explains:\n\n\"This is a dance performed by adolescent males age set as it passes from the grade of boys to that of men. The dancers are attired as adolescent females (who until they are married are naked except for a string of beads around their waist and, when they go into seclusion before their marriage, with an elaborate hair do. The dancers have added to their waist strings little harness and other small bells, and have rattles of shells round their legs and they wear wigs representing elaborate hair dos.\n\nIn this dance they produced an acrobatic ballet, dancing together with elaborate leaps and bounds.\n\nIn other dance the players appeared with hand mirrors and mimicked young women at their toilets.\"", "raw_text_dump": "IDNO\n\nP.171203.GIJ\n\nDescription\n\nYoung adult males performing in an age set dance, surrounded by crowds. They are wearing waist ornaments and bands, some of which have bells attached to them, knee-rattles, and head-gear (which appears to be a wig with pale round ornaments sewn onto it). [Description from record N.13261.GIJ, PB 02/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; near Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nIn his notes in the folder about 'Age Set Passage Dance, N. Ibo. (?Nri-Awka Area) , G.I. Jones explains:\n\n\"This is a dance performed by adolescent males age set as it passes from the grade of boys to that of men. The dancers are attired as adolescent females (who until they are married are naked except for a string of beads around their waist and, when they go into seclusion before their marriage, with an elaborate hair do. The dancers have added to their waist strings little harness and other small bells, and have rattles of shells round their legs and they wear wigs representing elaborate hair dos.\n\nIn this dance they produced an acrobatic ballet, dancing together with elaborate leaps and bounds.\n\nIn other dance the players appeared with hand mirrors and mimicked young women at their toilets.\"\n\nFM:311894\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171203_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144419_P.171203.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.170062.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464097", "metadata": {"title": "Untitled", "idno": "T.170062.GIJ", "description": "Obugulu Mau masquerade, a grandmother mask character. The masquerader is performing in front of an audience. The mask consists of a white face with black markings around the eyes, nose and three linear markings on the forehead. The top of the mask consists of cone-shaped headdress (coiffure) with a curved structure in the centre, painted white and black. There is woven cloth attached to the mask, a scarf tied around the neck and a harlequin-like costume, the sleeves are white covering the hands. In one hand there is a fly whisk and around the ankles are very thick ivory anklets. In the background are spectators and trees. [Description from record P.71517.GIJ, PB 14/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170062.GIJ\n\nDescription\n\nObugulu Mau masquerade, a grandmother mask character. The masquerader is performing in front of an audience. The mask consists of a white face with black markings around the eyes, nose and three linear markings on the forehead. The top of the mask consists of cone-shaped headdress (coiffure) with a curved structure in the centre, painted white and black. There is woven cloth attached to the mask, a scarf tied around the neck and a harlequin-like costume, the sleeves are white covering the hands. In one hand there is a fly whisk and around the ankles are very thick ivory anklets. In the background are spectators and trees. [Description from record P.71517.GIJ, PB 14/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310590\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170062_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128193_T.170062.GIJ_001.png"}, {"file_name": "T_170062_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128195_T.170062.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171523.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465584", "metadata": {"title": "Untitled", "idno": "P.171523.GIJ", "description": "A documentation photograph of a beautiful female white face mask used in Okorosie masquerades, portraying an unmarried girl. The wooden mask consists of an oval shaped face that has a high forehead, slit eyes, nose, curved ears, open mouth with teeth. The face is painted white with a black line in the centre of the forehead, black eyebrows, nose and diagonal black chevron marks on the cheeks, the mouth is outlined in black. The coiffure is painted black, carved into blocks, with incised markings on the sides and above the forehead. On top of the head is a horizontal bar with a zigzag edge, painted with black and white stripes, above which are three smaller faces, one in the centre of the bar and one at each end. Each face is painted white, black painted coiffure, and features highlighted with black paint. [PB 17/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171525.GIJ - P.171532.GIJ were located in a green folder, now numbered C769/1.\n\nP.171523.GIJ is mounted on card.", "raw_text_dump": "IDNO\n\nP.171523.GIJ\n\nDescription\n\nA documentation photograph of a beautiful female white face mask used in Okorosie masquerades, portraying an unmarried girl. The wooden mask consists of an oval shaped face that has a high forehead, slit eyes, nose, curved ears, open mouth with teeth. The face is painted white with a black line in the centre of the forehead, black eyebrows, nose and diagonal black chevron marks on the cheeks, the mouth is outlined in black. The coiffure is painted black, carved into blocks, with incised markings on the sides and above the forehead. On top of the head is a horizontal bar with a zigzag edge, painted with black and white stripes, above which are three smaller faces, one in the centre of the bar and one at each end. Each face is painted white, black painted coiffure, and features highlighted with black paint. [PB 17/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171525.GIJ - P.171532.GIJ were located in a green folder, now numbered C769/1.\n\nP.171523.GIJ is mounted on card.\n\nFM:312243\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171523_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144740_P.171523.GIJ_001.jpg"}, {"file_name": "P_171523_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144741_P.171523.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169829.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463838", "metadata": {"title": "Untitled", "idno": "P.169829.GIJ", "description": "Two men standing, carving a roasted carcass of a leopard, which is lying on matting. One man, wearing a shirt, is bending over to move the carcass into position, while the other, wearing a cloth wrapped around his waist, is holding a long-bladed knife which he has lowered to the ground. There is a crowd of people standing close around looking on. [PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169822.GIJ - P.169904.GIJ were located in an brown envelope now numbered C754/11/.", "raw_text_dump": "IDNO\n\nP.169829.GIJ\n\nDescription\n\nTwo men standing, carving a roasted carcass of a leopard, which is lying on matting. One man, wearing a shirt, is bending over to move the carcass into position, while the other, wearing a cloth wrapped around his waist, is holding a long-bladed knife which he has lowered to the ground. There is a crowd of people standing close around looking on. [PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169822.GIJ - P.169904.GIJ were located in an brown envelope now numbered C754/11/.\n\nFM:310316\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169829_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127742_P.169829.GIJ_001.png"}, {"file_name": "P_169829_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127743_P.169829.GIJ_002.png"}, {"file_name": "P_169829_GIJ_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127744_P.169829.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.13252.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306524", "metadata": {"title": "Untitled", "idno": "N.13252.GIJ", "description": "Obugulu Mau (Ghost) masquerade.\n\nThe masqueraders, Oji (Eju) Onu (Long Mouth) and Iro Ekpetu (merciless) performing in a masquerade, crowd seated and standing by a building at right. Oji Enu (Long Mouth) dancing in centre of image, wearing a carved and painted wooden head mask attached to a woven cloth top, cloth tights and a raffia skirt. The mask is carved with two horns, eyes, nose, ears, and a muzzle with teeth. It is painted with dark pigment, on to which pale spots and lines have been added. In background is Iro Ekpetu (\u2018Merciless\u2019), a character wearing a fierce black carved face mask with white paint? accentuating the eyes and protruding teeth, cloth top and tights, a raffia skirt, and holding a stick. In the background are buildings and vegetation.", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "Eju Onu; Long Mouth; Iro Ekpetu; Merciless [names of mask characters]", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: Jones describes the head mask for the character called Ulaga or Oji Onu (Long Mouth) among the Northern Ibo. It belonged to the benign or comic animal category. The frontal part of his head mask projected forward as a muzzle or pair of jaws, the middle section carried a high human forehead and a high-carinated nose, occasionally flanked by bulbous eyes; the rear part was finished off with horns or animal ears or more abstract projections. Whatever its origin, whether in the Lower Niger or Delta area, this type of mask seems to have ranged from the Central Delta to the confluence of the Niger and the Ben River and as far up the latter as the Jukun and Chamba territory.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Meek, C. 1931. A Sudanese Kingdom, (London)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 17/10/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13252.GIJ\n\nDescription\n\nObugulu Mau (Ghost) masquerade.\n\nThe masqueraders, Oji (Eju) Onu (Long Mouth) and Iro Ekpetu (merciless) performing in a masquerade, crowd seated and standing by a building at right. Oji Enu (Long Mouth) dancing in centre of image, wearing a carved and painted wooden head mask attached to a woven cloth top, cloth tights and a raffia skirt. The mask is carved with two horns, eyes, nose, ears, and a muzzle with teeth. It is painted with dark pigment, on to which pale spots and lines have been added. In background is Iro Ekpetu (\u2018Merciless\u2019), a character wearing a fierce black carved face mask with white paint? accentuating the eyes and protruding teeth, cloth top and tights, a raffia skirt, and holding a stick. In the background are buildings and vegetation.\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nEju Onu; Long Mouth; Iro Ekpetu; Merciless [names of mask characters]\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: Jones describes the head mask for the character called Ulaga or Oji Onu (Long Mouth) among the Northern Ibo. It belonged to the benign or comic animal category. The frontal part of his head mask projected forward as a muzzle or pair of jaws, the middle section carried a high human forehead and a high-carinated nose, occasionally flanked by bulbous eyes; the rear part was finished off with horns or animal ears or more abstract projections. Whatever its origin, whether in the Lower Niger or Delta area, this type of mask seems to have ranged from the Central Delta to the confluence of the Niger and the Ben River and as far up the latter as the Jukun and Chamba territory.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Meek, C. 1931. A Sudanese Kingdom, (London)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 17/10/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147902\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13252_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000515_N.13252.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171255.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465316", "metadata": {"title": "Untitled", "idno": "P.171255.GIJ", "description": "An object documentation photograph of a carved wooden face mask. The mask is a square board rimmed with several pegs and with a sackcloth head covering attached to to the top. The forehead is incised with parallel grooves. The eyebrows are notched, the eyes protruding and almond-shaped. The nose is sharply pointed over a small rectangular mouth with several interlocking teeth. There is a block shape on each cheek. [PB 12/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra state; Nnewi", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767177.GIJ - P.767179.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171255.GIJ\n\nDescription\n\nAn object documentation photograph of a carved wooden face mask. The mask is a square board rimmed with several pegs and with a sackcloth head covering attached to to the top. The forehead is incised with parallel grooves. The eyebrows are notched, the eyes protruding and almond-shaped. The nose is sharply pointed over a small rectangular mouth with several interlocking teeth. There is a block shape on each cheek. [PB 12/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra state; Nnewi\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767177.GIJ - P.767179.GIJ are mounted together on card.\n\nFM:311946\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171255_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144471_P.171255.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.169965.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463984", "metadata": {"title": "Untitled", "idno": "T.169965.GIJ", "description": "The interior of an Obu House showing a male elder sitting on a bench and with four Obu house carvings behind him. The man is dressed in a jacket, shirt, plaid wrapper and has a cloth thrown over his shoulder. He is wearing bracelets around his wrists. The four figures in the background are very stylised, with elongated upper torso, and painted in dark and light colours. The figure on the left is standing upright and wearing a tall coiffure; the second figure is standing and holding a staff in the centre and wearing a hat; the third figure is female and is holding a pot on top of her head; the fourth is male and is holding a machete in one hand and a head in the other. Behind the carvings, is a bamboo panel with raffia, possibly a shrine? [Description from record P.71858.GIJ, PB 28/07/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; October 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.169965.GIJ\n\nDescription\n\nThe interior of an Obu House showing a male elder sitting on a bench and with four Obu house carvings behind him. The man is dressed in a jacket, shirt, plaid wrapper and has a cloth thrown over his shoulder. He is wearing bracelets around his wrists. The four figures in the background are very stylised, with elongated upper torso, and painted in dark and light colours. The figure on the left is standing upright and wearing a tall coiffure; the second figure is standing and holding a staff in the centre and wearing a hat; the third figure is female and is holding a pot on top of her head; the fourth is male and is holding a machete in one hand and a head in the other. Behind the carvings, is a bamboo panel with raffia, possibly a shrine? [Description from record P.71858.GIJ, PB 28/07/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; October 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310493\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_169965_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127969_T.169965.GIJ_001.png"}, {"file_name": "T_169965_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127970_T.169965.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169826.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463835", "metadata": {"title": "Untitled", "idno": "P.169826.GIJ", "description": "A view from above of men playing musical instruments next to a tree, with others dancing in the background. Two man sitting on the ground and are playing a xylophone with wooden hammers. one at one end and the other at the side. One man is sitting on a chair, beating with his hands a small drum held between his knees. Another is sitting on the ground, beating semicircular wooden gong. [PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169822.GIJ - P.169904.GIJ were located in an brown envelope now numbered C754/11/.", "raw_text_dump": "IDNO\n\nP.169826.GIJ\n\nDescription\n\nA view from above of men playing musical instruments next to a tree, with others dancing in the background. Two man sitting on the ground and are playing a xylophone with wooden hammers. one at one end and the other at the side. One man is sitting on a chair, beating with his hands a small drum held between his knees. Another is sitting on the ground, beating semicircular wooden gong. [PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169822.GIJ - P.169904.GIJ were located in an brown envelope now numbered C754/11/.\n\nFM:310313\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169826_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127733_P.169826.GIJ_001.png"}, {"file_name": "P_169826_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127734_P.169826.GIJ_002.png"}, {"file_name": "P_169826_GIJ_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127735_P.169826.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.13221.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306493", "metadata": {"title": "Untitled", "idno": "N.13221.GIJ", "description": "View of Ekpe (Egbo) society meeting house in Umuajatta (Olokoro) village. The house has a tall thatched roof, and a wall painted by an Anang artist in the style of Ngwomo ghost houses. Surrounded by trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; Umuajatta village", "cultural_affliation": "Anang; Ibibio Olokoro; Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image in Jones, 1984, p.106, Figure 31 with the caption, \u201cMeeting house\u201d.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13221.GIJ\n\nDescription\n\nView of Ekpe (Egbo) society meeting house in Umuajatta (Olokoro) village. The house has a tall thatched roof, and a wall painted by an Anang artist in the style of Ngwomo ghost houses. Surrounded by trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; Umuajatta village\n\nCultural Affliation\n\nAnang; Ibibio Olokoro; Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image in Jones, 1984, p.106, Figure 31 with the caption, \u201cMeeting house\u201d.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147871\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13221_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000484_N.13221.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.71569.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364840", "metadata": {"title": "Untitled", "idno": "P.71569.GIJ", "description": "Onu Kamma (Mouth stronger than sword) masquerade showing a close up view of three masqueraders wearing large conical shaped faceless masks made of layers of fibre and with a cloth panel in the front. The masqueraders are wearing tie-dyed/batik? tops and striped woven cloth trousers adorned with fibre skirts around the waist (cowrie shells are seen on the masquerader in the far right.) One of the masqueraders (left) is holding a metal gong and hitting it with a stick, the middle figure is also holding a gong. Behind the masqueraders is a large audience of bystanders in the background.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]", "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.71504.GIJ to P.71662.GIJ were kept in box 4, now numbered C301/.\nP.71565.GIJ to P.71571.GIJ were found wrapped in paper, now numbered C301/4/.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 22/10/2007]", "raw_text_dump": "IDNO\n\nP.71569.GIJ\n\nDescription\n\nOnu Kamma (Mouth stronger than sword) masquerade showing a close up view of three masqueraders wearing large conical shaped faceless masks made of layers of fibre and with a cloth panel in the front. The masqueraders are wearing tie-dyed/batik? tops and striped woven cloth trousers adorned with fibre skirts around the waist (cowrie shells are seen on the masquerader in the far right.) One of the masqueraders (left) is holding a metal gong and hitting it with a stick, the middle figure is also holding a gong. Behind the masqueraders is a large audience of bystanders in the background.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71504.GIJ to P.71662.GIJ were kept in box 4, now numbered C301/.\nP.71565.GIJ to P.71571.GIJ were found wrapped in paper, now numbered C301/4/.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 22/10/2007]\n\nFM:206219\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_71569_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656673_N.71570.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71784.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365055", "metadata": {"title": "Untitled", "idno": "N.71784.GIJ", "description": "A Lughulu comic male face mask. The mask is wooden and square in shape with an overly exaggerated high rounded forehead, square bulbous eyes, rectangular shaped nose between the eyes, and protruding mouth with a slit; the cheeks are rounded, swollen and puffy. The mask is placed on a woven raffia cloth. [AF 21/11/2007]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Item", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 91 of the negative album now numbered C17/.\n\nPublication: Same mask is shown in Jones, 1973, p.60, Figure 4; the caption reads \u201cComic Mask from Lughulu Maskerade. Item Tribe, Ishu-Item, Ibo. [AF 21/11/2007]\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that it conforms to a stylized mode which converts the salient features to geometrical forms (Jones, 1973, p.60). [AF 21/11/2007]\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166). [AF 21/11/2007]\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96. [AF 21/11/2007]\n\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California). [AF 21/11/2007]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]", "raw_text_dump": "IDNO\n\nN.71784.GIJ\n\nDescription\n\nA Lughulu comic male face mask. The mask is wooden and square in shape with an overly exaggerated high rounded forehead, square bulbous eyes, rectangular shaped nose between the eyes, and protruding mouth with a slit; the cheeks are rounded, swollen and puffy. The mask is placed on a woven raffia cloth. [AF 21/11/2007]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nItem\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 91 of the negative album now numbered C17/.\n\nPublication: Same mask is shown in Jones, 1973, p.60, Figure 4; the caption reads \u201cComic Mask from Lughulu Maskerade. Item Tribe, Ishu-Item, Ibo. [AF 21/11/2007]\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that it conforms to a stylized mode which converts the salient features to geometrical forms (Jones, 1973, p.60). [AF 21/11/2007]\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166). [AF 21/11/2007]\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96. [AF 21/11/2007]\n\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California). [AF 21/11/2007]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nFM:206434\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71784_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656884_N.71784.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171174.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465235", "metadata": {"title": "Untitled", "idno": "P.171174.GIJ", "description": "Close up view of a male carver making a lidded bowl. He is seated and is holding a metal tool in one hand and an adze in the other. The bowl is hollowed out and rounded and the lid is also rounded. [Description from record N.13266.GIJ, PB 21/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767095.GIJ - P.767099.GIJ are mounted together on paper.", "raw_text_dump": "IDNO\n\nP.171174.GIJ\n\nDescription\n\nClose up view of a male carver making a lidded bowl. He is seated and is holding a metal tool in one hand and an adze in the other. The bowl is hollowed out and rounded and the lid is also rounded. [Description from record N.13266.GIJ, PB 21/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767095.GIJ - P.767099.GIJ are mounted together on paper.\n\nFM:311865\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171174_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144390_P.171174.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169682.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463691", "metadata": {"title": "Untitled", "idno": "P.169682.GIJ", "description": "A group of human remains, including one skull and two bones. The remains are lying in grassy open ground. [PB 24/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169680.GIJ - P.169690.GIJ were located in a brown envelope now numbered C754/3/.", "raw_text_dump": "IDNO\n\nP.169682.GIJ\n\nDescription\n\nA group of human remains, including one skull and two bones. The remains are lying in grassy open ground. [PB 24/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169680.GIJ - P.169690.GIJ were located in a brown envelope now numbered C754/3/.\n\nFM:310169\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169682_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127460_image_not_public.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171240.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465301", "metadata": {"title": "Untitled", "idno": "P.171240.GIJ", "description": "An object documentation photograph of two 'maiden' ogbugulu mau face masks. The mask on the left has a face painted in light pigment, with features and facial marks highlighted in a dark pigment. The mask has a headdress of interlocked arches, resting on a cloth head band, in which a mirror is set facing the front. The mask on the right has the same style of headdress. It is also painted with light pigment, with features and facial marks highlighted in dark. [PB 05/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra state; Ogidi", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767163.GIJ - P.767165.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171240.GIJ\n\nDescription\n\nAn object documentation photograph of two 'maiden' ogbugulu mau face masks. The mask on the left has a face painted in light pigment, with features and facial marks highlighted in a dark pigment. The mask has a headdress of interlocked arches, resting on a cloth head band, in which a mirror is set facing the front. The mask on the right has the same style of headdress. It is also painted with light pigment, with features and facial marks highlighted in dark. [PB 05/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra state; Ogidi\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767163.GIJ - P.767165.GIJ are mounted together on card.\n\nFM:311931\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171240_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144456_P.171240.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169827.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463836", "metadata": {"title": "Untitled", "idno": "P.169827.GIJ", "description": "Two men standing, carving a roasted carcass of a leopard, which is lying on matting. One man, wearing a shirt, is bending over to move the carcass into position, while the other, wearing a cloth wrapped around his waist, is holding a long-bladed knife which he has lowered to the ground. There is a crowd of people standing close around looking on. [PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169822.GIJ - P.169904.GIJ were located in an brown envelope now numbered C754/11/.", "raw_text_dump": "IDNO\n\nP.169827.GIJ\n\nDescription\n\nTwo men standing, carving a roasted carcass of a leopard, which is lying on matting. One man, wearing a shirt, is bending over to move the carcass into position, while the other, wearing a cloth wrapped around his waist, is holding a long-bladed knife which he has lowered to the ground. There is a crowd of people standing close around looking on. [PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169822.GIJ - P.169904.GIJ were located in an brown envelope now numbered C754/11/.\n\nFM:310314\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169827_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127736_P.169827.GIJ_001.png"}, {"file_name": "P_169827_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127737_P.169827.GIJ_002.png"}, {"file_name": "P_169827_GIJ_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127738_P.169827.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171570.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465631", "metadata": {"title": "Untitled", "idno": "P.171570.GIJ", "description": "A documentation photograph of a carved wooden door. The door is supported on two low wooden chairs outside a thatched building. The carvings on the door consist of spiral geometric shapes at the top and bottom and a circle of parallel lines in the centre, with a matchet on each side. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171570.GIJ and P.171571.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171570.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden door. The door is supported on two low wooden chairs outside a thatched building. The carvings on the door consist of spiral geometric shapes at the top and bottom and a circle of parallel lines in the centre, with a matchet on each side. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171570.GIJ and P.171571.GIJ are mounted on card.\n\nFM:312290\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171570_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144835_P.171570.GIJ_001.jpg"}, {"file_name": "P_171570_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144836_P.171570.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169798.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463807", "metadata": {"title": "Untitled", "idno": "P.169798.GIJ", "description": "A head and shoulders portrait of a man, wearing a cloth around his neck over a sleeveless vest, and facing the camera. In the background there is open country with scattered bushes and trees. [PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169791.GIJ - P.169803.GIJ were located in an brown envelope now numbered C754/8/.", "raw_text_dump": "IDNO\n\nP.169798.GIJ\n\nDescription\n\nA head and shoulders portrait of a man, wearing a cloth around his neck over a sleeveless vest, and facing the camera. In the background there is open country with scattered bushes and trees. [PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169791.GIJ - P.169803.GIJ were located in an brown envelope now numbered C754/8/.\n\nFM:310285\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169798_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127689_P.169798.GIJ_001.png"}, {"file_name": "P_169798_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127690_P.169798.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.170238.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464299", "metadata": {"title": "Untitled", "idno": "P.170238.GIJ", "description": "An Ibibio mask combining human and animal features that is rectangular in shape but curves at the top of the mask. The face has an incised arched hairline, two rounded, protruding eyes, pointed beak with etched markings and two protruding, tusk like horns at the bottom of the face. [Description from record N.13202.GIJ, PB 02/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; near Abak", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170232.GIJ - P.170243.GIJ were located in a brown envelope, now numbered C759/1.", "raw_text_dump": "IDNO\n\nP.170238.GIJ\n\nDescription\n\nAn Ibibio mask combining human and animal features that is rectangular in shape but curves at the top of the mask. The face has an incised arched hairline, two rounded, protruding eyes, pointed beak with etched markings and two protruding, tusk like horns at the bottom of the face. [Description from record N.13202.GIJ, PB 02/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Abak\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170232.GIJ - P.170243.GIJ were located in a brown envelope, now numbered C759/1.\n\nFM:310796\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170238_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131576_P.170238.GIJ_001.png"}, {"file_name": "P_170238_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131577_P.170238.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13177.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306449", "metadata": {"title": "Untitled", "idno": "N.13177.GIJ", "description": "EAn Ekpo panel mask. The panel is rounded at the top with a flat bottom, the oval face is raised in the centre and is naturalistic and serene in form. The mask consists of a rounded border at the top of the head, high forehead, slit eyes with overhanging eyelids, squarish nose, and diamond shaped open mouth, elliptical shaped ears, and keloid markings on the side.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Jones, 1984, p. 129, Plate 40 with the caption, \u201cEkpo mask, naturalistic in style.\n\nContext: \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]", "raw_text_dump": "IDNO\n\nN.13177.GIJ\n\nDescription\n\nEAn Ekpo panel mask. The panel is rounded at the top with a flat bottom, the oval face is raised in the centre and is naturalistic and serene in form. The mask consists of a rounded border at the top of the head, high forehead, slit eyes with overhanging eyelids, squarish nose, and diamond shaped open mouth, elliptical shaped ears, and keloid markings on the side.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Jones, 1984, p. 129, Plate 40 with the caption, \u201cEkpo mask, naturalistic in style.\n\nContext: \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]\n\n\nFM:147827\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13177_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000439_N.13177.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.73904.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/367175", "metadata": {"title": "Untitled", "idno": "N.73904.GIJ", "description": "A base of a wooden pillar with a carved figure. The figure consists of the side profile of a round head with high etched forehead, slit eyes, nose and mouth, rounded neck, rounded upper torso with one arm upright holding a wooden axe. The torso of the figure is carved in a criss-cross linear pattern and his knees are bent. Underneath the figure are carved circular designs. In the right hand corner are other carved designs of birds and circular markings.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 65 of the negative album now numbered C19/.\n\nContext: Jones describes the woodcarvers of the Nri Awka area. He writes, \u201cIbo were skilled woodcarvers, particularly those of Awka and other town in the Nri-Awka group. With their simple tools they were able to cut down iroko and other large hardwood trees and, with the aid of wages, fire, and boiling water, convert them into canoes which seventeenth century travellers described as \u2018the largest in the Ethiopias of Guinea\u2019. into their great Ikoro war drums, carved out of the trunks of iroko trees, or the solid doors that closed the entrances of their walled compounds. Smaller pieces of wood were made into troughs and mortars, slit and membrane drums, bowls and dishes of various shapes and and sizes, stools and headrests, clubs and staffs and handles of all sorts. The introduction of cross-cutting and other saws in the late nineteenth century simplified tree-felling and provided the Ibo with planks and deckings to panel the walls of their meeting houses and to increase their range of boxes, chests, benches and lightweight chairs and stools.\u201d (Jones, 1988, pp. 25-26).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 4/3/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nPublication: Image published in a blog 'Traditional Igbo Houses: Architecture and Cultural Significance' by Onyeka Nwokike on 22 July 2024, in 'Igbo Archives: Preserving the Past, Inspiring the Future', and captioned: \"Chief Obudugbo. \u201cA base of a wooden pillar with a carved figure. Nri Awka, early 20th century. Image Source: Ukpuru on X.\"\nRelated text notes \"Cultural Significance\nThe carvings and paintings on Igbo houses often depict deities, ancestors, and scenes from daily life. These artistic expressions bridge the physical and spiritual worlds, allowing the Igbo people to connect with their ancestors and the divine. They also function as historical records, preserving the traditions and values of the community for future generations.\nSocial Hierarchy\nThe complexity and richness of the decorations on an Igbo house can indicate the social status of the inhabitants. More elaborate designs are typically found on the homes of wealthy or influential individuals, such as village leaders or successful merchants. Simpler designs are more common in the homes of families with modest means.\" [source: https://igboarchives.com.ng/traditional-igbo-houses-architecture-and-cultural-significance/ JD 19/02/2025]", "raw_text_dump": "IDNO\n\nN.73904.GIJ\n\nDescription\n\nA base of a wooden pillar with a carved figure. The figure consists of the side profile of a round head with high etched forehead, slit eyes, nose and mouth, rounded neck, rounded upper torso with one arm upright holding a wooden axe. The torso of the figure is carved in a criss-cross linear pattern and his knees are bent. Underneath the figure are carved circular designs. In the right hand corner are other carved designs of birds and circular markings.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 65 of the negative album now numbered C19/.\n\nContext: Jones describes the woodcarvers of the Nri Awka area. He writes, \u201cIbo were skilled woodcarvers, particularly those of Awka and other town in the Nri-Awka group. With their simple tools they were able to cut down iroko and other large hardwood trees and, with the aid of wages, fire, and boiling water, convert them into canoes which seventeenth century travellers described as \u2018the largest in the Ethiopias of Guinea\u2019. into their great Ikoro war drums, carved out of the trunks of iroko trees, or the solid doors that closed the entrances of their walled compounds. Smaller pieces of wood were made into troughs and mortars, slit and membrane drums, bowls and dishes of various shapes and and sizes, stools and headrests, clubs and staffs and handles of all sorts. The introduction of cross-cutting and other saws in the late nineteenth century simplified tree-felling and provided the Ibo with planks and deckings to panel the walls of their meeting houses and to increase their range of boxes, chests, benches and lightweight chairs and stools.\u201d (Jones, 1988, pp. 25-26).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 4/3/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nPublication: Image published in a blog 'Traditional Igbo Houses: Architecture and Cultural Significance' by Onyeka Nwokike on 22 July 2024, in 'Igbo Archives: Preserving the Past, Inspiring the Future', and captioned: \"Chief Obudugbo. \u201cA base of a wooden pillar with a carved figure. Nri Awka, early 20th century. Image Source: Ukpuru on X.\"\nRelated text notes \"Cultural Significance\nThe carvings and paintings on Igbo houses often depict deities, ancestors, and scenes from daily life. These artistic expressions bridge the physical and spiritual worlds, allowing the Igbo people to connect with their ancestors and the divine. They also function as historical records, preserving the traditions and values of the community for future generations.\nSocial Hierarchy\nThe complexity and richness of the decorations on an Igbo house can indicate the social status of the inhabitants. More elaborate designs are typically found on the homes of wealthy or influential individuals, such as village leaders or successful merchants. Simpler designs are more common in the homes of families with modest means.\" [source: https://igboarchives.com.ng/traditional-igbo-houses-architecture-and-cultural-significance/ JD 19/02/2025]\n\nFM:208554\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_73904_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/658474_N.73904.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171622.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465683", "metadata": {"title": "Untitled", "idno": "P.171622.GIJ", "description": "A documentation photograph of a carved wooden face mask, portraying an animal character. The features are heavy, with the eyebrow shaped into a horn above the nose, and bulbous cheeks. The ears are larged and attached to the mask. The lips are prominent. The lower jaw of the mask is movable. Raffia grass is attached to the mask to cover the masquerader's head and shoulders. [PB 05/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Ezenihite", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171621.GIJ and P.171622.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171622.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden face mask, portraying an animal character. The features are heavy, with the eyebrow shaped into a horn above the nose, and bulbous cheeks. The ears are larged and attached to the mask. The lips are prominent. The lower jaw of the mask is movable. Raffia grass is attached to the mask to cover the masquerader's head and shoulders. [PB 05/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Ezenihite\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171621.GIJ and P.171622.GIJ are mounted on card.\n\nFM:312342\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171622_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144939_P.171622.GIJ_001.jpg"}, {"file_name": "P_171622_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144940_P.171622.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.71946.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365217", "metadata": {"title": "Untitled", "idno": "P.71946.GIJ", "description": "The Ngbangbo Ikoro masquerade. A close up view of two masquerade characters performing in the masquerade. Only a partial view of the mask on the left is visible. The mask is on the head is dark with white paint and the character is draped in a woven cloth. The masquerader on the right is wearing a dark wooden mask with large white bulbous eyes and puffy cheeks, attached to the mask and covering the upper torso is a sack cloth material. The masquerader is holding a long stick in one hand and touching his \u201cforehead\u201d with the other. Spectators and a thatched building are in the background.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\n\nOn the GI Jones website, www.siu.edu/~anthro/mccall/jones/, under,\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Two masks Ngbagba Ikoro, Abiriba. (1st image).\nThis negative was found in pocket 32 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nP.71946.GIJ\n\nDescription\n\nThe Ngbangbo Ikoro masquerade. A close up view of two masquerade characters performing in the masquerade. Only a partial view of the mask on the left is visible. The mask is on the head is dark with white paint and the character is draped in a woven cloth. The masquerader on the right is wearing a dark wooden mask with large white bulbous eyes and puffy cheeks, attached to the mask and covering the upper torso is a sack cloth material. The masquerader is holding a long stick in one hand and touching his \u201cforehead\u201d with the other. Spectators and a thatched building are in the background.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\n\nOn the GI Jones website, www.siu.edu/~anthro/mccall/jones/, under,\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Two masks Ngbagba Ikoro, Abiriba. (1st image).\nThis negative was found in pocket 32 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nFM:206596\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_71946_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657039_N.71947.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171282.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465343", "metadata": {"title": "Untitled", "idno": "P.171282.GIJ", "description": "Pyramids at the Nsude Village Shrine, Abaja Ibo, Northern Ibo. A series of pyramids made of mud and arranged in a row consisting of rounded graduated levels or steps decreasing in size and culminating in a point at the top. The pyramids are surrounded by grasses and vegetation. [Description from record P.71446.GIJ, PB 18/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Enugu state; Nsude", "cultural_affliation": "Igbo [historically Ibo]; Abaja", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767205.GIJ - P.767208.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171282.GIJ\n\nDescription\n\nPyramids at the Nsude Village Shrine, Abaja Ibo, Northern Ibo. A series of pyramids made of mud and arranged in a row consisting of rounded graduated levels or steps decreasing in size and culminating in a point at the top. The pyramids are surrounded by grasses and vegetation. [Description from record P.71446.GIJ, PB 18/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Enugu state; Nsude\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abaja\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767205.GIJ - P.767208.GIJ are mounted together on card.\n\nFM:311973\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171282_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144498_P.171282.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169794.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463803", "metadata": {"title": "Untitled", "idno": "P.169794.GIJ", "description": "A head and shoulders portrait of a man facing the camera. In the background there is open country with scattered bushes and trees. [PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169791.GIJ - P.169803.GIJ were located in an brown envelope now numbered C754/8/.", "raw_text_dump": "IDNO\n\nP.169794.GIJ\n\nDescription\n\nA head and shoulders portrait of a man facing the camera. In the background there is open country with scattered bushes and trees. [PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169791.GIJ - P.169803.GIJ were located in an brown envelope now numbered C754/8/.\n\nFM:310281\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169794_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127681_P.169794.GIJ_001.png"}, {"file_name": "P_169794_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127682_P.169794.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "T.170058.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464089", "metadata": {"title": "Untitled", "idno": "T.170058.GIJ", "description": "Onu Kamma (Mouth stronger than sword) masquerade showing a close up view of three masqueraders wearing large conical shaped faceless masks made of layers of fibre and with a cloth panel in the front. The masqueraders are wearing tie-dyed/batik? tops and striped woven cloth trousers adorned with fibre skirts around the waist (cowrie shells are seen on the masquerader in the far right.) One of the masqueraders (left) is holding a metal gong and hitting it with a stick, the middle figure is also holding a gong. Behind the masqueraders is a large audience of bystanders in the background.[Description from record P.71567.GIJ, PB 14/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170058.GIJ\n\nDescription\n\nOnu Kamma (Mouth stronger than sword) masquerade showing a close up view of three masqueraders wearing large conical shaped faceless masks made of layers of fibre and with a cloth panel in the front. The masqueraders are wearing tie-dyed/batik? tops and striped woven cloth trousers adorned with fibre skirts around the waist (cowrie shells are seen on the masquerader in the far right.) One of the masqueraders (left) is holding a metal gong and hitting it with a stick, the middle figure is also holding a gong. Behind the masqueraders is a large audience of bystanders in the background.[Description from record P.71567.GIJ, PB 14/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310586\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170058_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128178_T.170058.GIJ_001.png"}, {"file_name": "T_170058_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128180_T.170058.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "T.170067.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464106", "metadata": {"title": "Untitled", "idno": "T.170067.GIJ", "description": "A photograph of a image of an Ekpo mask character, wearing a face mask (representation of a face with ears, nose, protruding cheeks, almond shaped slits for eyes, open mouth with carved white? teeth and whiskers on cheeks), with plant fibres covering his head and torso. Holding up a machete in one hand. The face mask is of highly polished darkened wood. There is vegetation in the background. [Description from record P.71392.GIJ, PB 15/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene; Ikot Abia village", "cultural_affliation": "Ibibio; Otoro", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nImage used in Jones G.I. The art of eastern Nigeria. 1984 Cambridge: CUP Fig 37 p 121. Caption: 'Ekpo figure : Ekpo masquerade (N.M.). Anang (Ibibio).'", "raw_text_dump": "IDNO\n\nT.170067.GIJ\n\nDescription\n\nA photograph of a image of an Ekpo mask character, wearing a face mask (representation of a face with ears, nose, protruding cheeks, almond shaped slits for eyes, open mouth with carved white? teeth and whiskers on cheeks), with plant fibres covering his head and torso. Holding up a machete in one hand. The face mask is of highly polished darkened wood. There is vegetation in the background. [Description from record P.71392.GIJ, PB 15/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene; Ikot Abia village\n\nCultural Affliation\n\nIbibio; Otoro\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nImage used in Jones G.I. The art of eastern Nigeria. 1984 Cambridge: CUP Fig 37 p 121. Caption: 'Ekpo figure : Ekpo masquerade (N.M.). Anang (Ibibio).'\n\nFM:310595\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170067_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128213_T.170067.GIJ_001.png"}, {"file_name": "T_170067_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128216_T.170067.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171597.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465658", "metadata": {"title": "Untitled", "idno": "P.171597.GIJ", "description": "A documentation photograph of a carved wooden figure standing outside the doorway of a mud building. The facial features and limbs are roughly carved and shaped. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Umuguma", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171596.GIJ and P.171597.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171597.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden figure standing outside the doorway of a mud building. The facial features and limbs are roughly carved and shaped. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Umuguma\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171596.GIJ and P.171597.GIJ are mounted on card.\n\nFM:312317\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171597_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144889_P.171597.GIJ_001.jpg"}, {"file_name": "P_171597_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144890_P.171597.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169727.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463736", "metadata": {"title": "Untitled", "idno": "P.169727.GIJ", "description": "Half-length portrait of a man wearing a torn shirt. [Description from record N.13297.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169727.GIJ\n\nDescription\n\nHalf-length portrait of a man wearing a torn shirt. [Description from record N.13297.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310214\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169727_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127548_P.169727.GIJ_001.png"}, {"file_name": "P_169727_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127549_P.169727.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171521.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465582", "metadata": {"title": "Untitled", "idno": "P.171521.GIJ", "description": "A documentation photograph of a carved wooden male figure. The legs have curved flanges. The arms are short an tucked into the waist, The neck is ridged. Facial features are defined. The top of the head is shaped into a tall cap. There is a cord attached to the base of the neck. [PB 04/10/24]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1987", "collection_name": "Jones Collection", "source": "", "format": "Print Colour Mounted", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171511.GIJ - P.171522.GIJ were located in a brown folder, now numbered C768/6.", "raw_text_dump": "IDNO\n\nP.171521.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden male figure. The legs have curved flanges. The arms are short an tucked into the waist, The neck is ridged. Facial features are defined. The top of the head is shaped into a tall cap. There is a cord attached to the base of the neck. [PB 04/10/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1987\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Colour Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171511.GIJ - P.171522.GIJ were located in a brown folder, now numbered C768/6.\n\n\nFM:312222\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171521_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144738_P.171521.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171330.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465391", "metadata": {"title": "Untitled", "idno": "P.171330.GIJ", "description": "An Idoma face mask. The face is painted white with the characteristic Idoma markings consisting of three rows of vertical markings representing keloids painted black located in the centre of the forehead and on each temple. The eyes consist of narrow slits with defined black eyebrows, wide nose and mouth painted black with white teeth. The ears are painted black and the top of the head symbolising the hair is black. [PB 02/08/24]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Idoma", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767253.GIJ and P.767254.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171330.GIJ\n\nDescription\n\nAn Idoma face mask. The face is painted white with the characteristic Idoma markings consisting of three rows of vertical markings representing keloids painted black located in the centre of the forehead and on each temple. The eyes consist of narrow slits with defined black eyebrows, wide nose and mouth painted black with white teeth. The ears are painted black and the top of the head symbolising the hair is black. [PB 02/08/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIdoma\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767253.GIJ and P.767254.GIJ are mounted together on card.\n\nFM:312021\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171330_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144546_P.171330.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171320.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465381", "metadata": {"title": "Untitled", "idno": "P.171320.GIJ", "description": "Possibly an Ikenga figure. The carved wooden figure shows a head with two pointed horns on a white and black cylindrical base. The face of the figure is painted white with black markings outlining the eyebrows, nose and jutting mouth, there is a piece of pointed wood on top of the forehead and black, pointed horns. On the other side of the base there is a carved elliptical shaped structure painted white with black dots.[Description from record N.71474.GIJ, PB 08/08/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767244.GIJ is mounted on card.", "raw_text_dump": "IDNO\n\nP.171320.GIJ\n\nDescription\n\nPossibly an Ikenga figure. The carved wooden figure shows a head with two pointed horns on a white and black cylindrical base. The face of the figure is painted white with black markings outlining the eyebrows, nose and jutting mouth, there is a piece of pointed wood on top of the forehead and black, pointed horns. On the other side of the base there is a carved elliptical shaped structure painted white with black dots.[Description from record N.71474.GIJ, PB 08/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767244.GIJ is mounted on card.\n\n\nFM:312011\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171320_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144536_P.171320.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169723.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463732", "metadata": {"title": "Untitled", "idno": "P.169723.GIJ", "description": "Half-length portrait of a man facing the camera. There is a the inside of a thatched roof of a house in the background, and a woman carrying a child in the interior of the house. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169723.GIJ\n\nDescription\n\nHalf-length portrait of a man facing the camera. There is a the inside of a thatched roof of a house in the background, and a woman carrying a child in the interior of the house. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310210\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169723_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127540_P.169723.GIJ_001.png"}, {"file_name": "P_169723_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127541_P.169723.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171264.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465325", "metadata": {"title": "Untitled", "idno": "P.171264.GIJ", "description": "An object documentation photograph of a wooden face mask and sackcloth head and body covering of the character Oji Onu (long mouth). The mask is resting on a mud wall step. It is a carved as a circle with a short peg at the top of the head, a deep brow, above roughly painted eyes and a carinated nose, without a mouth. A long peg sticks out of the bottom of the mask, painted in bands. [PB 12/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767188.GIJ - P.767190.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171264.GIJ\n\nDescription\n\nAn object documentation photograph of a wooden face mask and sackcloth head and body covering of the character Oji Onu (long mouth). The mask is resting on a mud wall step. It is a carved as a circle with a short peg at the top of the head, a deep brow, above roughly painted eyes and a carinated nose, without a mouth. A long peg sticks out of the bottom of the mask, painted in bands. [PB 12/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767188.GIJ - P.767190.GIJ are mounted together on card.\n\nFM:311955\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171264_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144480_P.171264.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171620.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465681", "metadata": {"title": "Untitled", "idno": "P.171620.GIJ", "description": "A documentation photograph of an unpainted carved wooden face mask. The face has a prominent mouth and short angular nose. The eye holes are small and circular, A horned animal with sharp jaw and teeth forms the superstructure of the mask. [PB 05/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171619.GIJ and P.171620.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171620.GIJ\n\nDescription\n\nA documentation photograph of an unpainted carved wooden face mask. The face has a prominent mouth and short angular nose. The eye holes are small and circular, A horned animal with sharp jaw and teeth forms the superstructure of the mask. [PB 05/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171619.GIJ and P.171620.GIJ are mounted on card.\n\nFM:312340\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171620_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144935_P.171620.GIJ_001.jpg"}, {"file_name": "P_171620_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144936_P.171620.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169652.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463644", "metadata": {"title": "Untitled", "idno": "P.169652.GIJ", "description": "A frontal view of Oji Onu (long mouth) masquerade character. The wooden mask consists of a long pointed projection, high carinated nose, incised striation markings painted black, white circular ears, and two pointed horns painted white. The masquerader is wearing woven light cloth trousers, tie-dyed or batik top and scarf with a raffia wrapper around the waist. He is holding a circular wooden fan? or paddle? in one hand. In the background are spectators and trees. [Description from record P.71585.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169652.GIJ\n\nDescription\n\nA frontal view of Oji Onu (long mouth) masquerade character. The wooden mask consists of a long pointed projection, high carinated nose, incised striation markings painted black, white circular ears, and two pointed horns painted white. The masquerader is wearing woven light cloth trousers, tie-dyed or batik top and scarf with a raffia wrapper around the waist. He is holding a circular wooden fan? or paddle? in one hand. In the background are spectators and trees. [Description from record P.71585.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\n\nFM:310139\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169652_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127403_P.169652.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.169876.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463895", "metadata": {"title": "Untitled", "idno": "P.169876.GIJ", "description": "A woman standing in the doorway of a thatched mud brick house. She is wearing a wrapper of striped cloth. Her face is in shadow. [PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169876.GIJ\n\nDescription\n\nA woman standing in the doorway of a thatched mud brick house. She is wearing a wrapper of striped cloth. Her face is in shadow. [PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310363\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169876_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127843_P.169876.GIJ_001.png"}, {"file_name": "P_169876_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127844_P.169876.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.30452.NWT", "source_url": "https://collections.maa.cam.ac.uk/photographs/323724", "metadata": {"title": "Untitled", "idno": "P.30452.NWT", "description": "On Negative Listing: \"2031. 19. Killing of sheep. ?vozob.\n?kola. [Thomas' manuscript on RAI MS 467-2(1801-2475)]\n\nIn Blench and Alexander Catalogue for N. W. Thomas photograph collection: \u201c2031 location: Amobia; associations: religion?;\u201d [printed text]", "place": "W Africa; Nigeria; south eastern Nigeria; near Awka; Amobia village", "cultural_affliation": "", "named_person": "", "photographer": "Thomas, Northcote Whitridge", "collector_/_expedition": "", "date": "1909 - 1913", "collection_name": "Northcote Thomas Collection", "source": "Thomas, Northcote Whitridge", "format": "Print Black & White", "primary_documentation": "", "other_information": "This print was previously stored in a box in the fourth drawer of a container which has four drawers. The cataloguer has marked the container C70/, the fourth drawer C70/4/ and the box in which this print was kept C70/4/6/.", "raw_text_dump": "IDNO\n\nP.30452.NWT\n\nDescription\n\nOn Negative Listing: \"2031. 19. Killing of sheep. ?vozob.\n?kola. [Thomas' manuscript on RAI MS 467-2(1801-2475)]\n\nIn Blench and Alexander Catalogue for N. W. Thomas photograph collection: \u201c2031 location: Amobia; associations: religion?;\u201d [printed text]\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; near Awka; Amobia village\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nThomas, Northcote Whitridge\n\nCollector / Expedition\n\nDate\n\n1909 - 1913\n\nCollection Name\n\nNorthcote Thomas Collection\n\nSource\n\nThomas, Northcote Whitridge\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis print was previously stored in a box in the fourth drawer of a container which has four drawers. The cataloguer has marked the container C70/, the fourth drawer C70/4/ and the box in which this print was kept C70/4/6/.\n\n\n\nFM:165102\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_30452_NWT_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/860108_P.30452.NWT_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.30458.NWT", "source_url": "https://collections.maa.cam.ac.uk/photographs/323730", "metadata": {"title": "Untitled", "idno": "P.30458.NWT", "description": "On Negative Listing: \"2035. 23. Burning of sheep. [Thomas' manuscript on RAI MS 467-2(1801-2475)]\n\nIn Blench and Alexander Catalogue for N. W. Thomas photograph collection: \u201c2035 location: Amobia; associations: religion?;\u201d [printed text]", "place": "W Africa; Nigeria; south eastern Nigeria; near Awka; Amobia village", "cultural_affliation": "", "named_person": "", "photographer": "Thomas, Northcote Whitridge", "collector_/_expedition": "", "date": "1909 - 1913", "collection_name": "Northcote Thomas Collection", "source": "Thomas, Northcote Whitridge", "format": "Print Black & White", "primary_documentation": "", "other_information": "This print was previously stored in a box in the fourth drawer of a container which has four drawers. The cataloguer has marked the container C70/, the fourth drawer C70/4/ and the box in which this print was kept C70/4/6/.", "raw_text_dump": "IDNO\n\nP.30458.NWT\n\nDescription\n\nOn Negative Listing: \"2035. 23. Burning of sheep. [Thomas' manuscript on RAI MS 467-2(1801-2475)]\n\nIn Blench and Alexander Catalogue for N. W. Thomas photograph collection: \u201c2035 location: Amobia; associations: religion?;\u201d [printed text]\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; near Awka; Amobia village\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nThomas, Northcote Whitridge\n\nCollector / Expedition\n\nDate\n\n1909 - 1913\n\nCollection Name\n\nNorthcote Thomas Collection\n\nSource\n\nThomas, Northcote Whitridge\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis print was previously stored in a box in the fourth drawer of a container which has four drawers. The cataloguer has marked the container C70/, the fourth drawer C70/4/ and the box in which this print was kept C70/4/6/.\n\n\n\nFM:165108\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_30458_NWT_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/860114_P.30458.NWT_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.13285.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306557", "metadata": {"title": "Untitled", "idno": "N.13285.GIJ", "description": "A close up view of a masquerade character performing in the Okwanku masquerade wearing a wooden face mask with two pointed horns, slit eyes, long nose, and snout-like mouth, long raffia hair. In the background are spectators.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village", "cultural_affliation": "Igbo [historically Ibo]; Ohaffia", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13285.GIJ\n\nDescription\n\nA close up view of a masquerade character performing in the Okwanku masquerade wearing a wooden face mask with two pointed horns, slit eyes, long nose, and snout-like mouth, long raffia hair. In the background are spectators.\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ohaffia\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147935\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13285_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000548_N.13285.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71927.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365198", "metadata": {"title": "Untitled", "idno": "N.71927.GIJ", "description": "A wooden carved sculpture", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 30 of the negative album now numbered C17/.\n\nP.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\n\nContext: In the Yoruba style?\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nN.71927.GIJ\n\nDescription\n\nA wooden carved sculpture\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 30 of the negative album now numbered C17/.\n\nP.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\n\nContext: In the Yoruba style?\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nFM:206577\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71927_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657020_N.71927.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.35300.ACH2", "source_url": "https://collections.maa.cam.ac.uk/photographs/328572", "metadata": {"title": "Untitled", "idno": "N.35300.ACH2", "description": "On Catalogue Card: Making a pot, Edo-speaking peoples, S. Nigeria.", "place": "W Africa; Nigeria; south eastern Nigeria", "cultural_affliation": "", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Unmounted Haddon Collection", "source": "", "format": "Glass Negative", "primary_documentation": "", "other_information": "The negative was previously stored in an envelope now numbered C106/68/ which was in a wooden box now marked C106/. The envelope (C106/68/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.", "raw_text_dump": "IDNO\n\nN.35300.ACH2\n\nDescription\n\nOn Catalogue Card: Making a pot, Edo-speaking peoples, S. Nigeria.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nUnmounted Haddon Collection\n\nSource\n\nFormat\n\nGlass Negative\n\nPrimary Documentation\n\nOther Information\n\nThe negative was previously stored in an envelope now numbered C106/68/ which was in a wooden box now marked C106/. The envelope (C106/68/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.\n\nFM:169950\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_35300_ACH2_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/607042_cat.P.7055.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71772.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365043", "metadata": {"title": "Untitled", "idno": "N.71772.GIJ", "description": "An Item male comic mask. The mask is square in shape and rather abstract. There is a rounded high forehead which is slightly protruding, square nose, elliptical shaped ears and puffy cheeks. There are holes visible around the head of the mask used for attaching fabric.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Item", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 78 of the negative album now numbered C17/.\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Ibo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Get Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]", "raw_text_dump": "IDNO\n\nN.71772.GIJ\n\nDescription\n\nAn Item male comic mask. The mask is square in shape and rather abstract. There is a rounded high forehead which is slightly protruding, square nose, elliptical shaped ears and puffy cheeks. There are holes visible around the head of the mask used for attaching fabric.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nItem\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 78 of the negative album now numbered C17/.\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Ibo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Get Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]\n\nFM:206422\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71772_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656878_N.71772.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71899.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365170", "metadata": {"title": "Untitled", "idno": "N.71899.GIJ", "description": "An Ekpe (Egbo) masquerader with a \u2018pathological\u2019 face mask. The mask consists of a black polished oval face with rounded eyes accentuated with white paint, a distorted, crooked nose and deformed mouth. The costume is made of tight fitting netting that is stitched with frayed fringed edges around the chest and the arms. The masquerader is holding a spear in one hand. Male spectators are behind the character and a thatched pitched roof of an open building.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Umuahia; Uzuakoli area", "cultural_affliation": "Ibibio; 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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 2 of the negative album now numbered C18/.\n\nP.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ekpe Masquerades\n2. Ekpe (Egbo) Runner Uzuakoli. The mask is a pathological Ibibio, the costume is Cross River. (13th image).\n\nPublication: Similar image of the same masquerade character is found in Jones, 1984, p.180, Figure 90 with the caption, \u201cEkpe (Egbo) figure.\n\nContext: Jones writes about the distinctive types and features of the variety of masks found in the Anang area. He notes, \u201cAnother type of mask of Anang mask ahieved this (horror and terror) even more successifully by depiciting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These \u2018pathological\u2019 masks were peculiar to the Ibibio, though some were copied by Northern Ibo.\u201d (Jones, 1984, p. 177). He also writes, \u201cIn some of the Ekpe (Egbo) masquerades the only characters I observed were in the faceless tight-fitting or flowing net costumes in which the face of the actor was concealed beneath the net. In others (as represented by this photo) these types of costumes were combined with Traditional Anang (Ibibio) face masks. The masks were referred to as Isi Ekpo (Ekpo head) but the name of the masquerade was Ekpe (Jones, 1984, p.199)\n\nContext: The Ekpe or Egbo society in the Cross River Area is described in detail by Jones. He writes that, \u201cTheir most widely distributed society and masquerade were called Ekpe, which the Efik of Old Calabar took ovr from their Ekoi neighbours and developed into a graded wealth society whose higher grades were restricted to those who could afford the exorbitant entrace fees. The Ekpe, known to European traders as Egbo, was distributed up the Cross River as far as Mamfe in the Cameroons. Ekpe was a spirit character that was never seen but only heard and the characters in Ekpe masquerades were siad to be his attendant spirits. Ekpe is the Ibibio and Efik word for \u2018leopard\u2019 but this society should not be confused with the so-called Human Leopard Societies, whose members were believed to transform themselves into leopards and in this form to kill their enemies.\u201d\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71899.GIJ\n\nDescription\n\nAn Ekpe (Egbo) masquerader with a \u2018pathological\u2019 face mask. The mask consists of a black polished oval face with rounded eyes accentuated with white paint, a distorted, crooked nose and deformed mouth. The costume is made of tight fitting netting that is stitched with frayed fringed edges around the chest and the arms. The masquerader is holding a spear in one hand. Male spectators are behind the character and a thatched pitched roof of an open building.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Umuahia; Uzuakoli area\n\nCultural Affliation\n\nIbibio; Anang\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 2 of the negative album now numbered C18/.\n\nP.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ekpe Masquerades\n2. Ekpe (Egbo) Runner Uzuakoli. The mask is a pathological Ibibio, the costume is Cross River. (13th image).\n\nPublication: Similar image of the same masquerade character is found in Jones, 1984, p.180, Figure 90 with the caption, \u201cEkpe (Egbo) figure.\n\nContext: Jones writes about the distinctive types and features of the variety of masks found in the Anang area. He notes, \u201cAnother type of mask of Anang mask ahieved this (horror and terror) even more successifully by depiciting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These \u2018pathological\u2019 masks were peculiar to the Ibibio, though some were copied by Northern Ibo.\u201d (Jones, 1984, p. 177). He also writes, \u201cIn some of the Ekpe (Egbo) masquerades the only characters I observed were in the faceless tight-fitting or flowing net costumes in which the face of the actor was concealed beneath the net. In others (as represented by this photo) these types of costumes were combined with Traditional Anang (Ibibio) face masks. The masks were referred to as Isi Ekpo (Ekpo head) but the name of the masquerade was Ekpe (Jones, 1984, p.199)\n\nContext: The Ekpe or Egbo society in the Cross River Area is described in detail by Jones. He writes that, \u201cTheir most widely distributed society and masquerade were called Ekpe, which the Efik of Old Calabar took ovr from their Ekoi neighbours and developed into a graded wealth society whose higher grades were restricted to those who could afford the exorbitant entrace fees. The Ekpe, known to European traders as Egbo, was distributed up the Cross River as far as Mamfe in the Cameroons. Ekpe was a spirit character that was never seen but only heard and the characters in Ekpe masquerades were siad to be his attendant spirits. Ekpe is the Ibibio and Efik word for \u2018leopard\u2019 but this society should not be confused with the so-called Human Leopard Societies, whose members were believed to transform themselves into leopards and in this form to kill their enemies.\u201d\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206549\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71899_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656990_N.71899.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13213.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306485", "metadata": {"title": "Untitled", "idno": "N.13213.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two figures; the one on the left is wearing a printed tunic and holding an umbrella in his hand; the figure on the right is a policeman and is holding a rifle. A geometric border is underneath the two figures and at the right side is a swirled snakel-like desing on the wall.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image published in Jones, 1984, p.107, Figure, 33 with the caption, \u201cLady and a policeman\u201d.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13213.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two figures; the one on the left is wearing a printed tunic and holding an umbrella in his hand; the figure on the right is a policeman and is holding a rifle. A geometric border is underneath the two figures and at the right side is a swirled snakel-like desing on the wall.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image published in Jones, 1984, p.107, Figure, 33 with the caption, \u201cLady and a policeman\u201d.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147863\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13213_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000475_N.13213.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "T.170050.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464073", "metadata": {"title": "Untitled", "idno": "T.170050.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two figures; the one on the left is wearing a printed tunic and hlding something in his hand; the figure on the right is a policeman and is holding a rifle. A geometric border is underneath the two figures and at the right side is a swirled snake-like design on the wall Igbo [historically Ibo][Description from record N.13210.GIJ, PB 14/09/2023]N.13210.GIJ", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village", "cultural_affliation": "", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170050.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two figures; the one on the left is wearing a printed tunic and hlding something in his hand; the figure on the right is a policeman and is holding a rifle. A geometric border is underneath the two figures and at the right side is a swirled snake-like design on the wall Igbo [historically Ibo][Description from record N.13210.GIJ, PB 14/09/2023]N.13210.GIJ\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310578\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170050_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128145_T.170050.GIJ_001.png"}, {"file_name": "T_170050_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128147_T.170050.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71875.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365146", "metadata": {"title": "Untitled", "idno": "N.71875.GIJ", "description": "The interior of an Obu House with the close up view of two large sculptures. The figure on the left has an abstract black face with white markings indicating white slit eyes, nose, and curved markings in white lines and dots along the cheek. A small pointed protrusion emanates at the top of the head which is surrounded by a rounded circular plate at the back of the head. The upper torso is pained in striped colours and the neck is adorned with a raffia neck ornament. The figure has a large protruding umbilicus and is standing with its hands to the side and in one hand holding a cup?. A piece of cloth is tied around the waist. The figure to right is standing upright and only the upper torso and the chin are visible. The figure is female and the face is rounded with full lips, ornaments around the neck, pert breasts, and scarification marks etched in a linear pattern down the chest, There are three dark markings on the stomach. The lower arm is coiled. A piece of cloth is tied around the waist. A wall is in the background.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 40 of the negative album now numbered C19/.\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]", "raw_text_dump": "IDNO\n\nN.71875.GIJ\n\nDescription\n\nThe interior of an Obu House with the close up view of two large sculptures. The figure on the left has an abstract black face with white markings indicating white slit eyes, nose, and curved markings in white lines and dots along the cheek. A small pointed protrusion emanates at the top of the head which is surrounded by a rounded circular plate at the back of the head. The upper torso is pained in striped colours and the neck is adorned with a raffia neck ornament. The figure has a large protruding umbilicus and is standing with its hands to the side and in one hand holding a cup?. A piece of cloth is tied around the waist. The figure to right is standing upright and only the upper torso and the chin are visible. The figure is female and the face is rounded with full lips, ornaments around the neck, pert breasts, and scarification marks etched in a linear pattern down the chest, There are three dark markings on the stomach. The lower arm is coiled. A piece of cloth is tied around the waist. A wall is in the background.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 40 of the negative album now numbered C19/.\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\n\nFM:206525\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71875_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656965_N.71875.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.71962.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365233", "metadata": {"title": "Untitled", "idno": "P.71962.GIJ", "description": "A Ngbagba Ikoro masquerade with the masquerade character called Otiri the principle dancer in the play. Otiri wears a mask on top of his head and stuck full of long feathers, his face is shrouded in a raffia bag, and he wears a shirt of raffia sacking and a grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). He is holding large white plumes in hand and seed anklets. In the background is a crowd of spectator and a thatched pitched roof building.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71946.GIJ to P.71968.GIJ were found wrapped in paper, now numbered C298/9/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Otiri Ngbagba Ikoro, Abiriba. (3rd image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nP.71962.GIJ\n\nDescription\n\nA Ngbagba Ikoro masquerade with the masquerade character called Otiri the principle dancer in the play. Otiri wears a mask on top of his head and stuck full of long feathers, his face is shrouded in a raffia bag, and he wears a shirt of raffia sacking and a grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). He is holding large white plumes in hand and seed anklets. In the background is a crowd of spectator and a thatched pitched roof building.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71946.GIJ to P.71968.GIJ were found wrapped in paper, now numbered C298/9/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Otiri Ngbagba Ikoro, Abiriba. (3rd image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nFM:206612\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_71962_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657065_N.71963.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169731.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463740", "metadata": {"title": "Untitled", "idno": "P.169731.GIJ", "description": "A half-length portrait of a man in profile. The man has itchi markings above his cheekbone and around to his forehead. He is wearing a single cord around his neck. There is a striped cloth behind him to the left and a building to the right. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169731.GIJ\n\nDescription\n\nA half-length portrait of a man in profile. The man has itchi markings above his cheekbone and around to his forehead. He is wearing a single cord around his neck. There is a striped cloth behind him to the left and a building to the right. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310218\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169731_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127556_P.169731.GIJ_001.png"}, {"file_name": "P_169731_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127557_P.169731.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171213.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465274", "metadata": {"title": "Untitled", "idno": "P.171213.GIJ", "description": "A wooden Ikenga figure seated on a round circular stool. The figure is holding a cutlass in one hand and a head in the other. The head of the Ikenga figure consists of a white painted face with carved incised striations on the forehead accentuated by black paint, the eyes, nose and mouth are outlined in black paint and there are chevron or v-shaped markings on the cheek. The headdress consists of two large horns which are quite thick and curled at the top. The body of the figure is painted white with black markings and abstract designs around the neck, torso and the knees. [Description from record P.71656.GIJ, PB 04/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767134.GIJ - P.767139.GIJ are mounted together on paper.", "raw_text_dump": "IDNO\n\nP.171213.GIJ\n\nDescription\n\nA wooden Ikenga figure seated on a round circular stool. The figure is holding a cutlass in one hand and a head in the other. The head of the Ikenga figure consists of a white painted face with carved incised striations on the forehead accentuated by black paint, the eyes, nose and mouth are outlined in black paint and there are chevron or v-shaped markings on the cheek. The headdress consists of two large horns which are quite thick and curled at the top. The body of the figure is painted white with black markings and abstract designs around the neck, torso and the knees. [Description from record P.71656.GIJ, PB 04/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767134.GIJ - P.767139.GIJ are mounted together on paper.\n\nFM:311904\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171213_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144429_P.171213.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171559.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465620", "metadata": {"title": "Untitled", "idno": "P.171559.GIJ", "description": "A masquerader in the Owu masquerade, portraying the character Nwala. The body of the masquerader is covered in patterned cloth. He is holding a narrow blade in his right hand. The mask is a flat circular disc with a fringe of raffia and a feather in the centre top. The face is stylised and carved in low relief, outlined in black. [PB 22/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Edoha village", "cultural_affliation": "Igbo [historically Ibo]; Ekpeya", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171559.GIJ is mounted on card.\n\nPublication: Image published in Jones, G.I. The Art of Eastern Nigeria. 1984 Cambridge: CUP. Fig 66 p157, and captioned: \"Nwala: Owu masquerade. Edoha village. Ekpeye tribe (photograph K.C. Murray). Riverain Ibo\"", "raw_text_dump": "IDNO\n\nP.171559.GIJ\n\nDescription\n\nA masquerader in the Owu masquerade, portraying the character Nwala. The body of the masquerader is covered in patterned cloth. He is holding a narrow blade in his right hand. The mask is a flat circular disc with a fringe of raffia and a feather in the centre top. The face is stylised and carved in low relief, outlined in black. [PB 22/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Edoha village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ekpeya\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171559.GIJ is mounted on card.\n\nPublication: Image published in Jones, G.I. The Art of Eastern Nigeria. 1984 Cambridge: CUP. Fig 66 p157, and captioned: \"Nwala: Owu masquerade. Edoha village. Ekpeye tribe (photograph K.C. Murray). Riverain Ibo\"\n\nFM:312279\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171559_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144812_P.171559.GIJ_001.jpg"}, {"file_name": "P_171559_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144813_P.171559.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71645.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364916", "metadata": {"title": "Untitled", "idno": "N.71645.GIJ", "description": "An Alose (tutelary deity) figure standing next to an elder or priest sitting next to it. The Alose figure is quite stylised and standing upright. The head is large and the upper torso is elongated and out of proportion with the lower part of the body. There is a white leopard teeth necklace around the neck, a protruding umbilicus and a piece of cloth placed around the waist, and white anklets. The elder or priest is sitting next to the figure on a small wooden stool. In the background are trees and vegetation.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Orsu", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "Context: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d(Jones, 1989, p. 37).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1989, p.54)\n\nContext: In relation to the Alusi figures, Cole and Aniakor write that, \u201cthe dead are conceived as part of the everyday world, and just as clearly, their presence can hold a positive or negative valence for the living; exactly the same is true of the tutelary deities, alusi. These forces, however, are neither personal (chi or ancestors) nor universal (Chineke, Chukwu). Rather, they are in part specific, usually tangible phenomena such as: Earth, the Niger or Imo river, Eke, Afo, Orie/Oye, or Nkwo market, an extraordinary tree, a binding oath at a particular shrine, or the canyon of erosion in Agulu. The preeminence of Ala/Ani does not eclipse the vitality of these other deities, especially those associated with water, or of Amadioha, god of thunder and lightening and, by extension, rain. These anthropomorphic male and female deities have priests and often elaborate cult apparatus, symbolic works of art, and finely decorated compounds. Each has general and specific powers, and although their priesthoods may be held by certain lineages, the more commanding of these cults have constituencies cutting across lines of kinship and stressing communal worship. Such tutelary deities are close to people, fast-acting (for good or ill), and often capricious, thus requiring frequent attention and sacrifice. ...(Cole and Aniakor, 1984, p.16).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1984, p.54)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989, Ibo Art (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]", "raw_text_dump": "IDNO\n\nN.71645.GIJ\n\nDescription\n\nAn Alose (tutelary deity) figure standing next to an elder or priest sitting next to it. The Alose figure is quite stylised and standing upright. The head is large and the upper torso is elongated and out of proportion with the lower part of the body. There is a white leopard teeth necklace around the neck, a protruding umbilicus and a piece of cloth placed around the waist, and white anklets. The elder or priest is sitting next to the figure on a small wooden stool. In the background are trees and vegetation.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Orsu\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d(Jones, 1989, p. 37).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1989, p.54)\n\nContext: In relation to the Alusi figures, Cole and Aniakor write that, \u201cthe dead are conceived as part of the everyday world, and just as clearly, their presence can hold a positive or negative valence for the living; exactly the same is true of the tutelary deities, alusi. These forces, however, are neither personal (chi or ancestors) nor universal (Chineke, Chukwu). Rather, they are in part specific, usually tangible phenomena such as: Earth, the Niger or Imo river, Eke, Afo, Orie/Oye, or Nkwo market, an extraordinary tree, a binding oath at a particular shrine, or the canyon of erosion in Agulu. The preeminence of Ala/Ani does not eclipse the vitality of these other deities, especially those associated with water, or of Amadioha, god of thunder and lightening and, by extension, rain. These anthropomorphic male and female deities have priests and often elaborate cult apparatus, symbolic works of art, and finely decorated compounds. Each has general and specific powers, and although their priesthoods may be held by certain lineages, the more commanding of these cults have constituencies cutting across lines of kinship and stressing communal worship. Such tutelary deities are close to people, fast-acting (for good or ill), and often capricious, thus requiring frequent attention and sacrifice. ...(Cole and Aniakor, 1984, p.16).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1984, p.54)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989, Ibo Art (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]\n\nFM:206295\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71645_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656751_N.71645.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13236.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306508", "metadata": {"title": "Untitled", "idno": "N.13236.GIJ", "description": "View of a Ngwomo \u2018ghost house\u2019, and a \u201cmodern monument\u201d. The \u2018ghost house\u2019 has a raffia mat roof on a three-sided wall in a u-shape which is painted with frescos. The \u201cmodern monument\u201d or grave is made of cement a has text painted on it which includes the date: 5.3.1932.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibibio [historically Anang]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image in Jones, 1984, p. 105, Plate 30 with the caption, Modern monument and Ngwomo.\n\nContext: Jones writes about the Ngwomo ghost houses. \u201cMany of the Anang (Western Ibibio) tribes used to erect monuments for their more important dead in the form of conventionalised houses. The architecture was of little significance as the building was reduced to a single wall surmounted by a raffia matt roof. If the deceased was a man the buidling was tall and narraow and the wall was a length of imported cotton lcoth stretched across...This house was erected for an important female who had died.\nAnang Ngwomo ghost houses for females were painted with figures of men, women, animals and objects from everyday life mainly depicted in profile against a white background. See Jones.G.I. 1984: 105- 106.\n\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 25/3/2008]", "raw_text_dump": "IDNO\n\nN.13236.GIJ\n\nDescription\n\nView of a Ngwomo \u2018ghost house\u2019, and a \u201cmodern monument\u201d. The \u2018ghost house\u2019 has a raffia mat roof on a three-sided wall in a u-shape which is painted with frescos. The \u201cmodern monument\u201d or grave is made of cement a has text painted on it which includes the date: 5.3.1932.\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbibio [historically Anang]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image in Jones, 1984, p. 105, Plate 30 with the caption, Modern monument and Ngwomo.\n\nContext: Jones writes about the Ngwomo ghost houses. \u201cMany of the Anang (Western Ibibio) tribes used to erect monuments for their more important dead in the form of conventionalised houses. The architecture was of little significance as the building was reduced to a single wall surmounted by a raffia matt roof. If the deceased was a man the buidling was tall and narraow and the wall was a length of imported cotton lcoth stretched across...This house was erected for an important female who had died.\nAnang Ngwomo ghost houses for females were painted with figures of men, women, animals and objects from everyday life mainly depicted in profile against a white background. See Jones.G.I. 1984: 105- 106.\n\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 25/3/2008]\n\nFM:147886\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13236_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000499_N.13236.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169764.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463773", "metadata": {"title": "Untitled", "idno": "P.169764.GIJ", "description": "Half-length half length portrait of a man. He is standing in front of a tree. He is wearing a loincloth. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169764.GIJ\n\nDescription\n\nHalf-length half length portrait of a man. He is standing in front of a tree. He is wearing a loincloth. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310251\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169764_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127622_P.169764.GIJ_001.png"}, {"file_name": "P_169764_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127623_P.169764.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169634.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463609", "metadata": {"title": "Untitled", "idno": "P.169634.GIJ", "description": "Boys\u2019 initiation dance in the Nri Awka area. The male initiates are dancing around a pole held by an elder, and they are wearing layers of short pieces of cloth around their waist and around the knees are bands made of seeds? or metal? which will sound as they dance. The heads are covered with cloth kerchiefs and they are holding feathers. In the background are spectators. [Description from record P.71492.GIJ, PB 20/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nContext: For a detailed discussion of initiation rites see Jones, 1962. Cole and Aniakor also discuss the importance of initiation rites. \u201cAdolescent initiation inot th serious business of manhood in Igboland is normally marked by entry into a masked organization. Several regional variations exist (Cole and Anaikor, 1984, p.112).\n\nContext: Green in her ethnographic study of the Igbo discusses the complexity of initiation rites. She writes, \u201cThe question of initiation rites is not an easy one to deal with. Those of the boys have gone underground to a considerable extent from fear of European disapproval and tend now to be held in connection with the initiation of a dibea. None were held in Umueke while I was living there, though when a dibea was initiated in the neighbouring village-group of Umunuma, we saw boys in initiation dress going to market with him in his public inception as a diviner and they had probably been passing through a period of initiation at the same time as he did his own. I obtained a number of descriptions of the normal boys\u2019 initiation rites, which used to be held every few years and through which most of the boys in the village except the quite young ones had passed. The boys of part of the next door Agbaja village also participated. The chief feature of the rites was described as being the acquiring of aggressive medicine or magic rather than the receiving of instruction. This medicine could only be used against people who had not themselves acquired it, against strangers that is to say, and more particularly against women because the latter never acquired it. The medicine was put into the boys\u2019 eyes and into cuts in the skin over a period of eight days. In so far as they were not supposed to cry it may be said that hardihood was inculcated. \u201c She continues to say that the initiation rites were important for group solidarity and a certain code of morality. (Green, 1947, pp.80-81.)\n\nBibliographical Reference: Jones, G.I. 1962, \u201cIbo Age Organization, with Special Reference to the Cross River and North-eastern Ibo.\u201d The Journal of the Royal Anthropological Institute of Great Britain and Ireland, Vol. 92, No. 2, pp.191-211.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\nGreen, M.M. 1964 (second edition) Igbo Village Affairs (Frank Cass and Co.).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]", "raw_text_dump": "IDNO\n\nP.169634.GIJ\n\nDescription\n\nBoys\u2019 initiation dance in the Nri Awka area. The male initiates are dancing around a pole held by an elder, and they are wearing layers of short pieces of cloth around their waist and around the knees are bands made of seeds? or metal? which will sound as they dance. The heads are covered with cloth kerchiefs and they are holding feathers. In the background are spectators. [Description from record P.71492.GIJ, PB 20/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nContext: For a detailed discussion of initiation rites see Jones, 1962. Cole and Aniakor also discuss the importance of initiation rites. \u201cAdolescent initiation inot th serious business of manhood in Igboland is normally marked by entry into a masked organization. Several regional variations exist (Cole and Anaikor, 1984, p.112).\n\nContext: Green in her ethnographic study of the Igbo discusses the complexity of initiation rites. She writes, \u201cThe question of initiation rites is not an easy one to deal with. Those of the boys have gone underground to a considerable extent from fear of European disapproval and tend now to be held in connection with the initiation of a dibea. None were held in Umueke while I was living there, though when a dibea was initiated in the neighbouring village-group of Umunuma, we saw boys in initiation dress going to market with him in his public inception as a diviner and they had probably been passing through a period of initiation at the same time as he did his own. I obtained a number of descriptions of the normal boys\u2019 initiation rites, which used to be held every few years and through which most of the boys in the village except the quite young ones had passed. The boys of part of the next door Agbaja village also participated. The chief feature of the rites was described as being the acquiring of aggressive medicine or magic rather than the receiving of instruction. This medicine could only be used against people who had not themselves acquired it, against strangers that is to say, and more particularly against women because the latter never acquired it. The medicine was put into the boys\u2019 eyes and into cuts in the skin over a period of eight days. In so far as they were not supposed to cry it may be said that hardihood was inculcated. \u201c She continues to say that the initiation rites were important for group solidarity and a certain code of morality. (Green, 1947, pp.80-81.)\n\nBibliographical Reference: Jones, G.I. 1962, \u201cIbo Age Organization, with Special Reference to the Cross River and North-eastern Ibo.\u201d The Journal of the Royal Anthropological Institute of Great Britain and Ireland, Vol. 92, No. 2, pp.191-211.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\nGreen, M.M. 1964 (second edition) Igbo Village Affairs (Frank Cass and Co.).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]\n\n\nFM:310121\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169634_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127333_P.169634.GIJ_001.png"}, {"file_name": "P_169634_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127336_P.169634.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171598.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465659", "metadata": {"title": "Untitled", "idno": "P.171598.GIJ", "description": "A documentation photograph of an old carved wooden juju figure, standing in front of a framework of poles. The figure is male, and has a loin cloth and neck cord. His arms are bent at the elbow. The face above a long neck has a deep brow, wide nose, and prominent mouth. The forehead and top of the head are tall and incised with diagonal parallel lines. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Mpam", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171598.GIJ and P.171600.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171598.GIJ\n\nDescription\n\nA documentation photograph of an old carved wooden juju figure, standing in front of a framework of poles. The figure is male, and has a loin cloth and neck cord. His arms are bent at the elbow. The face above a long neck has a deep brow, wide nose, and prominent mouth. The forehead and top of the head are tall and incised with diagonal parallel lines. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Mpam\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171598.GIJ and P.171600.GIJ are mounted on card.\n\nFM:312318\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171598_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144891_P.171598.GIJ_001.jpg"}, {"file_name": "P_171598_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144892_P.171598.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171239.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465300", "metadata": {"title": "Untitled", "idno": "P.171239.GIJ", "description": "Object documentation photograph of two elongated painted wooden figures (? related to the ogbugulu mau masquerade). The figures are standing in front of a cracked mud wall.\nThe figure on the left is painted with a light pigment and is wearing a loincloth. The figure has a head band with a a haircomb painted with light pigment. The figure has a necklace, armband and leg bands, painted in dark pigment. The facial features are highlighted with a dark pigment.\nThe figure to the right is painted with a dark pigment, and wears a cloth wrapper. Its neck is decorated with polkadots in a light pigment which extend in a line down the centre of the torso to the waist. The mouth and large oval shaped eyes are painted ion a light pigment. There is a solid crest in the centre of the top of the head. [PB 05/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra state; Nnewi", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767163.GIJ - P.767165.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171239.GIJ\n\nDescription\n\nObject documentation photograph of two elongated painted wooden figures (? related to the ogbugulu mau masquerade). The figures are standing in front of a cracked mud wall.\nThe figure on the left is painted with a light pigment and is wearing a loincloth. The figure has a head band with a a haircomb painted with light pigment. The figure has a necklace, armband and leg bands, painted in dark pigment. The facial features are highlighted with a dark pigment.\nThe figure to the right is painted with a dark pigment, and wears a cloth wrapper. Its neck is decorated with polkadots in a light pigment which extend in a line down the centre of the torso to the waist. The mouth and large oval shaped eyes are painted ion a light pigment. There is a solid crest in the centre of the top of the head. [PB 05/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra state; Nnewi\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767163.GIJ - P.767165.GIJ are mounted together on card.\n\nFM:311930\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171239_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144455_P.171239.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71516.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364787", "metadata": {"title": "Untitled", "idno": "N.71516.GIJ", "description": "Obugulu Mau daughter masks. Three masqueraders wearing white \u201cdaughter\u201d masks sitting down. The masks consist of white face with black markings and etched markings on the cheeks and forehead. The top of the mask culminates into a rounded superstructure decorated in colourful felt and cloth attached to the back of the mask are strips of cloth and felt. The masqueraders are wearing harlequin-like costumes and white gloves. There are spectators in the background.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 92 of the negative album now numbered C15/.\n\nP.71504.GIJ to P.71662.GIJ were kept in box 4, now numbered C301/.\nP.71504.GIJ to P.71529.GIJ were found wrapped in paper, now numbered C301/1/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Obugula Mmau, daughter masks Amuobia village (7th image).\n\nPublication: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe\nFame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nExhibition: Digital reproduction of photograph exhibited in \u2018Afrique, mille vies d\u2019objects / Africa, a thousand lives of objects\u2019 at Mus\u00e9e de Confluences, Lyon, France, from June 2023 \u2013 February 2024. See www.museedesconfluences.fr/en. [JD 25/01/2023]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/11/2007]", "raw_text_dump": "IDNO\n\nN.71516.GIJ\n\nDescription\n\nObugulu Mau daughter masks. Three masqueraders wearing white \u201cdaughter\u201d masks sitting down. The masks consist of white face with black markings and etched markings on the cheeks and forehead. The top of the mask culminates into a rounded superstructure decorated in colourful felt and cloth attached to the back of the mask are strips of cloth and felt. The masqueraders are wearing harlequin-like costumes and white gloves. There are spectators in the background.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 92 of the negative album now numbered C15/.\n\nP.71504.GIJ to P.71662.GIJ were kept in box 4, now numbered C301/.\nP.71504.GIJ to P.71529.GIJ were found wrapped in paper, now numbered C301/1/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Obugula Mmau, daughter masks Amuobia village (7th image).\n\nPublication: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe\nFame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nExhibition: Digital reproduction of photograph exhibited in \u2018Afrique, mille vies d\u2019objects / Africa, a thousand lives of objects\u2019 at Mus\u00e9e de Confluences, Lyon, France, from June 2023 \u2013 February 2024. See www.museedesconfluences.fr/en. [JD 25/01/2023]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/11/2007]\n\nFM:206166\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71516_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656651_N.71516.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171130.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465191", "metadata": {"title": "Untitled", "idno": "P.171130.GIJ", "description": "A white wooden helmet mask with a large open mouth with four pointed teeth, on the forehead above the eyes is an area carved with incised vertical and curved lines. Above the ears are two crescent protrusions, and two (large) horns rise out of the forehead. The face below the eyes, and the crescent protrusions are painted white, while the forehead, cheeks and horns are painted a darker colour. [Description from record N.13338.GIJ, PB 18/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767053.GIJ - P.767055.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171130.GIJ\n\nDescription\n\nA white wooden helmet mask with a large open mouth with four pointed teeth, on the forehead above the eyes is an area carved with incised vertical and curved lines. Above the ears are two crescent protrusions, and two (large) horns rise out of the forehead. The face below the eyes, and the crescent protrusions are painted white, while the forehead, cheeks and horns are painted a darker colour. [Description from record N.13338.GIJ, PB 18/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767053.GIJ - P.767055.GIJ are mounted together on card.\n\nFM:311821\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171130_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144346_P.171130.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13304.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306576", "metadata": {"title": "Untitled", "idno": "N.13304.GIJ", "description": "Close up portrait of a side profile of an elder man wearing a tunic shirt and wearing a striped wooly hat with a pompom.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13304.GIJ\n\nDescription\n\nClose up portrait of a side profile of an elder man wearing a tunic shirt and wearing a striped wooly hat with a pompom.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147954\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13304_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000567_N.13304.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169674.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463683", "metadata": {"title": "Untitled", "idno": "P.169674.GIJ", "description": "Egu Mau (Money Finish) masquerade depicting two masquerade performers, a drummer and supporters. The central character is completely covered and is wearing a maiden spirit mask with an elaborately carved helmet-like superstructure decorated with cloth and tassels, and brightly coloured harlequin costume covering the whole body. There are additional cloths tied around the shoulders and waist and ankle rattles, probably made of seeds?, and waving a fly whisk. Behind the central character is another performer wearing a helmet-shaped maiden spirit mask dressed in a harlequin or appliqu\u00e9d costume. In the left of the photograph is a drummer wearing a cloth, and a group of males clapping and praising the masquerader. In the background are trees, huts and three small children. [Description from record P.71531.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169674.GIJ\n\nDescription\n\nEgu Mau (Money Finish) masquerade depicting two masquerade performers, a drummer and supporters. The central character is completely covered and is wearing a maiden spirit mask with an elaborately carved helmet-like superstructure decorated with cloth and tassels, and brightly coloured harlequin costume covering the whole body. There are additional cloths tied around the shoulders and waist and ankle rattles, probably made of seeds?, and waving a fly whisk. Behind the central character is another performer wearing a helmet-shaped maiden spirit mask dressed in a harlequin or appliqu\u00e9d costume. In the left of the photograph is a drummer wearing a cloth, and a group of males clapping and praising the masquerader. In the background are trees, huts and three small children. [Description from record P.71531.GIJ, PB 27/10/2022]\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nFM:310161\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169674_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127449_P.169674.GIJ_001.png"}, {"file_name": "P_169674_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127450_P.169674.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171599.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465660", "metadata": {"title": "Untitled", "idno": "P.171599.GIJ", "description": "A documentation photograph of two old carved wooden juju figure, standing in front of a framework of poles. The figure on the left is female, with a single hair crest. She has a waist wrapper, and a necklet. Her arms are bent at the elbows. The male figure on the right has a loin cloth and neck cord. His arms are bent at the elbow. The face above a long neck has a deep brow, wide nose, and prominent mouth. The forehead and top of the head are tall and incised with diagonal parallel lines. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Mpam", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171598.GIJ and P.171600.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171599.GIJ\n\nDescription\n\nA documentation photograph of two old carved wooden juju figure, standing in front of a framework of poles. The figure on the left is female, with a single hair crest. She has a waist wrapper, and a necklet. Her arms are bent at the elbows. The male figure on the right has a loin cloth and neck cord. His arms are bent at the elbow. The face above a long neck has a deep brow, wide nose, and prominent mouth. The forehead and top of the head are tall and incised with diagonal parallel lines. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Mpam\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171598.GIJ and P.171600.GIJ are mounted on card.\n\nFM:312319\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171599_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144893_P.171599.GIJ_001.jpg"}, {"file_name": "P_171599_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144894_P.171599.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169767.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463776", "metadata": {"title": "Untitled", "idno": "P.169767.GIJ", "description": "Half-length portrait of a man wearing a tuxedo with bow tie. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169767.GIJ\n\nDescription\n\nHalf-length portrait of a man wearing a tuxedo with bow tie. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310254\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169767_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127628_P.169767.GIJ_001.png"}, {"file_name": "P_169767_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127629_P.169767.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171222.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465283", "metadata": {"title": "Untitled", "idno": "P.171222.GIJ", "description": "An object documentation image of a carved wooden ikenga figure. A man standing, holding a weapon in each hand. [PB 04/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.76746.GIJ - P.767147.GIJ are mounted together on card.\n\nThis figure is in the Pitt Rivers Museum. 1938.15.4. Description:\n'Wooden figure of a man, painted in black and yellow with a white face. He is holding a weapon in each hand.'", "raw_text_dump": "IDNO\n\nP.171222.GIJ\n\nDescription\n\nAn object documentation image of a carved wooden ikenga figure. A man standing, holding a weapon in each hand. [PB 04/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.76746.GIJ - P.767147.GIJ are mounted together on card.\n\nThis figure is in the Pitt Rivers Museum. 1938.15.4. Description:\n'Wooden figure of a man, painted in black and yellow with a white face. He is holding a weapon in each hand.'\n\nFM:311913\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171222_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144438_P.171222.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171242.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465303", "metadata": {"title": "Untitled", "idno": "P.171242.GIJ", "description": "An object documentation photograph of an Mgbedike or Agu neche enyi masquerade mask (? the character njokoya). The animal-like mask has a elongated jaw and chin with a grinning mouth of notched teeth. The nose is prominent and eyes round with a raised rim. The upper face is painted with a light pigment, the rest of the head in dark. Over the top of the mask is braided grass, which opens up into long tresses on either side of the head to reach down the body. A tortoise shell is resting on the tresses. [PB 05/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra state; Ogidi", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767166.GIJ - P.767168.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171242.GIJ\n\nDescription\n\nAn object documentation photograph of an Mgbedike or Agu neche enyi masquerade mask (? the character njokoya). The animal-like mask has a elongated jaw and chin with a grinning mouth of notched teeth. The nose is prominent and eyes round with a raised rim. The upper face is painted with a light pigment, the rest of the head in dark. Over the top of the mask is braided grass, which opens up into long tresses on either side of the head to reach down the body. A tortoise shell is resting on the tresses. [PB 05/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra state; Ogidi\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767166.GIJ - P.767168.GIJ are mounted together on card.\n\nFM:311933\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171242_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144458_P.171242.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171306.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465367", "metadata": {"title": "Untitled", "idno": "P.171306.GIJ", "description": "A close up view of Mgbedike masquerade. The masquerader is wearing an elaborate headdress carved of horns, figures, animals, and on the top of the headdress is a man with a white face riding a horse? The mask is covered with palm fronds, omu, and the masquerader is holding an object (machete? or knife?) in one hand. The costume is made of cloth, palm fronds, shells, seeds and porcupine quills jutting out around the neck. In the background are trees, bystanders, and houses. [Description from record P.169663.GIJ, PB 03/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Ibo [historically Igbo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767228.GIJ and P.767230.GIJ are mounted together on paper.", "raw_text_dump": "IDNO\n\nP.171306.GIJ\n\nDescription\n\nA close up view of Mgbedike masquerade. The masquerader is wearing an elaborate headdress carved of horns, figures, animals, and on the top of the headdress is a man with a white face riding a horse? The mask is covered with palm fronds, omu, and the masquerader is holding an object (machete? or knife?) in one hand. The costume is made of cloth, palm fronds, shells, seeds and porcupine quills jutting out around the neck. In the background are trees, bystanders, and houses. [Description from record P.169663.GIJ, PB 03/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767228.GIJ and P.767230.GIJ are mounted together on paper.\n\nFM:311997\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171306_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144522_P.171306.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171244.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465305", "metadata": {"title": "Untitled", "idno": "P.171244.GIJ", "description": "A view in profile of an Mgbedike or Agu neche enyi masquerade mask (an elephant?). The mask is resting against a mud wall. It has a long trunk-like mouth, a triangular nose and wide circular eyes. The mask is painted in a dark pigment, with light highlights along the top of the trunk, the ridge of the nose, and eyes, around which are light polka-dots. The mask has a headdress of interlocking arches, with a figure at the base of each column. [PB 05/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra state; Ogidi", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767166.GIJ - P.767168.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171244.GIJ\n\nDescription\n\nA view in profile of an Mgbedike or Agu neche enyi masquerade mask (an elephant?). The mask is resting against a mud wall. It has a long trunk-like mouth, a triangular nose and wide circular eyes. The mask is painted in a dark pigment, with light highlights along the top of the trunk, the ridge of the nose, and eyes, around which are light polka-dots. The mask has a headdress of interlocking arches, with a figure at the base of each column. [PB 05/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra state; Ogidi\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767166.GIJ - P.767168.GIJ are mounted together on card.\n\nFM:311935\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171244_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144460_P.171244.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.7043.ACH1", "source_url": "https://collections.maa.cam.ac.uk/photographs/300315", "metadata": {"title": "Untitled", "idno": "P.7043.ACH1", "description": "On Catalogue Card: Hunter, Ekoi country.", "place": "W Africa; Nigeria; south eastern Nigeria; Ekoi country", "cultural_affliation": "", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Mounted Haddon Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "", "raw_text_dump": "IDNO\n\nP.7043.ACH1\n\nDescription\n\nOn Catalogue Card: Hunter, Ekoi country.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; Ekoi country\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nMounted Haddon Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nFM:141693\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_7043_ACH1_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/866766_P.7043.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171247.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465308", "metadata": {"title": "Untitled", "idno": "P.171247.GIJ", "description": "A close up portrait of an Ogbugulu mau masquerader wearing a 'maiden' face mask, sitting in front of a mud wall. The mask has a central crest decorated with polkadots on rim and stripes on sides, with a hair comb on each side painted with geometric shapes. The face is painted in a light pigment, with features and facial marks painted in dark. Charms hang from each side of the mask, and the masquerader has a cloth around his neck attached to the base of the mask. [PB 05/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767169.GIJ - P.767171.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171247.GIJ\n\nDescription\n\nA close up portrait of an Ogbugulu mau masquerader wearing a 'maiden' face mask, sitting in front of a mud wall. The mask has a central crest decorated with polkadots on rim and stripes on sides, with a hair comb on each side painted with geometric shapes. The face is painted in a light pigment, with features and facial marks painted in dark. Charms hang from each side of the mask, and the masquerader has a cloth around his neck attached to the base of the mask. [PB 05/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767169.GIJ - P.767171.GIJ are mounted together on card.\n\nFM:311938\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171247_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144463_P.171247.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171553.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465614", "metadata": {"title": "Untitled", "idno": "P.171553.GIJ", "description": "A documentation photograph in profile of a wooden face mask for the Owu masquerade, portraying an animal character Ekuru. The upper part of the mask is formed of two oblongs, the upper being the top of the head, the lower the nose and cheeks. They are painted with a decoration of polkadots. The lower part of the mask is formed of two thin jaws, painted with polkadots. [PB 22/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Edoha", "cultural_affliation": "Igbo [historically Ibo]; Ekpeya", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171553.GIJ to P.171555.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171553.GIJ\n\nDescription\n\nA documentation photograph in profile of a wooden face mask for the Owu masquerade, portraying an animal character Ekuru. The upper part of the mask is formed of two oblongs, the upper being the top of the head, the lower the nose and cheeks. They are painted with a decoration of polkadots. The lower part of the mask is formed of two thin jaws, painted with polkadots. [PB 22/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Edoha\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ekpeya\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171553.GIJ to P.171555.GIJ are mounted on card.\n\nFM:312273\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171553_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144800_P.171553.GIJ_001.jpg"}, {"file_name": "P_171553_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144801_P.171553.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71497.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364768", "metadata": {"title": "Untitled", "idno": "N.71497.GIJ", "description": "Boys\u2019 initiation dance in the Nri Akwa area. The male initiates are dancing around a tall pole with a decorated object on top, being held by a male elder. They are wearing layers of short pieces of cloth around their waist and around the knees are bands made of seeds? or metal? which will sound as they dance. The heads are covered with cloth kerchiefs and they are holding feathers. In the background are spectators and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 100 of the negative album now numbered C15/.\n\nContext: For a detailed discussion of initiation rites see Jones, 1962. Cole and Aniakor also discuss the importance of initiation rites. \u201cAdolescent initiation inot th serious business of manhood in Igboland is normally marked by entry into a masked organization. Several regional variations exist (Cole and Anaikor, 1984, p.112).\n\nContext: Green in her ethnographic study of the Igbo discusses the complexity of initiation rites. She writes, \u201cThe question of initiation rites is not an easy one to deal with. Those of the boys have gone underground to a considerable extent from fear of European disapproval and tend now to be held in connection with the initiation of a dibea. None were held in Umueke while I was living there, though when a dibea was initiated in the neighbouring village-group of Umunuma, we saw boys in initiation dress going to market with him in his public inception as a diviner and they had probably been passing through a period of initiation at the same time as he did his own. I obtained a number of descriptions of the normal boys\u2019 initiation rites, which used to be held every few years and through which most of the boys in the village except the quite young ones had passed. The boys of part of the next door Agbaja village also participated. The chief feature of the rites was described as being the acquiring of aggressive medicine or magic rather than the receiving of instruction. This medicine could only be used against people who had not themselves acquired it, against strangers that is to say, and more particularly against women because the latter never acquired it. The medicine was put into the boys\u2019 eyes and into cuts in the skin over a period of eight days. In so far as they were not supposed to cry it may be said that hardihood was inculcated. \u201c She continues to say that the initiation rites were important for group solidarity and a certain code of morality. (Green, 1947, pp.80-81.)\n\nBibliographical Reference: Jones, G.I. 1962, \u201cIbo Age Organization, with Special Reference to the Cross River and North-eastern Ibo.\u201d The Journal of the Royal Anthropological Institute of Great Britain and Ireland, Vol. 92, No. 2, pp.191-211.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\nGreen, M.M. 1964 (second edition) Igbo Village Affairs (Frank Cass and Co.).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]", "raw_text_dump": "IDNO\n\nN.71497.GIJ\n\nDescription\n\nBoys\u2019 initiation dance in the Nri Akwa area. The male initiates are dancing around a tall pole with a decorated object on top, being held by a male elder. They are wearing layers of short pieces of cloth around their waist and around the knees are bands made of seeds? or metal? which will sound as they dance. The heads are covered with cloth kerchiefs and they are holding feathers. In the background are spectators and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 100 of the negative album now numbered C15/.\n\nContext: For a detailed discussion of initiation rites see Jones, 1962. Cole and Aniakor also discuss the importance of initiation rites. \u201cAdolescent initiation inot th serious business of manhood in Igboland is normally marked by entry into a masked organization. Several regional variations exist (Cole and Anaikor, 1984, p.112).\n\nContext: Green in her ethnographic study of the Igbo discusses the complexity of initiation rites. She writes, \u201cThe question of initiation rites is not an easy one to deal with. Those of the boys have gone underground to a considerable extent from fear of European disapproval and tend now to be held in connection with the initiation of a dibea. None were held in Umueke while I was living there, though when a dibea was initiated in the neighbouring village-group of Umunuma, we saw boys in initiation dress going to market with him in his public inception as a diviner and they had probably been passing through a period of initiation at the same time as he did his own. I obtained a number of descriptions of the normal boys\u2019 initiation rites, which used to be held every few years and through which most of the boys in the village except the quite young ones had passed. The boys of part of the next door Agbaja village also participated. The chief feature of the rites was described as being the acquiring of aggressive medicine or magic rather than the receiving of instruction. This medicine could only be used against people who had not themselves acquired it, against strangers that is to say, and more particularly against women because the latter never acquired it. The medicine was put into the boys\u2019 eyes and into cuts in the skin over a period of eight days. In so far as they were not supposed to cry it may be said that hardihood was inculcated. \u201c She continues to say that the initiation rites were important for group solidarity and a certain code of morality. (Green, 1947, pp.80-81.)\n\nBibliographical Reference: Jones, G.I. 1962, \u201cIbo Age Organization, with Special Reference to the Cross River and North-eastern Ibo.\u201d The Journal of the Royal Anthropological Institute of Great Britain and Ireland, Vol. 92, No. 2, pp.191-211.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\nGreen, M.M. 1964 (second edition) Igbo Village Affairs (Frank Cass and Co.).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]\n\nFM:206147\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71497_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656624_N.71497.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171338.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465399", "metadata": {"title": "Untitled", "idno": "P.171338.GIJ", "description": "Oji Onu (long mouth) masquerade character in the Mau masquerade. The wooden mask consists of a long pointed projection, high carinated nose, incised striation markings painted black, white circular ears, and two pointed horns painted white. The masquerader is wearing woven light cloth trousers, tie-dyed or batik top and scarf with a raffia skirt around the waist. He is holding a circular wooden fan? or paddle? in one hand. [Description from record P.71583.GIJ, PB 02/08/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767262.GIJ is mounted on card.\n\nThe photograph is a cut out of the original image.\n\nImage used in Jones G.I. Ibo Art. 1989. Princes Risborough: Shire. Fig 25 p33. Caption: \"Mau masquerade. Nri-Awka Ibo. Mask for a character called Oji Onu (long mouth) or Ulaga, representing a foolish antelope spirit.\"", "raw_text_dump": "IDNO\n\nP.171338.GIJ\n\nDescription\n\nOji Onu (long mouth) masquerade character in the Mau masquerade. The wooden mask consists of a long pointed projection, high carinated nose, incised striation markings painted black, white circular ears, and two pointed horns painted white. The masquerader is wearing woven light cloth trousers, tie-dyed or batik top and scarf with a raffia skirt around the waist. He is holding a circular wooden fan? or paddle? in one hand. [Description from record P.71583.GIJ, PB 02/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767262.GIJ is mounted on card.\n\nThe photograph is a cut out of the original image.\n\nImage used in Jones G.I. Ibo Art. 1989. Princes Risborough: Shire. Fig 25 p33. Caption: \"Mau masquerade. Nri-Awka Ibo. Mask for a character called Oji Onu (long mouth) or Ulaga, representing a foolish antelope spirit.\"\n\nFM:312029\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171338_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144554_P.171338.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.170290.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464351", "metadata": {"title": "Untitled", "idno": "P.170290.GIJ", "description": "A carved wooden figure of a female sitting on a stool. The figure is standing on a wooden slatted floor in front of a mud wall. The face has a high hair bun, deep forehead, heavy lidded eyes, a protruding open mouth, with ridged hair braids on the temples. Each arm has ridged bracelets with hands resting on the stool. A vertical line of keloid marks runs from the neck to the navel whichb is raised. [PB 10/11/23]", "place": "W Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Etinan", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170288.GIJ - P.170277.GIJ were located in a folder, now numbered C759/7.", "raw_text_dump": "IDNO\n\nP.170290.GIJ\n\nDescription\n\nA carved wooden figure of a female sitting on a stool. The figure is standing on a wooden slatted floor in front of a mud wall. The face has a high hair bun, deep forehead, heavy lidded eyes, a protruding open mouth, with ridged hair braids on the temples. Each arm has ridged bracelets with hands resting on the stool. A vertical line of keloid marks runs from the neck to the navel whichb is raised. [PB 10/11/23]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Etinan\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170288.GIJ - P.170277.GIJ were located in a folder, now numbered C759/7.\n\nFM:310848\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170290_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1132146_P.170290.GIJ_001.png"}, {"file_name": "P_170290_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1132147_P.170290.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13332.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306604", "metadata": {"title": "Untitled", "idno": "N.13332.GIJ", "description": "A side view of a Mau helmet mask. The face of the mask is painted white with darker paint / pigments to accentuate the etched eyebrows, eyes, mouth. The eyes are small slits and the mouth is open and painted black with white teeth. On the temple is a circular etched and raised marking (resembling a keloid) and etched markings in the centre of the forehead. Around the face are dark swirled, circular designs representing hair (uli designs); there are two carved combs in the hair. On top of the arched crest are round circular carvings.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka; Amobia village", "cultural_affliation": "Nri-Awka Igbo; Northern Igbo; Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "Prior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nP.71400.GIJ to P.71498.GIJ were kept in box 5, now numbered C302/.\nP.71408.GIJ to P.71414.GIJ were found wrapped in paper, now numbered C302/2/.\n\n1938.15.4 [Pitt Rivers Museum accession number for mask depicted in photograph];\n\nPublication: A similar, coloured image of this mask is reproduced on the front cover of Jones 1989. It is described as \u201cHelmet mask. Amobia village, Nri-Awka Ibo, representing a beautiful woman with hair made up into a solid crested construction to which combs and bells have been added.\u201d Collected by Jones in 1938 and now in the Pitt Rivers Musuem.\n\nContext: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The white-faced helmut type was confined to part of the Northern Ibo area and and to some of the Northern Edo. In the majority of examples the crested area, when scene in profile formed a curve which reached from the back of the head to the top of the forehead, while the mask section was flat and set at an angle to it, either coming down vertically over the actor\u2019s face or being extended forward at an angle (Jones, 1984, p.139)\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984, p.143)\n\nContext: Cole and Aniakor provide further in-depth description about the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13332.GIJ\n\nDescription\n\nA side view of a Mau helmet mask. The face of the mask is painted white with darker paint / pigments to accentuate the etched eyebrows, eyes, mouth. The eyes are small slits and the mouth is open and painted black with white teeth. On the temple is a circular etched and raised marking (resembling a keloid) and etched markings in the centre of the forehead. Around the face are dark swirled, circular designs representing hair (uli designs); there are two carved combs in the hair. On top of the arched crest are round circular carvings.\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka; Amobia village\n\nCultural Affliation\n\nNri-Awka Igbo; Northern Igbo; Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPrior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nP.71400.GIJ to P.71498.GIJ were kept in box 5, now numbered C302/.\nP.71408.GIJ to P.71414.GIJ were found wrapped in paper, now numbered C302/2/.\n\n1938.15.4 [Pitt Rivers Museum accession number for mask depicted in photograph];\n\nPublication: A similar, coloured image of this mask is reproduced on the front cover of Jones 1989. It is described as \u201cHelmet mask. Amobia village, Nri-Awka Ibo, representing a beautiful woman with hair made up into a solid crested construction to which combs and bells have been added.\u201d Collected by Jones in 1938 and now in the Pitt Rivers Musuem.\n\nContext: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The white-faced helmut type was confined to part of the Northern Ibo area and and to some of the Northern Edo. In the majority of examples the crested area, when scene in profile formed a curve which reached from the back of the head to the top of the forehead, while the mask section was flat and set at an angle to it, either coming down vertically over the actor\u2019s face or being extended forward at an angle (Jones, 1984, p.139)\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984, p.143)\n\nContext: Cole and Aniakor provide further in-depth description about the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147982\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13332_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000595_N.13332.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169844.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463853", "metadata": {"title": "Untitled", "idno": "P.169844.GIJ", "description": "Two mud figures, one male, the other probably male, standing in front of a mud wall. Both figures have eyes, ears, mouths and fingernails highlighted with white paint. The figure in the foreground has a necklet and anklet. The figure behind has a skirt and a string over one shoulder. [PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1931", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169844.GIJ\n\nDescription\n\nTwo mud figures, one male, the other probably male, standing in front of a mud wall. Both figures have eyes, ears, mouths and fingernails highlighted with white paint. The figure in the foreground has a necklet and anklet. The figure behind has a skirt and a string over one shoulder. [PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1931\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310331\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169844_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127773_P.169844.GIJ_001.png"}, {"file_name": "P_169844_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127774_P.169844.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171603.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465664", "metadata": {"title": "Untitled", "idno": "P.171603.GIJ", "description": "A documentation photograph of a carved wooden ancestral figure, wearing a waist wrapper. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171601.GIJ to P.171603.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171603.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden ancestral figure, wearing a waist wrapper. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171601.GIJ to P.171603.GIJ are mounted on card.\n\nFM:312323\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171603_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144901_P.171603.GIJ_001.jpg"}, {"file_name": "P_171603_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144902_P.171603.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13241.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306513", "metadata": {"title": "Untitled", "idno": "N.13241.GIJ", "description": "Ogbulu Mau (Money Finish) masquerade depicting two masquerade performers, a drummer and supporters. The central character is completely covered and is wearing a maiden spirit mask with an elaborately carved helmet-like superstructure decorated with cloth and tassels, and brightly coloured harlequin costume covering the whole body. There are additional cloths tied around the shoulders and waist and ankle rattles, probably made of seeds?, and waving a fly whisk. Behind the central character is another performer wearing a helmet-shaped maiden spirit mask dressed in a harlequin or appliqu\u00e9d costume. In the left of the photograph is a drummer wearing a cloth, and a group of males clapping and praising the masquerader. In the background are trees, huts and three small children.", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isu Ochii", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nRelated Image: Close up view of mask is found in P. 71533.GIJ.\n\nThe character is called \u2018Egu Agu\u2019 (\u2018Money Finish\u2019). See Inscription Field for N.13250.GIJ.\nP.71504.GIJ to P.71662.GIJ were kept in box 4, now numbered C301/.\nP.71531.GIJ to P.71546.GIJ were found wrapped in paper, now numbered C301/2/.\n\nPublications: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984, p.56).\n\nBibliographical Reference: In reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984, p 143)\n\nBibliographical Reference: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nBibliographical Reference: Aniakor and Cole discuss the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nMAA Exhibition: This image is included in the G.I. Jones' slide show in the Nigerian case, Maudslay Gallery, with the following caption:\n\"A Fame of Maidens dancer in the Ogbulu Mau (Money Finish) masquerade.\nThe male performer embodied the \u2018feminine ideal\u2019, with elaborately dressed hair in a crested style, a light complexion, pointed breasts, slim waist, and a tight fitting, brilliantly coloured appliqu\u00e9 costume.\u201d [JD 5/8/2014]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 17/10/2007]", "raw_text_dump": "IDNO\n\nN.13241.GIJ\n\nDescription\n\nOgbulu Mau (Money Finish) masquerade depicting two masquerade performers, a drummer and supporters. The central character is completely covered and is wearing a maiden spirit mask with an elaborately carved helmet-like superstructure decorated with cloth and tassels, and brightly coloured harlequin costume covering the whole body. There are additional cloths tied around the shoulders and waist and ankle rattles, probably made of seeds?, and waving a fly whisk. Behind the central character is another performer wearing a helmet-shaped maiden spirit mask dressed in a harlequin or appliqu\u00e9d costume. In the left of the photograph is a drummer wearing a cloth, and a group of males clapping and praising the masquerader. In the background are trees, huts and three small children.\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isu Ochii\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nRelated Image: Close up view of mask is found in P. 71533.GIJ.\n\nThe character is called \u2018Egu Agu\u2019 (\u2018Money Finish\u2019). See Inscription Field for N.13250.GIJ.\nP.71504.GIJ to P.71662.GIJ were kept in box 4, now numbered C301/.\nP.71531.GIJ to P.71546.GIJ were found wrapped in paper, now numbered C301/2/.\n\nPublications: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984, p.56).\n\nBibliographical Reference: In reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984, p 143)\n\nBibliographical Reference: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nBibliographical Reference: Aniakor and Cole discuss the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nMAA Exhibition: This image is included in the G.I. Jones' slide show in the Nigerian case, Maudslay Gallery, with the following caption:\n\"A Fame of Maidens dancer in the Ogbulu Mau (Money Finish) masquerade.\nThe male performer embodied the \u2018feminine ideal\u2019, with elaborately dressed hair in a crested style, a light complexion, pointed breasts, slim waist, and a tight fitting, brilliantly coloured appliqu\u00e9 costume.\u201d [JD 5/8/2014]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 17/10/2007]\n\nFM:147891\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13241_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000504_N.13241.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "T.170064.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464101", "metadata": {"title": "Untitled", "idno": "T.170064.GIJ", "description": "Obugulu mau masquerade depicting four masqueraders, 'daughters', sitting down. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appliqued costumes with pointed breasts; their hands and feet are covered with cloth. [Description from record N.71526.GIJ, PB 14/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Ibo [historically Igbo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170064.GIJ\n\nDescription\n\nObugulu mau masquerade depicting four masqueraders, 'daughters', sitting down. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appliqued costumes with pointed breasts; their hands and feet are covered with cloth. [Description from record N.71526.GIJ, PB 14/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310592\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170064_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128202_T.170064.GIJ_001.png"}, {"file_name": "T_170064_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128203_T.170064.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169654.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463647", "metadata": {"title": "Untitled", "idno": "P.169654.GIJ", "description": "A shrine of Alose (tutelary deity). The shrine consists of a wooden structure with a thatched roof. The Alose sculpture is inside the shrine. He is wearing a striped hat and his face is painted white and dark pigments accentuating the eyes, nose, mouth and teeth. In front of the shrine are rocks and wooden objects (clubs?). In the background are trees. [Description from record N.13263.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Abaja", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169654.GIJ\n\nDescription\n\nA shrine of Alose (tutelary deity). The shrine consists of a wooden structure with a thatched roof. The Alose sculpture is inside the shrine. He is wearing a striped hat and his face is painted white and dark pigments accentuating the eyes, nose, mouth and teeth. In front of the shrine are rocks and wooden objects (clubs?). In the background are trees. [Description from record N.13263.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abaja\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nFM:310141\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169654_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127408_P.169654.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.71586.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364857", "metadata": {"title": "Untitled", "idno": "N.71586.GIJ", "description": "A frontal view of Oji Onu (long mouth) masquerade character. The wooden mask consists of a long pointed projection with an open mouth, high carinated nose, incised striation markings painted black, white circular ears, and two pointed horns painted white. The masquerader is wearing woven light cloth trousers, tie-dyed or batik top and scarf with a raffia skirt around the waist. He is holding a circular wooden fan? or paddle? in one hand. In the background are spectators and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 29 of the negative album now numbered C15/.\n\nPublication: Similar photograph of Oji Onu (Long Mouth) is found in Jones, 1984, p.142, Plate 48; and in Jones, 1989, p.33, Plate 25. The caption reads, \u201c Mau masquerade, Nri-Awka Ibo. Mask for character called Oji Onu (long mouth) or Ulaga, repesenting a foolish antelope spirit.\n\nContext: Jones describes the head mask for the character called Ulaga or Oji Onu (Long Mouth) among the Northern Ibo. It belonged to the benign or comic animal category. The front part of his head mask projected forward as a muzzle or pair of jaws, the middle section carried a high human forehead and a high-carinated nose, occasionally flanked by bulbous eyes; the rear part was finished off with horns or animal ears or more abstract projections. Whatever its origin, whether in the Lower Niger or Delta area, this type of mask seems to have ranged from the Central Delta to the confluence of the Niger and the Benue River and as far up the latter as the Jukun and Chamba territory.\n\nContext: Jones discusses this type of mask as a \u201ctrue mask\u201d defined as \u201cRepresentations of a human or animal face, worn either vertically over the actor\u2019s face, when it can be called a face mask, or, if representing a water spirit, antelope or goat, horizonatally on top of the actor\u2019s head, when it can be called a head mask (Jones, 1989, p. 31).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Meek, C. 1931. A Sudanese Kingdom, (London); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71586.GIJ\n\nDescription\n\nA frontal view of Oji Onu (long mouth) masquerade character. The wooden mask consists of a long pointed projection with an open mouth, high carinated nose, incised striation markings painted black, white circular ears, and two pointed horns painted white. The masquerader is wearing woven light cloth trousers, tie-dyed or batik top and scarf with a raffia skirt around the waist. He is holding a circular wooden fan? or paddle? in one hand. In the background are spectators and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 29 of the negative album now numbered C15/.\n\nPublication: Similar photograph of Oji Onu (Long Mouth) is found in Jones, 1984, p.142, Plate 48; and in Jones, 1989, p.33, Plate 25. The caption reads, \u201c Mau masquerade, Nri-Awka Ibo. Mask for character called Oji Onu (long mouth) or Ulaga, repesenting a foolish antelope spirit.\n\nContext: Jones describes the head mask for the character called Ulaga or Oji Onu (Long Mouth) among the Northern Ibo. It belonged to the benign or comic animal category. The front part of his head mask projected forward as a muzzle or pair of jaws, the middle section carried a high human forehead and a high-carinated nose, occasionally flanked by bulbous eyes; the rear part was finished off with horns or animal ears or more abstract projections. Whatever its origin, whether in the Lower Niger or Delta area, this type of mask seems to have ranged from the Central Delta to the confluence of the Niger and the Benue River and as far up the latter as the Jukun and Chamba territory.\n\nContext: Jones discusses this type of mask as a \u201ctrue mask\u201d defined as \u201cRepresentations of a human or animal face, worn either vertically over the actor\u2019s face, when it can be called a face mask, or, if representing a water spirit, antelope or goat, horizonatally on top of the actor\u2019s head, when it can be called a head mask (Jones, 1989, p. 31).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Meek, C. 1931. A Sudanese Kingdom, (London); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206236\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71586_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656690_N.71586.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71600.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364871", "metadata": {"title": "Untitled", "idno": "N.71600.GIJ", "description": "A close up view of a masquerade character called Ogaranya or (Big Man). The masquerader is seated. He is wearing a white face mask painted with black markings. The eyes, nose, and lips are bordered in black and there is a large rectangular area on the forehead that is incised with geometric striations and painted black, a around his neck is a beaded necklace. Carved on the top of the mask is a white sun helmet with a black border and a feather tucked in. The costume is made of a loose woven tunic dyed in batik tunic, baggy woven trousers and additional plaid cloth. In the background are spectators.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 42 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Ogaranya (a powerfull man) Nimo (25th image).\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) (Jones, 1984).\n\nContext: The wide variety of masks in the Nri Akwa area is discussed further. Antelopes, goats, and similar animal spirits were given head masks and those with long muzzles were called Oji Onu (long mouth) or Ulaga. Some animals (for example, Tortoise) were carved as a complete figure which was worn on the actor\u2019s head. There was a range of masks in various shapes, sizes, styles and materials representing comic, stupid, and other human and animal types. There was also faceless characters where the actor\u2019s own face was concealed under a cloth or raffia hood. Some of these were said to be very old and senior, other were abstractions like the spirit called Government or three raffia-covered characters who sang together in thirds and were called Onukamma (the tongue is stronger than the sword). Some of the masks used in Nri-Akwa masquerades were borrowed from elsewhere, mainly from the Ibibio. (Jones, 1989, pp.46-47.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71600.GIJ\n\nDescription\n\nA close up view of a masquerade character called Ogaranya or (Big Man). The masquerader is seated. He is wearing a white face mask painted with black markings. The eyes, nose, and lips are bordered in black and there is a large rectangular area on the forehead that is incised with geometric striations and painted black, a around his neck is a beaded necklace. Carved on the top of the mask is a white sun helmet with a black border and a feather tucked in. The costume is made of a loose woven tunic dyed in batik tunic, baggy woven trousers and additional plaid cloth. In the background are spectators.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 42 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Ogaranya (a powerfull man) Nimo (25th image).\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) (Jones, 1984).\n\nContext: The wide variety of masks in the Nri Akwa area is discussed further. Antelopes, goats, and similar animal spirits were given head masks and those with long muzzles were called Oji Onu (long mouth) or Ulaga. Some animals (for example, Tortoise) were carved as a complete figure which was worn on the actor\u2019s head. There was a range of masks in various shapes, sizes, styles and materials representing comic, stupid, and other human and animal types. There was also faceless characters where the actor\u2019s own face was concealed under a cloth or raffia hood. Some of these were said to be very old and senior, other were abstractions like the spirit called Government or three raffia-covered characters who sang together in thirds and were called Onukamma (the tongue is stronger than the sword). Some of the masks used in Nri-Akwa masquerades were borrowed from elsewhere, mainly from the Ibibio. (Jones, 1989, pp.46-47.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206250\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71600_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656699_N.71600.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169733.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463742", "metadata": {"title": "Untitled", "idno": "P.169733.GIJ", "description": "A half-length portrait of a man in front of a wall [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169733.GIJ\n\nDescription\n\nA half-length portrait of a man in front of a wall [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310220\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169733_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127560_P.169733.GIJ_001.png"}, {"file_name": "P_169733_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127561_P.169733.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71835.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365106", "metadata": {"title": "Untitled", "idno": "N.71835.GIJ", "description": "A close up view of a carved wooden canoe with figures. The sculpture consists of a long cylindrical hollowed base and six figures. The figures from left to right: the first figure appears to be carrying a pot on her head, the second figure is holding a paddle, the next two figures are seated and are wearing hats; the fourth is holding a bottle in one hand and a glass in the other, the fifth figure is holding a stick (like a scythe or hockey stick) with a curved bottom ; the sixth figure is holding a stick in one hand and musical instrument in the other. The figures are stylised with elongated necks, rounded shoulders and elongated torsos. The sculpture is leaning against a cracked mud wall. [Alicia Fentiman 18/12/2007]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 86 of the negative album now numbered C21/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Igbo\n3. Canoe with figures Abiriba. (4th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abiriba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). (Jones, 1988, pp.61-62)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nN.71835.GIJ\n\nDescription\n\nA close up view of a carved wooden canoe with figures. The sculpture consists of a long cylindrical hollowed base and six figures. The figures from left to right: the first figure appears to be carrying a pot on her head, the second figure is holding a paddle, the next two figures are seated and are wearing hats; the fourth is holding a bottle in one hand and a glass in the other, the fifth figure is holding a stick (like a scythe or hockey stick) with a curved bottom ; the sixth figure is holding a stick in one hand and musical instrument in the other. The figures are stylised with elongated necks, rounded shoulders and elongated torsos. The sculpture is leaning against a cracked mud wall. [Alicia Fentiman 18/12/2007]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 86 of the negative album now numbered C21/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Igbo\n3. Canoe with figures Abiriba. (4th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abiriba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). (Jones, 1988, pp.61-62)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nFM:206485\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71835_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656927_N.71835.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169778.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463787", "metadata": {"title": "Untitled", "idno": "P.169778.GIJ", "description": "Grassland with buildings in the background. People are standing in the middle distance. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169771.GIJ - P.169779.GIJ were located in an brown envelope now numbered C754/6/.", "raw_text_dump": "IDNO\n\nP.169778.GIJ\n\nDescription\n\nGrassland with buildings in the background. People are standing in the middle distance. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169771.GIJ - P.169779.GIJ were located in an brown envelope now numbered C754/6/.\n\nFM:310265\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169778_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127650_P.169778.GIJ_001.png"}, {"file_name": "P_169778_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127651_P.169778.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171117.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465178", "metadata": {"title": "Untitled", "idno": "P.171117.GIJ", "description": "A documentation image of an Idoma face mask. The face is painted white with the characteristic Idoma markings consisting of three rows of vertical markings representing keloids painted black located in the centre of the forehead and on each temple. There are also circular designs on the forehead. The eyes consist of narrow slits with defined black eyebrows, wide nose and mouth painted black with white teeth. The ears are painted black and the top of the head symbolising the hair is black. The mask is resting on a black circular base. The mask is hanging on a wall with a piece of twine threaded through two holes of the mask.[Description from record P.71486.GIJ, PB 18/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Northern Ibo area; Benue State; Otobi", "cultural_affliation": "Idoma", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767041.GIJ is mounted on card.\n\nImage used in Jones G.I. The art of Eastern Nigeria. 1984. Cambridge: CUP. Fig 52 p145. Caption: \"White-faced mask: probably from Otiobi village (P.R.M.). Idoma\"\n\nThe mask is in the Pitt Rivers Museum collection;. 1932.33.6. Description: \"Carved and painted wooden mask. The face is painted white with raised black marks on forehead and cheeks (possibly indicating scarification?). The mouth is slightly open showing small unpainted wooden pegs for teeth between black lips. The eyes are open slits, painted white but lined inside with black paint. The part of the mask indicating hair is uncarved but painted dark brown / black. Below the chin are two ?breasts painted dark brown/black.\"", "raw_text_dump": "IDNO\n\nP.171117.GIJ\n\nDescription\n\nA documentation image of an Idoma face mask. The face is painted white with the characteristic Idoma markings consisting of three rows of vertical markings representing keloids painted black located in the centre of the forehead and on each temple. There are also circular designs on the forehead. The eyes consist of narrow slits with defined black eyebrows, wide nose and mouth painted black with white teeth. The ears are painted black and the top of the head symbolising the hair is black. The mask is resting on a black circular base. The mask is hanging on a wall with a piece of twine threaded through two holes of the mask.[Description from record P.71486.GIJ, PB 18/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Northern Ibo area; Benue State; Otobi\n\nCultural Affliation\n\nIdoma\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767041.GIJ is mounted on card.\n\nImage used in Jones G.I. The art of Eastern Nigeria. 1984. Cambridge: CUP. Fig 52 p145. Caption: \"White-faced mask: probably from Otiobi village (P.R.M.). Idoma\"\n\nThe mask is in the Pitt Rivers Museum collection;. 1932.33.6. Description: \"Carved and painted wooden mask. The face is painted white with raised black marks on forehead and cheeks (possibly indicating scarification?). The mouth is slightly open showing small unpainted wooden pegs for teeth between black lips. The eyes are open slits, painted white but lined inside with black paint. The part of the mask indicating hair is uncarved but painted dark brown / black. Below the chin are two ?breasts painted dark brown/black.\"\n\nFM:311808\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171117_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144333_P.171117.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71572.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364843", "metadata": {"title": "Untitled", "idno": "N.71572.GIJ", "description": "Onu Kamma (Mouth stronger than sword) masquerade showing a close up view of one masquerader wearing a large conical shaped faceless mask made of layers of fibre, with a cloth panel in the front, and a round shaped object on the top. The masquerader is wearing a tie-dyed/batik? top. Behind the masqueraders is an attendant and further away is a large audience of bystanders in the background.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 38 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Onu Kamma masker (mouth stronger than sword) Nimo (22nd image).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 24/10/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71572.GIJ\n\nDescription\n\nOnu Kamma (Mouth stronger than sword) masquerade showing a close up view of one masquerader wearing a large conical shaped faceless mask made of layers of fibre, with a cloth panel in the front, and a round shaped object on the top. The masquerader is wearing a tie-dyed/batik? top. Behind the masqueraders is an attendant and further away is a large audience of bystanders in the background.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 38 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Onu Kamma masker (mouth stronger than sword) Nimo (22nd image).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 24/10/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206222\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71572_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656677_N.71572.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171274.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465335", "metadata": {"title": "Untitled", "idno": "P.171274.GIJ", "description": "A documentation photograph of the rear of a wooden ikenga figure. The figure is sitting on a stool. The figure's head has six inward curving curled horns. [PB 16/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767196.GIJ - P.767198.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171274.GIJ\n\nDescription\n\nA documentation photograph of the rear of a wooden ikenga figure. The figure is sitting on a stool. The figure's head has six inward curving curled horns. [PB 16/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767196.GIJ - P.767198.GIJ are mounted together on card.\n\nFM:311965\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171274_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144490_P.171274.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171302.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465363", "metadata": {"title": "Untitled", "idno": "P.171302.GIJ", "description": "A close up portrait in profile of Onye Ocha or Oybio (white man) masquerade character. The mask consists of a white face with black arched brows, slits for eyes, long nose and mouth with a black moustache. On the top is a white sun helmet with a black brim. The costume consists of a white drill jacket and trousers; the character is posed with one hand on his hip and the other is holding a walking stick. On his feet are white shoes/slippers and his hands are covered in white mittens/gloves. In the background are spectators and trees. [Description from record T.170059.GIJ, PB 30/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767225.GIJ and P.767226.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171302.GIJ\n\nDescription\n\nA close up portrait in profile of Onye Ocha or Oybio (white man) masquerade character. The mask consists of a white face with black arched brows, slits for eyes, long nose and mouth with a black moustache. On the top is a white sun helmet with a black brim. The costume consists of a white drill jacket and trousers; the character is posed with one hand on his hip and the other is holding a walking stick. On his feet are white shoes/slippers and his hands are covered in white mittens/gloves. In the background are spectators and trees. [Description from record T.170059.GIJ, PB 30/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767225.GIJ and P.767226.GIJ are mounted together on card.\n\nFM:311993\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171302_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144518_P.171302.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171592.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465653", "metadata": {"title": "Untitled", "idno": "P.171592.GIJ", "description": "A documentation photograph of three diviner\u2019s Agu Nsi, carved wooden figures, with male and female heads and long necks. The figures are standing in front of a mud wall. The figures have the remains of cloth wrappers around their waists. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Nguru", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171591.GIJ and P.171592.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171592.GIJ\n\nDescription\n\nA documentation photograph of three diviner\u2019s Agu Nsi, carved wooden figures, with male and female heads and long necks. The figures are standing in front of a mud wall. The figures have the remains of cloth wrappers around their waists. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Nguru\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171591.GIJ and P.171592.GIJ are mounted on card.\n\nFM:312312\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171592_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144879_P.171592.GIJ_001.jpg"}, {"file_name": "P_171592_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144880_P.171592.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.170101.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464162", "metadata": {"title": "Untitled", "idno": "T.170101.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two figures; the one on the left is wearing a printed tunic and holding an umbrella in his hand; the figure on the right is a policeman and is holding a rifle. A geometric border is underneath the two figures and at the right side is a swirled snake-like design on the wall. [Description from record N.13213.GIJ, PB 22/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170101.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two figures; the one on the left is wearing a printed tunic and holding an umbrella in his hand; the figure on the right is a policeman and is holding a rifle. A geometric border is underneath the two figures and at the right side is a swirled snake-like design on the wall. [Description from record N.13213.GIJ, PB 22/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310629\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170101_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128325_T.170101.GIJ_001.png"}, {"file_name": "T_170101_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128512_T.170101.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71631.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364902", "metadata": {"title": "Untitled", "idno": "N.71631.GIJ", "description": "A close up view of Omuko (very old elder) sitting with an attendant standing behind him. The masked character is wearing a white cloth covering the entire body and face. Attached to the cloth is a wooden face mask with slit eyes and mouth, painted dark with white paint accentuating the eyes, nose, and ears, attached to the chin is a black beard. On top of the head is a white sun helmet. A dark shawl is draped around the shoulders, and in front of him is a long staff. In the background are spectators, trees and vegetation.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 20 of the negative album now numbered C15/.\n\nContext: Jones provides a detailed description of the various characters in this masquerade in Amobia Village which he had observed and photographed in the field, \u201cA performance in the Northern Ibo village of Amobia was opened by a hooded character called \u201cGovernment\u201d. He had no face and was crowned with a Homburg hat; an elephant tusk horn, symbol of authority, was laid on the ground in front of him and he read in ghostly gibberish from an important-looking document. He and his acolyte withdrew and were succeeded by a parade of ghostly policemen and court messengers wearing imitations of police and messenger uniforms and with cloth masks over their faces and head. They performed a spirited guard drill before being posted by their commander to their stations to control the crowd. Their followed a supercilious white-faced sun-helmeted figure in white drill jacket and trousers called Oyibo (White Man), who inspected the audience and then took his seat amongst the places reserved for the distinguished visitors who had come to watch the play. After him came a succession of characters, some white-faced, representing female spirits, some black or multi-coloured fierce and masculine creatures with masks that combined animal and human features; others again, mainly harmless or comic or benign, representing antelopes, or other animal spirits or characters drawn from village life. Each had his or her special role to play and having acted it withdrew to the secret enclosure or sat on seats at the ringside waiting to repeat his performance. \u201c Jones also writes that this masquerade was \u201c a large concerted display which included characters contributed by all the local societies.\u201d (Jones, 1984, pp.59-60.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71631.GIJ\n\nDescription\n\nA close up view of Omuko (very old elder) sitting with an attendant standing behind him. The masked character is wearing a white cloth covering the entire body and face. Attached to the cloth is a wooden face mask with slit eyes and mouth, painted dark with white paint accentuating the eyes, nose, and ears, attached to the chin is a black beard. On top of the head is a white sun helmet. A dark shawl is draped around the shoulders, and in front of him is a long staff. In the background are spectators, trees and vegetation.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 20 of the negative album now numbered C15/.\n\nContext: Jones provides a detailed description of the various characters in this masquerade in Amobia Village which he had observed and photographed in the field, \u201cA performance in the Northern Ibo village of Amobia was opened by a hooded character called \u201cGovernment\u201d. He had no face and was crowned with a Homburg hat; an elephant tusk horn, symbol of authority, was laid on the ground in front of him and he read in ghostly gibberish from an important-looking document. He and his acolyte withdrew and were succeeded by a parade of ghostly policemen and court messengers wearing imitations of police and messenger uniforms and with cloth masks over their faces and head. They performed a spirited guard drill before being posted by their commander to their stations to control the crowd. Their followed a supercilious white-faced sun-helmeted figure in white drill jacket and trousers called Oyibo (White Man), who inspected the audience and then took his seat amongst the places reserved for the distinguished visitors who had come to watch the play. After him came a succession of characters, some white-faced, representing female spirits, some black or multi-coloured fierce and masculine creatures with masks that combined animal and human features; others again, mainly harmless or comic or benign, representing antelopes, or other animal spirits or characters drawn from village life. Each had his or her special role to play and having acted it withdrew to the secret enclosure or sat on seats at the ringside waiting to repeat his performance. \u201c Jones also writes that this masquerade was \u201c a large concerted display which included characters contributed by all the local societies.\u201d (Jones, 1984, pp.59-60.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206281\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71631_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656741_N.71631.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171137.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465198", "metadata": {"title": "Untitled", "idno": "P.171137.GIJ", "description": "A side view of an Ogbugulu Mau helmet mask. The face of the mask is painted white with darker paint / pigments to accentuate the etched eyebrows, eyes, mouth. The eyes are small slits and the mouth is open and painted black. On the temple are three circular etched and raised markings (resembling a keloid) and etched markings in the centre of the forehead. Around the face are dark swirled, circular designs representing hair (uli designs).There is one carved comb in the hair, consisting of a number of layered arched crests painted with geometric and other patterns. [PB 20/06/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767061.GIJ is mounted on card.\n\nImage used in Jones G.I. The art of Eastern Nigeria. 1984. Cambridge: CUP. Fig 46 p140. Caption: \"Helmet mask: Thomas collection (C.M.). Nri/Awka Ibo\"\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171137.GIJ\n\nDescription\n\nA side view of an Ogbugulu Mau helmet mask. The face of the mask is painted white with darker paint / pigments to accentuate the etched eyebrows, eyes, mouth. The eyes are small slits and the mouth is open and painted black. On the temple are three circular etched and raised markings (resembling a keloid) and etched markings in the centre of the forehead. Around the face are dark swirled, circular designs representing hair (uli designs).There is one carved comb in the hair, consisting of a number of layered arched crests painted with geometric and other patterns. [PB 20/06/24]\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767061.GIJ is mounted on card.\n\nImage used in Jones G.I. The art of Eastern Nigeria. 1984. Cambridge: CUP. Fig 46 p140. Caption: \"Helmet mask: Thomas collection (C.M.). Nri/Awka Ibo\"\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311828\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171137_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144353_P.171137.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171619.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465680", "metadata": {"title": "Untitled", "idno": "P.171619.GIJ", "description": "A documentation photograph of a carved wooden face mask. The mask has a face painted in light pigment with heavy eyebrows and a bear painted with in a dark pigment. The eyeholes are almond shaped and close to the carinated nose. The mouth is wide open with marked teeth. The ears are large and curved and stick out from the sides of the face at right angles. On top of the mask is a superstructure of a woman's head, with open mouth and wide eyes. The hair is is bunches. On top of her head there is a carved animal (possibly a goat?). [PB 05/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171619.GIJ and P.171620.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171619.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden face mask. The mask has a face painted in light pigment with heavy eyebrows and a bear painted with in a dark pigment. The eyeholes are almond shaped and close to the carinated nose. The mouth is wide open with marked teeth. The ears are large and curved and stick out from the sides of the face at right angles. On top of the mask is a superstructure of a woman's head, with open mouth and wide eyes. The hair is is bunches. On top of her head there is a carved animal (possibly a goat?). [PB 05/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171619.GIJ and P.171620.GIJ are mounted on card.\n\nFM:312339\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171619_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144933_P.171619.GIJ_001.jpg"}, {"file_name": "P_171619_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144934_P.171619.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169886.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463905", "metadata": {"title": "Untitled", "idno": "P.169886.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts a figure (policeman?) holding a stick in one hand. The clothing consists of white trousers, shirt and a hat. Geometric designs are on the side and a quartrofoil motif. [Description from record N.13208.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River Area; Umuajatta village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169886.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts a figure (policeman?) holding a stick in one hand. The clothing consists of white trousers, shirt and a hat. Geometric designs are on the side and a quartrofoil motif. [Description from record N.13208.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River Area; Umuajatta village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310373\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169886_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127854_P.169886.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.71963.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365234", "metadata": {"title": "Untitled", "idno": "N.71963.GIJ", "description": "A Ngbagba Ikoro masquerade with the masquerade character called Otiri the principle dancer in the play. Otiri wears a mask on top of his head and stuck full of long feathers, his face is shrouded in a raffia bag, and he wears a shirt of raffia sacking and a grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). He is holding large white plumes in hand and seed anklets. In the background is a crowd of spectator and a thatched pitched roof building.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 34 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Otiri Ngbagba Ikoro, Abiriba. (3rd image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71963.GIJ\n\nDescription\n\nA Ngbagba Ikoro masquerade with the masquerade character called Otiri the principle dancer in the play. Otiri wears a mask on top of his head and stuck full of long feathers, his face is shrouded in a raffia bag, and he wears a shirt of raffia sacking and a grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). He is holding large white plumes in hand and seed anklets. In the background is a crowd of spectator and a thatched pitched roof building.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 34 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Otiri Ngbagba Ikoro, Abiriba. (3rd image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206613\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71963_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657066_N.71963.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171152.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465213", "metadata": {"title": "Untitled", "idno": "P.171152.GIJ", "description": "Agu Neche Engi (leopard waits for elephant) in the Mgbedike masquerade in which the masquerader is dressed in a bulky fibrous quill studded costume with a large, wooden mask standing in front of a barrier? / fence? The mask is comprised of large, curved horns and in between the horns is a carved figure also adorned with horns. The \u2018face\u2019 of the mask shows bulging eyes encircled in white? paint, long triangular nose, and oversized mouth with large teeth. In the background are bystanders, huts, and trees. [Description from record P.71563.GIJ, PB 21/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767075.GIJ - P.767077.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171152.GIJ\n\nDescription\n\nAgu Neche Engi (leopard waits for elephant) in the Mgbedike masquerade in which the masquerader is dressed in a bulky fibrous quill studded costume with a large, wooden mask standing in front of a barrier? / fence? The mask is comprised of large, curved horns and in between the horns is a carved figure also adorned with horns. The \u2018face\u2019 of the mask shows bulging eyes encircled in white? paint, long triangular nose, and oversized mouth with large teeth. In the background are bystanders, huts, and trees. [Description from record P.71563.GIJ, PB 21/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767075.GIJ - P.767077.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311843\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171152_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144368_P.171152.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171225.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465286", "metadata": {"title": "Untitled", "idno": "P.171225.GIJ", "description": "A wooden Ikenga figure seated on a round circular stool. The figure is holding a cutlass in one hand wrapped in twine, and a white staff in the other. The head of the carved figure depicts a white painted face with carved facial features accentuated by black paint, around the face are two curved horns and on top of the head are two larger curved horns and a few pieces of twine attached to them. The neck of the figure is thick and the figure is carved with a wooden neck ring, a waist cloth, and there are two carved white leg rings. Leaning against the figure is a calabash.[Description from record N.71655.GIJ, PB 04/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Ikenga Nri-Awka Igbo (1st image).", "raw_text_dump": "IDNO\n\nP.171225.GIJ\n\nDescription\n\nA wooden Ikenga figure seated on a round circular stool. The figure is holding a cutlass in one hand wrapped in twine, and a white staff in the other. The head of the carved figure depicts a white painted face with carved facial features accentuated by black paint, around the face are two curved horns and on top of the head are two larger curved horns and a few pieces of twine attached to them. The neck of the figure is thick and the figure is carved with a wooden neck ring, a waist cloth, and there are two carved white leg rings. Leaning against the figure is a calabash.[Description from record N.71655.GIJ, PB 04/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Ikenga Nri-Awka Igbo (1st image).\n\nFM:311916\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171225_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144441_P.171225.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71762.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365033", "metadata": {"title": "Untitled", "idno": "N.71762.GIJ", "description": "A beautiful female mask. The wooden face mask is carved delicately and consists of two slit eyes, long nose, mouth, etched markings on either side of the temples and squarish ears. The centre of the forehead is incised with a diamond shaped marking with striations, and emanating from the forehead is a long hairstyle or coiffure with incised horizontal striations, the top of the mask is plain and rounded. The holes for attaching the mask are visible in the photograph.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Item", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 71 of the negative album now numbered C17/.\n\nPublication: Same image published in Jones (1984), p. 207, Figure 110 with the caption \u201cbeautiful mask\u201d.\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]", "raw_text_dump": "IDNO\n\nN.71762.GIJ\n\nDescription\n\nA beautiful female mask. The wooden face mask is carved delicately and consists of two slit eyes, long nose, mouth, etched markings on either side of the temples and squarish ears. The centre of the forehead is incised with a diamond shaped marking with striations, and emanating from the forehead is a long hairstyle or coiffure with incised horizontal striations, the top of the mask is plain and rounded. The holes for attaching the mask are visible in the photograph.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nItem\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 71 of the negative album now numbered C17/.\n\nPublication: Same image published in Jones (1984), p. 207, Figure 110 with the caption \u201cbeautiful mask\u201d.\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nFM:206412\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71762_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656871_N.71762.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171294.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465355", "metadata": {"title": "Untitled", "idno": "P.171294.GIJ", "description": "A half-length portrait of a mother and her child. The mother has her moulded into a central hair crest, decorated with silver pins. She has small hooped earrings, a cord necklace and a waist wrapper. Her infant is nestling in her left arm against her hip. The infant has its left hand to its mouth. It has a bracelet around its wrist. [PB 30/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767218.GIJ is mounted on card.", "raw_text_dump": "IDNO\n\nP.171294.GIJ\n\nDescription\n\nA half-length portrait of a mother and her child. The mother has her moulded into a central hair crest, decorated with silver pins. She has small hooped earrings, a cord necklace and a waist wrapper. Her infant is nestling in her left arm against her hip. The infant has its left hand to its mouth. It has a bracelet around its wrist. [PB 30/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767218.GIJ is mounted on card.\n\nFM:311985\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171294_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144510_P.171294.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.170125.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464186", "metadata": {"title": "Untitled", "idno": "T.170125.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two Ekpe (Egbo) figures in their masquerade costumes bending at the waist and with two curved designs on the top of their heads and a tail. Underneath the paintings is a border of geometric designs. [Description from record N.13209.GIJ , PB 29/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170125.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two Ekpe (Egbo) figures in their masquerade costumes bending at the waist and with two curved designs on the top of their heads and a tail. Underneath the paintings is a border of geometric designs. [Description from record N.13209.GIJ , PB 29/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310653\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170125_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128373_T.170125.GIJ_001.png"}, {"file_name": "T_170125_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128374_T.170125.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13231.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306503", "metadata": {"title": "Untitled", "idno": "N.13231.GIJ", "description": "An object documentation photograph of a carved and painted wooden oval mask representing a human face with ears, eyebrows, a dark mark between the eyebrows, eyes, nose, open mouth with teeth. A small face is carved on the crown of the head.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ogoni", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1937 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nThe mask in this photograph was donated to the Pitt Rivers Museum by G. I. Jones in 1938, (Pitt Rivers Museum accession number 1938.15.32). It was collected by Jones in 1937.\n\nSee Jones.G.I. 1984: 189 for description of Ogoni masks representing human faces.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]", "raw_text_dump": "IDNO\n\nN.13231.GIJ\n\nDescription\n\nAn object documentation photograph of a carved and painted wooden oval mask representing a human face with ears, eyebrows, a dark mark between the eyebrows, eyes, nose, open mouth with teeth. A small face is carved on the crown of the head.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nOgoni\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1937 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nThe mask in this photograph was donated to the Pitt Rivers Museum by G. I. Jones in 1938, (Pitt Rivers Museum accession number 1938.15.32). It was collected by Jones in 1937.\n\nSee Jones.G.I. 1984: 189 for description of Ogoni masks representing human faces.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]\n\nFM:147881\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13231_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000494_N.13231.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171561.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465622", "metadata": {"title": "Untitled", "idno": "P.171561.GIJ", "description": "A documentation photograph of a face mask with a movable jaw The mask is carved in dark wood. The features are sharply defined, with a hairline ridge rising to a central peak, a central hair crest peg at the top of the mask, and a pool-shaped peg at each side. The rim of the mask has holes for attaching cords. Beneath the hairline peak there is a stud on the forehead from which two parallel rows of square shapes studs lead to the eyebrows. The eye holes are almond-shaped. The nose is narrow and carinated. [PB 23/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Ubeta village", "cultural_affliation": "Igbo [historically Ibo]; Ekpeya", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171561.GIJ is mounted on card.", "raw_text_dump": "IDNO\n\nP.171561.GIJ\n\nDescription\n\nA documentation photograph of a face mask with a movable jaw The mask is carved in dark wood. The features are sharply defined, with a hairline ridge rising to a central peak, a central hair crest peg at the top of the mask, and a pool-shaped peg at each side. The rim of the mask has holes for attaching cords. Beneath the hairline peak there is a stud on the forehead from which two parallel rows of square shapes studs lead to the eyebrows. The eye holes are almond-shaped. The nose is narrow and carinated. [PB 23/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ubeta village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ekpeya\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171561.GIJ is mounted on card.\n\nFM:312281\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171561_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144816_P.171561.GIJ_001.jpg"}, {"file_name": "P_171561_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144817_P.171561.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171567.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465628", "metadata": {"title": "Untitled", "idno": "P.171567.GIJ", "description": "A documentation photograph of three carved wooden figures. The figure on the left has a human form with bent knees and arms raised forward. A headdress, skirt and hands are indicated by incisions. The face has prominent eyes and mouth. The figure in the centre is board shaped, with handle in the shape of a head, and prominent eyes and mouth. The body of the figure is limb-less, marked with various raised squares and studs, with two faces at the centre of the design. The figure on the right is shaped as a figure of eight, with a pattern of rows of dots enclosed by lines, a wider row of blocks in the centre and at each end of the figture. [PB 21/10/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Mpam", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171567.GIJ to P.171569.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171567.GIJ\n\nDescription\n\nA documentation photograph of three carved wooden figures. The figure on the left has a human form with bent knees and arms raised forward. A headdress, skirt and hands are indicated by incisions. The face has prominent eyes and mouth. The figure in the centre is board shaped, with handle in the shape of a head, and prominent eyes and mouth. The body of the figure is limb-less, marked with various raised squares and studs, with two faces at the centre of the design. The figure on the right is shaped as a figure of eight, with a pattern of rows of dots enclosed by lines, a wider row of blocks in the centre and at each end of the figture. [PB 21/10/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Mpam\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171567.GIJ to P.171569.GIJ are mounted on card.\n\nFM:312287\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171567_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144829_P.171567.GIJ_001.jpg"}, {"file_name": "P_171567_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144830_P.171567.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.170060.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464093", "metadata": {"title": "Untitled", "idno": "T.170060.GIJ", "description": "Obugulu mau masquerade. A portrait of the character agaba standing with legs akimbo and leaning towards the camera. The masquerader has a wooden face mask with an elaborate superstructure of carved human figures, birds and animals with patterned ribbons hanging down. The face is painted white with eyebrows and cheeks marked in dark. he mouth is open with large pointed teeth giving the character as fierce expression. The masquerader is wearing a tunic and trousers covered in interlocking shells. He is carrying a matchete-shaped stick in his right hand. Alongside are attendants and in the background spectators and trees. [PB 14/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170060.GIJ\n\nDescription\n\nObugulu mau masquerade. A portrait of the character agaba standing with legs akimbo and leaning towards the camera. The masquerader has a wooden face mask with an elaborate superstructure of carved human figures, birds and animals with patterned ribbons hanging down. The face is painted white with eyebrows and cheeks marked in dark. he mouth is open with large pointed teeth giving the character as fierce expression. The masquerader is wearing a tunic and trousers covered in interlocking shells. He is carrying a matchete-shaped stick in his right hand. Alongside are attendants and in the background spectators and trees. [PB 14/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310588\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170060_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128186_T.170060.GIJ_001.png"}, {"file_name": "T_170060_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128187_T.170060.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13289.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306561", "metadata": {"title": "Untitled", "idno": "N.13289.GIJ", "description": "A masquerade character called Onyenachumiri (Rain Driver) performing in the Okwanku masquerade. The masquerader is wearing a dark wooden round face mask with slits for eyes, nose and open mouth and long raffia hair and a hat on top. He is wearing a pair of wellies or gumboots on his feet. In the background are spectators and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village", "cultural_affliation": "Igbo [historically Ibo]; Ohaffia", "named_person": "Onyechumiri; Rain Driver; [names of mask character]", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: A similar image is reproduced in Jones.G.I. 1989 as plate 50 on p. 58, with the caption \u201cOkwanku masquerade. Akanu town. Ohaffia tribe, Cross River Ibo. Dibia (doctor) with his bag of medicines. Onyenachumiri (Rain Driver) with gum boots and broom to drive the rain away and, in begrimed straw hat, Obaji (Chin Beard). Dibia, having poisoned Onyechumiri, is now trying to revive him.\u201d\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestingly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nMAA Exhibition: A reproduction of this image is included in the text panel in the West African case, Maudslay Gallery, with the following caption:\n\"Igbo Masquerade. Photo: G.I. Jones.\" [JD 5/8/2014]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]", "raw_text_dump": "IDNO\n\nN.13289.GIJ\n\nDescription\n\nA masquerade character called Onyenachumiri (Rain Driver) performing in the Okwanku masquerade. The masquerader is wearing a dark wooden round face mask with slits for eyes, nose and open mouth and long raffia hair and a hat on top. He is wearing a pair of wellies or gumboots on his feet. In the background are spectators and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ohaffia\n\nNamed Person\n\nOnyechumiri; Rain Driver; [names of mask character]\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: A similar image is reproduced in Jones.G.I. 1989 as plate 50 on p. 58, with the caption \u201cOkwanku masquerade. Akanu town. Ohaffia tribe, Cross River Ibo. Dibia (doctor) with his bag of medicines. Onyenachumiri (Rain Driver) with gum boots and broom to drive the rain away and, in begrimed straw hat, Obaji (Chin Beard). Dibia, having poisoned Onyechumiri, is now trying to revive him.\u201d\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestingly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nMAA Exhibition: A reproduction of this image is included in the text panel in the West African case, Maudslay Gallery, with the following caption:\n\"Igbo Masquerade. Photo: G.I. Jones.\" [JD 5/8/2014]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\nFM:147939\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13289_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000552_N.13289.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171319.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465380", "metadata": {"title": "Untitled", "idno": "P.171319.GIJ", "description": "A group of males referred to as the body guard wearing coats of mail (hardnut shells). There are ten youth, nine of whom are wearing white hats/caps on their head an one youth with feathers in his hair and holding a mask? in one hand and a machete in the other. The other youth are holding sticks and two are carrying gong instruments. The costume consists of a cloth tunic adorned with the shells of hardnuts, white shorts, and a short raffia skirt around the waist; some of them are wearing bands around the knees. [Description from record P.71595.GIJ, PB 01/08/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.", "raw_text_dump": "IDNO\n\nP.171319.GIJ\n\nDescription\n\nA group of males referred to as the body guard wearing coats of mail (hardnut shells). There are ten youth, nine of whom are wearing white hats/caps on their head an one youth with feathers in his hair and holding a mask? in one hand and a machete in the other. The other youth are holding sticks and two are carrying gong instruments. The costume consists of a cloth tunic adorned with the shells of hardnuts, white shorts, and a short raffia skirt around the waist; some of them are wearing bands around the knees. [Description from record P.71595.GIJ, PB 01/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\n\n\nFM:312010\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171319_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144535_P.171319.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.30455.NWT", "source_url": "https://collections.maa.cam.ac.uk/photographs/323727", "metadata": {"title": "Untitled", "idno": "P.30455.NWT", "description": "On Negative Listing: \"2032. 20. Okike.\nKilling of sheep. [Thomas' manuscript on RAI MS 467-2(1801-2475)]\n\nIn Blench and Alexander Catalogue for N. W. Thomas photograph collection: \u201c2032 location: Amobia; associations: religion?;\u201d [printed text]", "place": "W Africa; Nigeria; south eastern Nigeria; near Awka; Amobia village", "cultural_affliation": "", "named_person": "", "photographer": "Thomas, Northcote Whitridge", "collector_/_expedition": "", "date": "1909 - 1913", "collection_name": "Northcote Thomas Collection", "source": "Thomas, Northcote Whitridge", "format": "Print Black & White", "primary_documentation": "", "other_information": "This print was previously stored in a box in the fourth drawer of a container which has four drawers. The cataloguer has marked the container C70/, the fourth drawer C70/4/ and the box in which this print was kept C70/4/6/.", "raw_text_dump": "IDNO\n\nP.30455.NWT\n\nDescription\n\nOn Negative Listing: \"2032. 20. Okike.\nKilling of sheep. [Thomas' manuscript on RAI MS 467-2(1801-2475)]\n\nIn Blench and Alexander Catalogue for N. W. Thomas photograph collection: \u201c2032 location: Amobia; associations: religion?;\u201d [printed text]\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; near Awka; Amobia village\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nThomas, Northcote Whitridge\n\nCollector / Expedition\n\nDate\n\n1909 - 1913\n\nCollection Name\n\nNorthcote Thomas Collection\n\nSource\n\nThomas, Northcote Whitridge\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis print was previously stored in a box in the fourth drawer of a container which has four drawers. The cataloguer has marked the container C70/, the fourth drawer C70/4/ and the box in which this print was kept C70/4/6/.\n\n\n\nFM:165105\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_30455_NWT_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/860111_P.30455.NWT_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.169644.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463628", "metadata": {"title": "Untitled", "idno": "P.169644.GIJ", "description": "The band performing in the Rumuji Owu play. The band consist of men playing two membrane drums and three slit or ikoro drums. Behind the band is a large group of spectators. [Description from record LS.52069.GIJ, PB 03/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibo [historically Igbo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.", "raw_text_dump": "IDNO\n\nP.169644.GIJ\n\nDescription\n\nThe band performing in the Rumuji Owu play. The band consist of men playing two membrane drums and three slit or ikoro drums. Behind the band is a large group of spectators. [Description from record LS.52069.GIJ, PB 03/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nFM:310131\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169644_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127373_P.169644.GIJ_001.png"}, {"file_name": "P_169644_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127374_P.169644.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71790.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365061", "metadata": {"title": "Untitled", "idno": "N.71790.GIJ", "description": "A man modelling a mask. The wooden mask is oval shaped with two curved designs emanating from the top inwards to the centre. The face of the mask is oval shaped an there are defined areas for the hairline, two rounded markings on the forehead, slit eyes with overhanging eyebrows, two keloid markings on either side of the eyes, a long nose, open mouth with teeth. The mask has been smeared in a chalk/white paint which defines some of the facial features and the two curved/curled projections.\nThe mask is attached to the head with twine. The man is wearing a white shirt and in the background are wooden poles and a thatched roof hut.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Alayi", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 6 of the negative album now numbered C17/\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Item Igbo\n3. Lugbulu Mask Comic male mask (4th image).\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 4/12/2007]", "raw_text_dump": "IDNO\n\nN.71790.GIJ\n\nDescription\n\nA man modelling a mask. The wooden mask is oval shaped with two curved designs emanating from the top inwards to the centre. The face of the mask is oval shaped an there are defined areas for the hairline, two rounded markings on the forehead, slit eyes with overhanging eyebrows, two keloid markings on either side of the eyes, a long nose, open mouth with teeth. The mask has been smeared in a chalk/white paint which defines some of the facial features and the two curved/curled projections.\nThe mask is attached to the head with twine. The man is wearing a white shirt and in the background are wooden poles and a thatched roof hut.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Alayi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 6 of the negative album now numbered C17/\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Item Igbo\n3. Lugbulu Mask Comic male mask (4th image).\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 4/12/2007]\n\nFM:206440\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71790_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656888_N.71790.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13183.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306455", "metadata": {"title": "Untitled", "idno": "N.13183.GIJ", "description": "Close up view of Ekpo face mask. Representation of an oval face with rimmed head, high forehead with two round keloid markings, almond shaped eyes, nose, protruding cheeks, open mouth with inicised teeth, whiskers on either side of the mouth, and large rounded ears. Plant fibres surround the mask. The mask is highly polished darkened wood.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene; ?Ikot Abia village", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Similar mask in Jones, 1984, p.121, Figure 37, with the caption, Ekpo mask.\n\nContext: \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13183.GIJ\n\nDescription\n\nClose up view of Ekpo face mask. Representation of an oval face with rimmed head, high forehead with two round keloid markings, almond shaped eyes, nose, protruding cheeks, open mouth with inicised teeth, whiskers on either side of the mouth, and large rounded ears. Plant fibres surround the mask. The mask is highly polished darkened wood.\n\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene; ?Ikot Abia village\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Similar mask in Jones, 1984, p.121, Figure 37, with the caption, Ekpo mask.\n\nContext: \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147833\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13183_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000445_N.13183.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171139.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465200", "metadata": {"title": "Untitled", "idno": "P.171139.GIJ", "description": "A mau (ghost) face mask painted white with black paint consisting of slit eyes, elongated nose, mouth with teeth and ears. It is carved and painted in darker colour(s) in extended triangles two underneath the eyes and two n the forehead. In the centre of the forehead and the near the ears are etched markings. There are additional areas of darkly painted circle decorations on the chin and on the top of the mask is a black, scalloped edge.\n\nObject documentation photograph of a face mask. [Description from record N.13337.GIJ, PB 20/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767062.GIJ - P.767066.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171139.GIJ\n\nDescription\n\nA mau (ghost) face mask painted white with black paint consisting of slit eyes, elongated nose, mouth with teeth and ears. It is carved and painted in darker colour(s) in extended triangles two underneath the eyes and two n the forehead. In the centre of the forehead and the near the ears are etched markings. There are additional areas of darkly painted circle decorations on the chin and on the top of the mask is a black, scalloped edge.\n\nObject documentation photograph of a face mask. [Description from record N.13337.GIJ, PB 20/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767062.GIJ - P.767066.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311830\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171139_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144355_P.171139.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171511.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465572", "metadata": {"title": "Untitled", "idno": "P.171511.GIJ", "description": "A documentation photograph of a carved wooden standing human figure. The legs are thick, the torso ovoid in shape, the arms short and by the side of the body, three rings (belts) are grooved around the waist. The head has ears that jut out and defined features, with a central hair crest. [PB 03/10/24]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1987", "collection_name": "Jones Collection", "source": "", "format": "Print Colour", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171511.GIJ - P.171522.GIJ were located in a brown folder, now numbered C768/6.", "raw_text_dump": "IDNO\n\nP.171511.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden standing human figure. The legs are thick, the torso ovoid in shape, the arms short and by the side of the body, three rings (belts) are grooved around the waist. The head has ears that jut out and defined features, with a central hair crest. [PB 03/10/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1987\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Colour\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171511.GIJ - P.171522.GIJ were located in a brown folder, now numbered C768/6.\n\nFM:312212\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171511_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144728_P.171511.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171545.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465606", "metadata": {"title": "Untitled", "idno": "P.171545.GIJ", "description": "A documentation photograph of two carved wooden heads. The head on the left is oval shaped, is unpainted, has almond-shaped eyes, a carinated nose, a pronounced cupid's lip, and a bared mouth with many teeth. The mask on the right is painted in white paint, with a central hair crest painted in dark pigment, and a hair line of notched vertical marks painted dark. The ears are large and circular, jutting out sideways. The eyes are narrow, the nose carinated and the mouth oval, with bared teeth. [PB 22/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171545.GIJ and P.171546.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171545.GIJ\n\nDescription\n\nA documentation photograph of two carved wooden heads. The head on the left is oval shaped, is unpainted, has almond-shaped eyes, a carinated nose, a pronounced cupid's lip, and a bared mouth with many teeth. The mask on the right is painted in white paint, with a central hair crest painted in dark pigment, and a hair line of notched vertical marks painted dark. The ears are large and circular, jutting out sideways. The eyes are narrow, the nose carinated and the mouth oval, with bared teeth. [PB 22/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171545.GIJ and P.171546.GIJ are mounted on card.\n\nFM:312265\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171545_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144784_P.171545.GIJ_001.jpg"}, {"file_name": "P_171545_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144785_P.171545.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171084.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465145", "metadata": {"title": "Untitled", "idno": "P.171084.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nA close up portrait of a masquerader identified as Nwabogho Ehi (Heifer) wearing a carved wooden helmet mask with a curved crest, the face of the mask is white with black paint to accentuate the eyes, nose, mouth and facial markings and divided into four diagonals; a cloth scarf is tied around the neck, and a brightly coloured harlequin-like costume. There are male spectators in the background. [Description from record N.13251.GIJ, PB 13/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767008.GIJ - P.767012.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Nwabogho Efi (Heifer), G.I. Jones writes in the notes: \"A name given to young and comely, young unmarried woman. This was a typical \"Awka\" helmet mask with a white female face and a crested mud and charcoal hair do. She danced in a similar manner and mimed before the second hand band with the same piping, directing and supporting singing chorus and thern sat on a chair nearby\"", "raw_text_dump": "IDNO\n\nP.171084.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nA close up portrait of a masquerader identified as Nwabogho Ehi (Heifer) wearing a carved wooden helmet mask with a curved crest, the face of the mask is white with black paint to accentuate the eyes, nose, mouth and facial markings and divided into four diagonals; a cloth scarf is tied around the neck, and a brightly coloured harlequin-like costume. There are male spectators in the background. [Description from record N.13251.GIJ, PB 13/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767008.GIJ - P.767012.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Nwabogho Efi (Heifer), G.I. Jones writes in the notes: \"A name given to young and comely, young unmarried woman. This was a typical \"Awka\" helmet mask with a white female face and a crested mud and charcoal hair do. She danced in a similar manner and mimed before the second hand band with the same piping, directing and supporting singing chorus and thern sat on a chair nearby\"\n\nFM:311775\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171084_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144300_P.171084.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13223.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306495", "metadata": {"title": "Untitled", "idno": "N.13223.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two figures; one is on the ground with legs open and the other is holding the figure and he has an erect penis. The scene is framed with linear and chevron designs around it.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; Umuajatta village", "cultural_affliation": "Anang; Ibibio Olokoro; Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image in Cole and Aniakor, 1984, p.86, Figure 156 with the caption, \u201cPainted scene on an Ekpe house in Umuajata Olokoro. Photo: G.I. Jones, ca. 1935.\u201d\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully executed. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13223.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two figures; one is on the ground with legs open and the other is holding the figure and he has an erect penis. The scene is framed with linear and chevron designs around it.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; Umuajatta village\n\nCultural Affliation\n\nAnang; Ibibio Olokoro; Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image in Cole and Aniakor, 1984, p.86, Figure 156 with the caption, \u201cPainted scene on an Ekpe house in Umuajata Olokoro. Photo: G.I. Jones, ca. 1935.\u201d\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully executed. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147873\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13223_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000486_N.13223.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171543.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465604", "metadata": {"title": "Untitled", "idno": "P.171543.GIJ", "description": "A documentation photograph of a helmet mask for the Owu masquerade. The mask is carved in dark wood and portrays an antelope character, with long tapering horns with spiral incision. The mask has a human face with narrow eyes, broad nose and a prognathic jaw. [PB 22/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Ebonyi State; Okposi", "cultural_affliation": "Igbo [historically Ibo]; Oba", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171542.GIJ to P.171544.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171543.GIJ\n\nDescription\n\nA documentation photograph of a helmet mask for the Owu masquerade. The mask is carved in dark wood and portrays an antelope character, with long tapering horns with spiral incision. The mask has a human face with narrow eyes, broad nose and a prognathic jaw. [PB 22/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ebonyi State; Okposi\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oba\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171542.GIJ to P.171544.GIJ are mounted on card.\n\nFM:312263\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171543_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144780_P.171543.GIJ_001.jpg"}, {"file_name": "P_171543_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144781_P.171543.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13245.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306517", "metadata": {"title": "Untitled", "idno": "N.13245.GIJ", "description": "Obugulu Mau (Ghost) masquerade.\n\nAwo Ohia (Traveller or he who travels through the bush) wearing a striped, netted costume covering the body and head, the netting on the head is black. A rattle is attached to the waist, probably made of seed? or shell?. In the background is a mud walled compound, thatched hut, trees and vegetation.", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "Awo Ohia; Traveller [names of mask character]", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: In some masquerades, not all the actors wore masks or headresses. Jones discusses that, \u201cin the netted costume the actor\u2019s head was completely covered and concealed by net and he wore no mask or headpiece... in some areas, many of the characters performed vigorous dances which involved mainly stamping and other movements of the feet with rattles attached to the ankles and sometimes also to the waist, which were shaken in time to the drum orchestra.\u201d (Jones, 1984, p.43)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/10/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13245.GIJ\n\nDescription\n\nObugulu Mau (Ghost) masquerade.\n\nAwo Ohia (Traveller or he who travels through the bush) wearing a striped, netted costume covering the body and head, the netting on the head is black. A rattle is attached to the waist, probably made of seed? or shell?. In the background is a mud walled compound, thatched hut, trees and vegetation.\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nAwo Ohia; Traveller [names of mask character]\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: In some masquerades, not all the actors wore masks or headresses. Jones discusses that, \u201cin the netted costume the actor\u2019s head was completely covered and concealed by net and he wore no mask or headpiece... in some areas, many of the characters performed vigorous dances which involved mainly stamping and other movements of the feet with rattles attached to the ankles and sometimes also to the waist, which were shaken in time to the drum orchestra.\u201d (Jones, 1984, p.43)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/10/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147895\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13245_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000508_N.13245.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.71335.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364606", "metadata": {"title": "Untitled", "idno": "N.71335.GIJ", "description": "A masquerader in an Ikem Play sitting on a chair. The mask consists of a naturalistic female face that depicts inset eyes, arched black eyebrows, nose, open painted mouth and ears. The hairstyle is an elaborate coiffure painted black and consisting of three elongated braids that project upward and outward in bold curves from the top of the head. The face is varnished. Around the upper body is square shaped form that is covered in a light cloth. The masquerader is wearing trousers and several pieces of plaid cloth around the waist and seed anklets. He is holding a decorated stick in one hand. Next to him is an attendant dressed in a white shirt, scarf and plaid wrapper. In the background are spectators and thatch and mud buildings.", "place": "W Africa; Nigeria; South Eastern Nigeria; Umuahia", "cultural_affliation": "Ibibio", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 79 of the negative album now numbered C21/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ibibio, Ijo and Ogoni\n2. Ibibio\n3. Ikem Masquerade (7th image).\n\nContext: Jones writes about the Cross River Style and the Modern Anang (Ibibio) style . He notes, \u201cThe Cross River masquerade called Ikem spread from Old Calabar to the Ibibio country in the early decades of the twentieth century and Anang carvers were producing by the 1930s, if not well before this, skin-covered heads in this style equal to the best that had been made in Ejagham country and in Old Calabar. There were certain minor differences that distinguished these Anang heads, the most obvious being their drooping upper eyelids. The Ikem masquerade and heads in this modified Cross River diffused into the Umuahia area and as far north as Ozu Item. But the Ikem masquerade seems to have inspired the Akang to produce similar masquerades and their own variant of these heads in what was locally held to be a completely naturalistic style. The hair, eyes and lips were painted in natural colours and in place of the covering of skin the face and neck were painted with clear varnish(as in the photograph). The associated masquerade, which received different names in different areas, was spread widely to their Ibibio and Ibo neighbours. During the colonial period there was an increasing demand for Anang sculpture but primarily for masks, heads and figures in this modern naturalistic style. For it was a very successful compromise between the Traditional Anang (Ibibio) and the \u2018traditional European\u2019 style, meaning by the latter term Victorian naturalism and the classical Greek sculpture which inspired it. Europeans bought this sculpture because it looked sufficiently African but not too African. Nigerians bought it because it looked sufficiently modern and European. In response to this demand Anang carvers developed a minor local industry in the Ikot Ekpene district mass-producing inferior masks, heads, and dolls. The inferiority was due primarily for the buyers\u2019 reluctance to pay for something better (Jones, 1984, pp. 184-185).\u201d\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nExhibition: Digital reproduction of photograph exhibited in \u2018Afrique, mille vies d\u2019objects / Africa, a thousand lives of objects\u2019 at Mus\u00e9e de Confluences, Lyon, France, from June 2023 \u2013 February 2024. See www.museedesconfluences.fr/en. [JD 25/01/2023]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 16/1/2008]", "raw_text_dump": "IDNO\n\nN.71335.GIJ\n\nDescription\n\nA masquerader in an Ikem Play sitting on a chair. The mask consists of a naturalistic female face that depicts inset eyes, arched black eyebrows, nose, open painted mouth and ears. The hairstyle is an elaborate coiffure painted black and consisting of three elongated braids that project upward and outward in bold curves from the top of the head. The face is varnished. Around the upper body is square shaped form that is covered in a light cloth. The masquerader is wearing trousers and several pieces of plaid cloth around the waist and seed anklets. He is holding a decorated stick in one hand. Next to him is an attendant dressed in a white shirt, scarf and plaid wrapper. In the background are spectators and thatch and mud buildings.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Umuahia\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 79 of the negative album now numbered C21/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ibibio, Ijo and Ogoni\n2. Ibibio\n3. Ikem Masquerade (7th image).\n\nContext: Jones writes about the Cross River Style and the Modern Anang (Ibibio) style . He notes, \u201cThe Cross River masquerade called Ikem spread from Old Calabar to the Ibibio country in the early decades of the twentieth century and Anang carvers were producing by the 1930s, if not well before this, skin-covered heads in this style equal to the best that had been made in Ejagham country and in Old Calabar. There were certain minor differences that distinguished these Anang heads, the most obvious being their drooping upper eyelids. The Ikem masquerade and heads in this modified Cross River diffused into the Umuahia area and as far north as Ozu Item. But the Ikem masquerade seems to have inspired the Akang to produce similar masquerades and their own variant of these heads in what was locally held to be a completely naturalistic style. The hair, eyes and lips were painted in natural colours and in place of the covering of skin the face and neck were painted with clear varnish(as in the photograph). The associated masquerade, which received different names in different areas, was spread widely to their Ibibio and Ibo neighbours. During the colonial period there was an increasing demand for Anang sculpture but primarily for masks, heads and figures in this modern naturalistic style. For it was a very successful compromise between the Traditional Anang (Ibibio) and the \u2018traditional European\u2019 style, meaning by the latter term Victorian naturalism and the classical Greek sculpture which inspired it. Europeans bought this sculpture because it looked sufficiently African but not too African. Nigerians bought it because it looked sufficiently modern and European. In response to this demand Anang carvers developed a minor local industry in the Ikot Ekpene district mass-producing inferior masks, heads, and dolls. The inferiority was due primarily for the buyers\u2019 reluctance to pay for something better (Jones, 1984, pp. 184-185).\u201d\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nExhibition: Digital reproduction of photograph exhibited in \u2018Afrique, mille vies d\u2019objects / Africa, a thousand lives of objects\u2019 at Mus\u00e9e de Confluences, Lyon, France, from June 2023 \u2013 February 2024. See www.museedesconfluences.fr/en. [JD 25/01/2023]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 16/1/2008]\n\nFM:205985\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71335_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656562_N.71335.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.170293.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464354", "metadata": {"title": "Untitled", "idno": "P.170293.GIJ", "description": "A documentary photograph of a modern Anang female doll figure. The doll is carved in wood and painted in a \u2018naturalistic style\u2019. The face consists of a large eyes accentuated with black eyebrows, nose, and lips with two black linear marks on either side of the mouth; the hair is painted black and parted in the middle with an elaborate braided coiffure, elongated neck painted with dots and adorned with a necklace. The arms are stretched forward and there are decorative designs around the shoulders, and a dotted linear line down the centre of the chest with a protruding umbilicus. She is dressed in a plaid waist cloth or wrapper and her feet are painted a dark colour. [Description from record N.13196.GIJ, PB 10/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Anang; Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170288.GIJ - P.170277.GIJ were located in a folder, now numbered C759/7.", "raw_text_dump": "IDNO\n\nP.170293.GIJ\n\nDescription\n\nA documentary photograph of a modern Anang female doll figure. The doll is carved in wood and painted in a \u2018naturalistic style\u2019. The face consists of a large eyes accentuated with black eyebrows, nose, and lips with two black linear marks on either side of the mouth; the hair is painted black and parted in the middle with an elaborate braided coiffure, elongated neck painted with dots and adorned with a necklace. The arms are stretched forward and there are decorative designs around the shoulders, and a dotted linear line down the centre of the chest with a protruding umbilicus. She is dressed in a plaid waist cloth or wrapper and her feet are painted a dark colour. [Description from record N.13196.GIJ, PB 10/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nAnang; Ibibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170288.GIJ - P.170277.GIJ were located in a folder, now numbered C759/7.\n\nFM:310851\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170293_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1132152_P.170293.GIJ_001.png"}, {"file_name": "P_170293_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1132153_P.170293.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171200.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465261", "metadata": {"title": "Untitled", "idno": "P.171200.GIJ", "description": "An abaja xylophone band depicting an xylophone, made of wood, with two players holding sticks on either side, three small drums, one hidden behind player, and a pair of basket rattles. Three of the band members are sitting on the earth ground, other band members are standing and children are watching. Behind the band, is a thatched house? and trees and vegetation. [Description from record N.13262.GIJ, PB 02/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171200.GIJ\n\nDescription\n\nAn abaja xylophone band depicting an xylophone, made of wood, with two players holding sticks on either side, three small drums, one hidden behind player, and a pair of basket rattles. Three of the band members are sitting on the earth ground, other band members are standing and children are watching. Behind the band, is a thatched house? and trees and vegetation. [Description from record N.13262.GIJ, PB 02/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311891\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171200_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144416_P.171200.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13269.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306541", "metadata": {"title": "Untitled", "idno": "N.13269.GIJ", "description": "An Akwa stool being carved on its side depicting a round or \u2018saucer like seat\u2019, pedestal and splayed out at the base into two feet. The carver is seated and perching the stool on a piece of wood. The carver is wearing a wrapper or cloth around his waist.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?Amobia village", "cultural_affliation": "Nri-Awka Igbo; Northern Igbo; Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: The Akwa stool consisted of the usual saucer like seat, which was supported on a narrow pedestal splayed out at the base into four feet. Another Akwa variant resembled in profile is an Ashanti stool, but the top and bottom were oval and pointed and not rectangular like the Ashanti one. These and other stools were part of the regalia of the members of the Ozo title society and their carving was developed into a fine art unmatched anywhere in the region (Jones, 1984, p.117)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/10/2007]", "raw_text_dump": "IDNO\n\nN.13269.GIJ\n\nDescription\n\nAn Akwa stool being carved on its side depicting a round or \u2018saucer like seat\u2019, pedestal and splayed out at the base into two feet. The carver is seated and perching the stool on a piece of wood. The carver is wearing a wrapper or cloth around his waist.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?Amobia village\n\nCultural Affliation\n\nNri-Awka Igbo; Northern Igbo; Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: The Akwa stool consisted of the usual saucer like seat, which was supported on a narrow pedestal splayed out at the base into four feet. Another Akwa variant resembled in profile is an Ashanti stool, but the top and bottom were oval and pointed and not rectangular like the Ashanti one. These and other stools were part of the regalia of the members of the Ozo title society and their carving was developed into a fine art unmatched anywhere in the region (Jones, 1984, p.117)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/10/2007]\n\nFM:147919\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13269_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000532_N.13269.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.170248.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464309", "metadata": {"title": "Untitled", "idno": "P.170248.GIJ", "description": "The band performing in the Rumuji Owu play. The band consists of males playing two membrane drums and three slit or ikoro drums. Behind the band is a large group of spectators. [Description from record P.72189.GIJ, PB 02/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; South Ikwerri", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170248.GIJ - P.170251.GIJ were located in a paper sleeve, now numbered C759/4.", "raw_text_dump": "IDNO\n\nP.170248.GIJ\n\nDescription\n\nThe band performing in the Rumuji Owu play. The band consists of males playing two membrane drums and three slit or ikoro drums. Behind the band is a large group of spectators. [Description from record P.72189.GIJ, PB 02/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; South Ikwerri\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170248.GIJ - P.170251.GIJ were located in a paper sleeve, now numbered C759/4.\n\nFM:310806\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170248_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131598_P.170248.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171283.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465344", "metadata": {"title": "Untitled", "idno": "P.171283.GIJ", "description": "Pyramids at the Nsude Village Shrine, Abaja Ibo, Northern Ibo. A series of pyramids made of mud and arranged in a row consisting of rounded graduated levels or steps decreasing in size and culminating in a point at the top. The pyramids are surrounded by grasses and vegetation. [Description from record P.71446.GIJ, PB 18/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Enugu state; Nsude", "cultural_affliation": "Igbo [historically Ibo]; Abaja", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767205.GIJ - P.767208.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171283.GIJ\n\nDescription\n\nPyramids at the Nsude Village Shrine, Abaja Ibo, Northern Ibo. A series of pyramids made of mud and arranged in a row consisting of rounded graduated levels or steps decreasing in size and culminating in a point at the top. The pyramids are surrounded by grasses and vegetation. [Description from record P.71446.GIJ, PB 18/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Enugu state; Nsude\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abaja\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767205.GIJ - P.767208.GIJ are mounted together on card.\n\nFM:311974\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171283_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144499_P.171283.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71887.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365158", "metadata": {"title": "Untitled", "idno": "N.71887.GIJ", "description": "The interior of an Obu House with the close up view of a central pillar consisting of two figures- one male and one female and a third male figure at the side. The figure at the top depicts a male who is seated. He is wearing a black top hat, his face is humanised and painted in two toned colours, his upper torso is painted a dark colour with white and he is holding a jug in one hand. The figure below is female and she is seated and has a headdress, rounded face with half painted white and the other half a darker colour. Her torso is designed in the centre and she is wearing a striped cloth around her waist. Next to the pillar is another male figure freestanding and wearing a black top hat and striped woven cloth. The pillar is painted in dark and light colours and a man is seated in the foreground. The walls are smooth an hooks are placed to keep drums etc. in place.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 43 of the negative album now numbered C19/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. figures in Obu Amogudu, Abiriba. (2nd image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nExhibition: Digital reproduction of photograph exhibited in \u2018Afrique, mille vies d\u2019objects / Africa, a thousand lives of objects\u2019 at Mus\u00e9e de Confluences, Lyon, France, from June 2023 \u2013 February 2024. See www.museedesconfluences.fr/en. [JD 25/01/2023]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]", "raw_text_dump": "IDNO\n\nN.71887.GIJ\n\nDescription\n\nThe interior of an Obu House with the close up view of a central pillar consisting of two figures- one male and one female and a third male figure at the side. The figure at the top depicts a male who is seated. He is wearing a black top hat, his face is humanised and painted in two toned colours, his upper torso is painted a dark colour with white and he is holding a jug in one hand. The figure below is female and she is seated and has a headdress, rounded face with half painted white and the other half a darker colour. Her torso is designed in the centre and she is wearing a striped cloth around her waist. Next to the pillar is another male figure freestanding and wearing a black top hat and striped woven cloth. The pillar is painted in dark and light colours and a man is seated in the foreground. The walls are smooth an hooks are placed to keep drums etc. in place.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 43 of the negative album now numbered C19/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. figures in Obu Amogudu, Abiriba. (2nd image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nExhibition: Digital reproduction of photograph exhibited in \u2018Afrique, mille vies d\u2019objects / Africa, a thousand lives of objects\u2019 at Mus\u00e9e de Confluences, Lyon, France, from June 2023 \u2013 February 2024. See www.museedesconfluences.fr/en. [JD 25/01/2023]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\n\nFM:206537\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71887_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656979_N.71887.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71822.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365093", "metadata": {"title": "Untitled", "idno": "N.71822.GIJ", "description": "Ajonku or Ajonkwu masquerade. The masquerader is wearing a knitted net costume which covers his face and on top of his head is a tall headdress consisting of a rounded platform with a cloth wrapped around it and on top, there is a humanistic rounded face which is attached and made of animal skin. The face consists of arched eyebrows, stylistic almond shaped eyes, nose, open mouth and elliptical shaped ears, in the centre of the forehead is a rounded protuberance. The costume is adorned with fronds and feathers. Surrounding the masqueraders are young men holding branches, and in the background are spectators, trees, and building.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Isu Ikuru Ato", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 84 of the negative album now numbered C17/.\n\nPublication: Same image found in Jones, 1973, Plate 7, p.61 in which the caption reads, \u201cSkin covered head in Cross River Style from Ekpe (Egbo) maskerade of Ohaffia Tribe\u201d.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Isu Ikwu Ato\n3. Ajaiku masquerade Ovim village (1st image).\n\nContext: Jones discusses the different styles of sculpture in the Cross River area. In reference to the mask in this photograph, he writes. \u201cThe range of Cross River carvings is striking: their only constant features are the techniques of covering the carvings with skin and the netted fiber costumes. One type is a closely fitted coat (as in this photo), the other consists of closely fitted tights worn by a fierce faceless characters called Egbo runners in in nineteenth century Old Calabar. In the Umuahia area, this Cross River style of heads and costumes is associated with the Ekpe (Egbo) secret society which has spread to many villages under various names (Ekpe, Akang, Okonko, Mbon) (Jones, 1973, p.61).\n\nContext: In reference to the Abam/Ohaffia area, Jones writes that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin-covered heads in the Cross-River Style, usually called Ajonku. But they also had masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of the Abiriba. All these tribes, but particularly the Abiriba, were great doctors and traders and travelled extensively in the Cross River area and through the Ibibio country to the coastal trading states. Anang (Ibibio) sculpture was greatly admired, but it does not seem to have had much influence on the local styles\u201d (Jones, 1984, p.208)\n\nContext: Cole and Aniakor talk about the skin covered masks and headdresses which were common in the Cross River Area. Through the work of Nicklin, Salmons, Jones and Campbell, some provenances of these masquerades are now being sorted out. It is acknowledged that Ejagham peoples originated the genre, but not often mentioned that Cross River Igbo were also exponents of it, creating some variants that stand as important works of art. Examples are documented from Isu-Item, Bende, Umuahia, Abiribia, Ohafia, Arochukwu, and some north-eastern Igbo peoples, and it is probable that a number of of masks labeled Ekoi are also of Igbo origin. They were danced in the masquerades of men\u2019s societies: Ekpe (Ohuhu-Ngwa), Ikem, Oiyima, Ajonkwu, Ekong, and probably others as well...Jones\u2019 designation of \u201cCross River Style\u201d for these and other skin covered masks is understandable since the peoples of the region carved for one another in several substyles, traded dances and associations, and thus confounded any but the most broad classifications. (Cole and Aniakor, 1984, p.182). [AF 3/12/2007]\n\nBibliographical Reference: A brief history is provided by Emmanuel Eze on the website: History, Culture and Politics in Isuikwuato LGA; Emmanuel Eze reporting from Abia\nSubmitted on 25/07/2005\nIsuikwuato is one of the Local Government Areas in Abia state. The name itself means a union of three main components or kindreds as [ikwu] represents in igbo language. It is bounded in the North by by Uturu, in the east by Alayi, to the suoth by Akoli and Mkpa, and to the west by Otanchara and Otanzu. However, the present political structure of Isuikwuato has Uturu as part of it.\nThe people of Isuikwuato speak Igbo language though with a distinct dialect. The people are quite friendly and hospitable. They are into farming as the area has a large landmass though it is hilly and undulating as per the topography. In addition, they are also businessmen cum women and professionals in different fields. Like all other igbos they are seasoned sojourners and can be found in all parts of Nigeria and beyond.\nOwing to the topography of Isuikwuato, there are many rivers cum streams from were the indigenes get their water, the only difficulty being the long distance .\nIn recent times, the area has come to produce great Academicians and intellectuals one of whom is Dr Chinweizu; Author of Anatomy of Female Power, among others.\nThere are a number of cultural celebrations such as the Ajonkwu in Ovim[ Ovum], Ebo in Umuobiala and the New Yam festival which is a general festival in Igboland. [Source: nigerianmasses.com, AF 3/12/2007]\n\nBibliographical Reference:\nJones, G.I. 1973. \u201cSculpture of the Umuahia Ara of Nigeria\u201d African Arts 6(4):58-63, 96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 3/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71822.GIJ\n\nDescription\n\nAjonku or Ajonkwu masquerade. The masquerader is wearing a knitted net costume which covers his face and on top of his head is a tall headdress consisting of a rounded platform with a cloth wrapped around it and on top, there is a humanistic rounded face which is attached and made of animal skin. The face consists of arched eyebrows, stylistic almond shaped eyes, nose, open mouth and elliptical shaped ears, in the centre of the forehead is a rounded protuberance. The costume is adorned with fronds and feathers. Surrounding the masqueraders are young men holding branches, and in the background are spectators, trees, and building.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isu Ikuru Ato\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 84 of the negative album now numbered C17/.\n\nPublication: Same image found in Jones, 1973, Plate 7, p.61 in which the caption reads, \u201cSkin covered head in Cross River Style from Ekpe (Egbo) maskerade of Ohaffia Tribe\u201d.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Isu Ikwu Ato\n3. Ajaiku masquerade Ovim village (1st image).\n\nContext: Jones discusses the different styles of sculpture in the Cross River area. In reference to the mask in this photograph, he writes. \u201cThe range of Cross River carvings is striking: their only constant features are the techniques of covering the carvings with skin and the netted fiber costumes. One type is a closely fitted coat (as in this photo), the other consists of closely fitted tights worn by a fierce faceless characters called Egbo runners in in nineteenth century Old Calabar. In the Umuahia area, this Cross River style of heads and costumes is associated with the Ekpe (Egbo) secret society which has spread to many villages under various names (Ekpe, Akang, Okonko, Mbon) (Jones, 1973, p.61).\n\nContext: In reference to the Abam/Ohaffia area, Jones writes that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin-covered heads in the Cross-River Style, usually called Ajonku. But they also had masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of the Abiriba. All these tribes, but particularly the Abiriba, were great doctors and traders and travelled extensively in the Cross River area and through the Ibibio country to the coastal trading states. Anang (Ibibio) sculpture was greatly admired, but it does not seem to have had much influence on the local styles\u201d (Jones, 1984, p.208)\n\nContext: Cole and Aniakor talk about the skin covered masks and headdresses which were common in the Cross River Area. Through the work of Nicklin, Salmons, Jones and Campbell, some provenances of these masquerades are now being sorted out. It is acknowledged that Ejagham peoples originated the genre, but not often mentioned that Cross River Igbo were also exponents of it, creating some variants that stand as important works of art. Examples are documented from Isu-Item, Bende, Umuahia, Abiribia, Ohafia, Arochukwu, and some north-eastern Igbo peoples, and it is probable that a number of of masks labeled Ekoi are also of Igbo origin. They were danced in the masquerades of men\u2019s societies: Ekpe (Ohuhu-Ngwa), Ikem, Oiyima, Ajonkwu, Ekong, and probably others as well...Jones\u2019 designation of \u201cCross River Style\u201d for these and other skin covered masks is understandable since the peoples of the region carved for one another in several substyles, traded dances and associations, and thus confounded any but the most broad classifications. (Cole and Aniakor, 1984, p.182). [AF 3/12/2007]\n\nBibliographical Reference: A brief history is provided by Emmanuel Eze on the website: History, Culture and Politics in Isuikwuato LGA; Emmanuel Eze reporting from Abia\nSubmitted on 25/07/2005\nIsuikwuato is one of the Local Government Areas in Abia state. The name itself means a union of three main components or kindreds as [ikwu] represents in igbo language. It is bounded in the North by by Uturu, in the east by Alayi, to the suoth by Akoli and Mkpa, and to the west by Otanchara and Otanzu. However, the present political structure of Isuikwuato has Uturu as part of it.\nThe people of Isuikwuato speak Igbo language though with a distinct dialect. The people are quite friendly and hospitable. They are into farming as the area has a large landmass though it is hilly and undulating as per the topography. In addition, they are also businessmen cum women and professionals in different fields. Like all other igbos they are seasoned sojourners and can be found in all parts of Nigeria and beyond.\nOwing to the topography of Isuikwuato, there are many rivers cum streams from were the indigenes get their water, the only difficulty being the long distance .\nIn recent times, the area has come to produce great Academicians and intellectuals one of whom is Dr Chinweizu; Author of Anatomy of Female Power, among others.\nThere are a number of cultural celebrations such as the Ajonkwu in Ovim[ Ovum], Ebo in Umuobiala and the New Yam festival which is a general festival in Igboland. [Source: nigerianmasses.com, AF 3/12/2007]\n\nBibliographical Reference:\nJones, G.I. 1973. \u201cSculpture of the Umuahia Ara of Nigeria\u201d African Arts 6(4):58-63, 96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 3/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206472\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71822_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656919_N.71822.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169636.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463612", "metadata": {"title": "Untitled", "idno": "P.169636.GIJ", "description": "A wood carver carving a mask with a machete for the Rumuji Owu play. The man is sitting on stool and is carving a horizontal shaped mask which appears to have the face of a fish, a round eye, fins and fish tail. The headpiece is resting on a wooden plinth. In the foreground is a collection of metal tools used in carving the mask. The photograph is taken inside. [Description from record N.74282.GIJ, PB 20/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Ikwerri", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.", "raw_text_dump": "IDNO\n\nP.169636.GIJ\n\nDescription\n\nA wood carver carving a mask with a machete for the Rumuji Owu play. The man is sitting on stool and is carving a horizontal shaped mask which appears to have the face of a fish, a round eye, fins and fish tail. The headpiece is resting on a wooden plinth. In the foreground is a collection of metal tools used in carving the mask. The photograph is taken inside. [Description from record N.74282.GIJ, PB 20/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ikwerri\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nFM:310123\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169636_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127342_P.169636.GIJ_001.png"}, {"file_name": "P_169636_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127344_P.169636.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "D.169672.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463681", "metadata": {"title": "Untitled", "idno": "D.169672.GIJ", "description": "Onyema Ogadi masquerade consisting of two masqueraders with boy\u2019s mau (spirit masks). The masks are painted white with black markings to accentuate the eyebrows, nose, and mouth. There are small black circles dotted underneath the eyes, nose and chin. The forehead is painted black with incised striations denoting hair. On top of each mask is long raffia \u201chair\u201d. The mask on the right has two dark horns jutting out.\n\nThe masqueraders are wearing striped, woven costumes with raffia skirts; the arms of the masquerade on the left are stretched out and on other the arms are placed on the hips. In the background in the right of the photograph are \u2018attendants\u2019 with white feathers in their hair and one is holding a musical instrument. In the background are spectators (sitting and standing) and trees. [Description from record N.71578.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nD.169672.GIJ\n\nDescription\n\nOnyema Ogadi masquerade consisting of two masqueraders with boy\u2019s mau (spirit masks). The masks are painted white with black markings to accentuate the eyebrows, nose, and mouth. There are small black circles dotted underneath the eyes, nose and chin. The forehead is painted black with incised striations denoting hair. On top of each mask is long raffia \u201chair\u201d. The mask on the right has two dark horns jutting out.\n\nThe masqueraders are wearing striped, woven costumes with raffia skirts; the arms of the masquerade on the left are stretched out and on other the arms are placed on the hips. In the background in the right of the photograph are \u2018attendants\u2019 with white feathers in their hair and one is holding a musical instrument. In the background are spectators (sitting and standing) and trees. [Description from record N.71578.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\n\nFM:310159\n\nImages (Click to view full size):"}, "images": [{"file_name": "D_169672_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127447_P.169672.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.71929.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365200", "metadata": {"title": "Untitled", "idno": "N.71929.GIJ", "description": "A frontal view of a masquerader wearing a wooden face mask. The mask is comical and it is shows a large face with marks on the forehead, slit eyes, rounded nose, puffy cheeks and a pouting or snout like open mouth. The mask is covered in raffia encircling the base of the mask and around the chin. The masquerader is covered in a printed cloth worn like a jumpsuit, and the arms are bent; both hands are touching the chin of the mask. The hands and feet are covered in woolen socks. In the background are vegetation and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 43 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctor , diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nN.71929.GIJ\n\nDescription\n\nA frontal view of a masquerader wearing a wooden face mask. The mask is comical and it is shows a large face with marks on the forehead, slit eyes, rounded nose, puffy cheeks and a pouting or snout like open mouth. The mask is covered in raffia encircling the base of the mask and around the chin. The masquerader is covered in a printed cloth worn like a jumpsuit, and the arms are bent; both hands are touching the chin of the mask. The hands and feet are covered in woolen socks. In the background are vegetation and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 43 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctor , diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nFM:206579\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71929_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657021_N.71929.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169648.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463635", "metadata": {"title": "Untitled", "idno": "P.169648.GIJ", "description": "Head and shoulders portrait of a man wearing a shirt and a knitted hat. There are spectators in the background. [Description from record N.13294.GIJ, PB 20/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.", "raw_text_dump": "IDNO\n\nP.169648.GIJ\n\nDescription\n\nHead and shoulders portrait of a man wearing a shirt and a knitted hat. There are spectators in the background. [Description from record N.13294.GIJ, PB 20/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nFM:310135\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169648_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127388_P.169648.GIJ_001.png"}, {"file_name": "P_169648_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127389_P.169648.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.170255.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464316", "metadata": {"title": "Untitled", "idno": "P.170255.GIJ", "description": "A documentation photograph of one end of a Janus faced wooden stool, now in the care of the Tropenmuseum, Amsterdam. The base of the stool has etched triangular decorations. The legs have carved animal bodies with human faces and the base of the seat has a face with almond-shaped eyes and a wide mouth with teeth. [PB 03/11/2023]", "place": "W Africa; W Europe; Nigeria; Netherlands; South Eastern Nigeria; Benue; Amsterdam; Tropenmuseum", "cultural_affliation": "Idoma", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170255.GIJ - P.170257.GIJ were located loose amongst pile of envelopes and folders.", "raw_text_dump": "IDNO\n\nP.170255.GIJ\n\nDescription\n\nA documentation photograph of one end of a Janus faced wooden stool, now in the care of the Tropenmuseum, Amsterdam. The base of the stool has etched triangular decorations. The legs have carved animal bodies with human faces and the base of the seat has a face with almond-shaped eyes and a wide mouth with teeth. [PB 03/11/2023]\n\nPlace\n\nW Africa; W Europe; Nigeria; Netherlands; South Eastern Nigeria; Benue; Amsterdam; Tropenmuseum\n\nCultural Affliation\n\nIdoma\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170255.GIJ - P.170257.GIJ were located loose amongst pile of envelopes and folders.\n\nFM:310813\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170255_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131605_P.170255.GIJ_001.png"}, {"file_name": "P_170255_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131606_P.170255.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171158.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465219", "metadata": {"title": "Untitled", "idno": "P.171158.GIJ", "description": "Agaba (mgbedike) - 'time of brave and strong' - masquerade depicting a masquerader sitting in front of spectators. The character is is wearing a fierce mask with an elaborately carved helmet-like superstructure decorated with cloth and tassels, and a raffia fringed costume. Spectators are in the background. [PB 21/06/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767078.GIJ - P.767083.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171158.GIJ\n\nDescription\n\nAgaba (mgbedike) - 'time of brave and strong' - masquerade depicting a masquerader sitting in front of spectators. The character is is wearing a fierce mask with an elaborately carved helmet-like superstructure decorated with cloth and tassels, and a raffia fringed costume. Spectators are in the background. [PB 21/06/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767078.GIJ - P.767083.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311849\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171158_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144374_P.171158.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "D.169673.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463682", "metadata": {"title": "Untitled", "idno": "D.169673.GIJ", "description": "A mau (ghost) masquerade which shows a close up view of Iro Ekpetu (\u2018Merciless\u2019). The masquerader, is sitting on a chair and wearing a fierce-looking black carved mask with incised decorative design along the lower forehead, white? painted eyes, pointed nose, bulging mouth with protruding teeth painted ?white, and a raffia hairpiece, and a cloth top. The masquerader is holding a stick in the left hand. Behind the masquerader is a walled compound with mud hut, thatched roof, trees and vegetation.\n[Description from record N.13253.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nAssociated images: N.13239.GIJ; N.13240.GIJ; N.13241.GIJ; N.13242.GIJ; N.13243.GIJ; N.13244.GIJ; N.13245.GIJ; N.13246.GIJ; N.13247.GIJ; N.13248.GIJ; N.13249.GIJ; N.13250.GIJ; N.13251.GIJ; N.13252.GIJ; N.13254.GIJ; N.13255.GIJ; N.13256.GIJ; N.13257.GIJ [all images depicting the Obugulu Mau masquerade in Amuda village]", "raw_text_dump": "IDNO\n\nD.169673.GIJ\n\nDescription\n\nA mau (ghost) masquerade which shows a close up view of Iro Ekpetu (\u2018Merciless\u2019). The masquerader, is sitting on a chair and wearing a fierce-looking black carved mask with incised decorative design along the lower forehead, white? painted eyes, pointed nose, bulging mouth with protruding teeth painted ?white, and a raffia hairpiece, and a cloth top. The masquerader is holding a stick in the left hand. Behind the masquerader is a walled compound with mud hut, thatched roof, trees and vegetation.\n[Description from record N.13253.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nAssociated images: N.13239.GIJ; N.13240.GIJ; N.13241.GIJ; N.13242.GIJ; N.13243.GIJ; N.13244.GIJ; N.13245.GIJ; N.13246.GIJ; N.13247.GIJ; N.13248.GIJ; N.13249.GIJ; N.13250.GIJ; N.13251.GIJ; N.13252.GIJ; N.13254.GIJ; N.13255.GIJ; N.13256.GIJ; N.13257.GIJ [all images depicting the Obugulu Mau masquerade in Amuda village]\n\nFM:310160\n\nImages (Click to view full size):"}, "images": [{"file_name": "D_169673_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127448_P.169673.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.13274.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306546", "metadata": {"title": "Untitled", "idno": "N.13274.GIJ", "description": "Object documentation photograph of a carved wooden stool made for a titled man. The stool has a circular seat with patterns incised on its underside, and a pedestal base which splays into four feet, two of which have been broken.", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha province; ?near Awka; ?Amobia village", "cultural_affliation": "Nri-Awka Igbo; Northern Igbo; Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: See Jones, 1989, p.29 which depicts a variety of Ibo Stools. The same stool in the photograph is labelled \u201cB\u201d with the caption Awka pedestal stool carved in Awka town.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Other Igbo cultural items\n3. \"Awka\" stool Amobia Village, Nri-Awka (14th image).\n\nContext: The Akwa stool consisted of the usual saucer like seat, which was supported on a narrow pedestal splayed out at the base into four feet. Another Akwa variant resembled in profile is an Ashanti stool, but the top and bottom were oval and pointed and not rectangular like the Ashanti one. These and other stools were part of the regalia of the members of the Ozo title society and their carving was developed into a fine art unmatched anywhere in the region (Jones, 1984, p.117).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989 Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13274.GIJ\n\nDescription\n\nObject documentation photograph of a carved wooden stool made for a titled man. The stool has a circular seat with patterns incised on its underside, and a pedestal base which splays into four feet, two of which have been broken.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha province; ?near Awka; ?Amobia village\n\nCultural Affliation\n\nNri-Awka Igbo; Northern Igbo; Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: See Jones, 1989, p.29 which depicts a variety of Ibo Stools. The same stool in the photograph is labelled \u201cB\u201d with the caption Awka pedestal stool carved in Awka town.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Other Igbo cultural items\n3. \"Awka\" stool Amobia Village, Nri-Awka (14th image).\n\nContext: The Akwa stool consisted of the usual saucer like seat, which was supported on a narrow pedestal splayed out at the base into four feet. Another Akwa variant resembled in profile is an Ashanti stool, but the top and bottom were oval and pointed and not rectangular like the Ashanti one. These and other stools were part of the regalia of the members of the Ozo title society and their carving was developed into a fine art unmatched anywhere in the region (Jones, 1984, p.117).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989 Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\n\n\nFM:147924\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13274_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000537_N.13274.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.30453.NWT", "source_url": "https://collections.maa.cam.ac.uk/photographs/323725", "metadata": {"title": "Untitled", "idno": "P.30453.NWT", "description": "On Negative Listing: \"2031. 19. Killing of sheep. ?vozob.\n?kola. [Thomas' manuscript on RAI MS 467-2(1801-2475)]\n\nIn Blench and Alexander Catalogue for N. W. Thomas photograph collection: \u201c2031 location: Amobia; associations: religion?;\u201d [printed text]", "place": "W Africa; Nigeria; south eastern Nigeria; near Awka; Amobia village", "cultural_affliation": "", "named_person": "", "photographer": "Thomas, Northcote Whitridge", "collector_/_expedition": "", "date": "1909 - 1913", "collection_name": "Northcote Thomas Collection", "source": "Thomas, Northcote Whitridge", "format": "Print Black & White", "primary_documentation": "", "other_information": "This print was previously stored in a box in the fourth drawer of a container which has four drawers. The cataloguer has marked the container C70/, the fourth drawer C70/4/ and the box in which this print was kept C70/4/6/.", "raw_text_dump": "IDNO\n\nP.30453.NWT\n\nDescription\n\nOn Negative Listing: \"2031. 19. Killing of sheep. ?vozob.\n?kola. [Thomas' manuscript on RAI MS 467-2(1801-2475)]\n\nIn Blench and Alexander Catalogue for N. W. Thomas photograph collection: \u201c2031 location: Amobia; associations: religion?;\u201d [printed text]\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; near Awka; Amobia village\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nThomas, Northcote Whitridge\n\nCollector / Expedition\n\nDate\n\n1909 - 1913\n\nCollection Name\n\nNorthcote Thomas Collection\n\nSource\n\nThomas, Northcote Whitridge\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis print was previously stored in a box in the fourth drawer of a container which has four drawers. The cataloguer has marked the container C70/, the fourth drawer C70/4/ and the box in which this print was kept C70/4/6/.\n\n\n\nFM:165103\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_30453_NWT_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/860109_P.30453.NWT_001.png"}], "source_id": "maa_cambridge"}
{"id": "T.170106.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464167", "metadata": {"title": "Untitled", "idno": "T.170106.GIJ", "description": "An Ikem masquerade play. A masquerader wearing an Anang carved female face mask over a square frame covered in ca printed cloth and wearing a striped wrapper or waist cloth. The face of the mask is a very naturalistic and human, with accentuated dark eyebrows, eyes, fine nose, marks on both cheeks, and lips, with an elaborate black coiffure parted in the centre and in large plaits or braids, around the neck is a large necklace. The masquerader is holding and umbrella in one hand and a handkerchief in the other. To the side of the masquerader is a man \u201cattendant\u201d holding a musical instrument?; he is wearing a white top and plaid wrapper. Behind is a group of spectators and in the background are thatched houses and trees. [Description from record N.13198.GIJ, PB 22/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Umuahia", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170106.GIJ\n\nDescription\n\nAn Ikem masquerade play. A masquerader wearing an Anang carved female face mask over a square frame covered in ca printed cloth and wearing a striped wrapper or waist cloth. The face of the mask is a very naturalistic and human, with accentuated dark eyebrows, eyes, fine nose, marks on both cheeks, and lips, with an elaborate black coiffure parted in the centre and in large plaits or braids, around the neck is a large necklace. The masquerader is holding and umbrella in one hand and a handkerchief in the other. To the side of the masquerader is a man \u201cattendant\u201d holding a musical instrument?; he is wearing a white top and plaid wrapper. Behind is a group of spectators and in the background are thatched houses and trees. [Description from record N.13198.GIJ, PB 22/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Umuahia\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310634\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170106_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128335_T.170106.GIJ_001.png"}, {"file_name": "T_170106_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128336_T.170106.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.71956.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365227", "metadata": {"title": "Untitled", "idno": "P.71956.GIJ", "description": "A Ngbagba Ikoro masquerade with the principle masquerade character called Otiri who is being touched by an older woman. Otiri is wearing a large head mask consisting of several long feathers, his face is covered with a cloth sack, his body with a woven cloth, and around his waist is a raffia skirt. Otiri is holding a thick white plume in his hand and around his ankles are seed anklets. A group of older women are around him and one is touching him. In the background are spectators watching the play.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71946.GIJ to P.71968.GIJ were found wrapped in paper, now numbered C298/9/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Older woman touching Otiri Ngbagba Ikoro, Abiriba. (4th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nP.71956.GIJ\n\nDescription\n\nA Ngbagba Ikoro masquerade with the principle masquerade character called Otiri who is being touched by an older woman. Otiri is wearing a large head mask consisting of several long feathers, his face is covered with a cloth sack, his body with a woven cloth, and around his waist is a raffia skirt. Otiri is holding a thick white plume in his hand and around his ankles are seed anklets. A group of older women are around him and one is touching him. In the background are spectators watching the play.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71946.GIJ to P.71968.GIJ were found wrapped in paper, now numbered C298/9/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Older woman touching Otiri Ngbagba Ikoro, Abiriba. (4th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nFM:206606\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_71956_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657057_N.71957.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.71551.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364822", "metadata": {"title": "Untitled", "idno": "P.71551.GIJ", "description": "Aguneche euyi (lion elephant) mask displayed on an animal skin; the mask is wooden and consists of anthropomorphised elements - a carved face with arched eyebrows encasing rounded eyes encircled in white? paint, a triangular nose with white line in the centre, a large mouth and extended jaw line depicting large pointed teeth painted white? and two curved horns as \u201cears\u201d, above the face of the mask are two curved horns in the centre, and other pointed horns emanating from the sides. In the centre of the larger horns is a small carved figure - with horns and a white face. On top of the superstructure is a carved animal with a white face. In the background are buildings and vegetation.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo {Ibo]", "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.71504.GIJ to P.71662.GIJ were kept in box 4, now numbered C301/.\nP.71551.GIJ to P.71563.GIJ were found wrapped in paper, now numbered C301/3/.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]", "raw_text_dump": "IDNO\n\nP.71551.GIJ\n\nDescription\n\nAguneche euyi (lion elephant) mask displayed on an animal skin; the mask is wooden and consists of anthropomorphised elements - a carved face with arched eyebrows encasing rounded eyes encircled in white? paint, a triangular nose with white line in the centre, a large mouth and extended jaw line depicting large pointed teeth painted white? and two curved horns as \u201cears\u201d, above the face of the mask are two curved horns in the centre, and other pointed horns emanating from the sides. In the centre of the larger horns is a small carved figure - with horns and a white face. On top of the superstructure is a carved animal with a white face. In the background are buildings and vegetation.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo {Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71504.GIJ to P.71662.GIJ were kept in box 4, now numbered C301/.\nP.71551.GIJ to P.71563.GIJ were found wrapped in paper, now numbered C301/3/.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]\n\nFM:206201\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_71551_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/768894_N.71552.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171510.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465571", "metadata": {"title": "Untitled", "idno": "P.171510.GIJ", "description": "Obugulu Mau (Ghost) masquerade.\nA cut out from a close up portrait of a masquerade character identified as Egu Agu (\u2018Money Finish\u2019); the masquerader is wearing a helmet mask painted white with black markings to accentuate the eyes, nose, mouth and uli designs. The top of the mask is painted in black and white and with a crescent shape at the top; it is decorated with pieces of cloth and tasse. The masquerader is wearing a brightly coloured harlequin-like costume. A cloth shawl is tied around the neck, over woven cloth which is attached to the mask. In the background are trees. [Description from record N.13255.GIJ, PB 26/09/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171490.GIJ - P.171510.GIJ were located in a 'Shell' folder, now numbered C768/5.\n\nP.768169.GIJ and P.768170.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171510.GIJ\n\nDescription\n\nObugulu Mau (Ghost) masquerade.\nA cut out from a close up portrait of a masquerade character identified as Egu Agu (\u2018Money Finish\u2019); the masquerader is wearing a helmet mask painted white with black markings to accentuate the eyes, nose, mouth and uli designs. The top of the mask is painted in black and white and with a crescent shape at the top; it is decorated with pieces of cloth and tasse. The masquerader is wearing a brightly coloured harlequin-like costume. A cloth shawl is tied around the neck, over woven cloth which is attached to the mask. In the background are trees. [Description from record N.13255.GIJ, PB 26/09/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171490.GIJ - P.171510.GIJ were located in a 'Shell' folder, now numbered C768/5.\n\nP.768169.GIJ and P.768170.GIJ are mounted on card.\n\nFM:312211\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171510_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144727_P.171510.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13295.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306567", "metadata": {"title": "Untitled", "idno": "N.13295.GIJ", "description": "Close up portrait of a man wearing a white shirt and holding a staff.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "?Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13295.GIJ\n\nDescription\n\nClose up portrait of a man wearing a white shirt and holding a staff.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\n?Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147945\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13295_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000558_N.13295.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71808.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365079", "metadata": {"title": "Untitled", "idno": "N.71808.GIJ", "description": "A Lughulu \u2018beautiful\u2019 female mask; the mask is carved in oval shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long triangular shaped nose, open mouth with teeth painted white, elliptical shaped ears, circular design on temples, and linear markings in the centre of the forehead adorned with a button, and to the sides. On top are two shapes resembling a coiffure?.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Alayi", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 1 of the negative album now numbered C17/.\n\nPublication: Similar images are found in Jones, 1989, p.16, Figure 8. The caption reads: \u201cLughulu masquerade, Ugwueke Alayi town, Isu-Item Ibo. Mask representing a beautiful female spirit.\u201d and in Jones, 1973, Figure 3, p.59.\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that it conforms to a stylized mode which converts the salient features to geometrical forms. In the Isu-Item maskerade, the beautiful female masks are carved in either a rounded or naturalistic mode while the fierce or comic male masks are stylized(Jones, 1973, pp. 60-61).\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]", "raw_text_dump": "IDNO\n\nN.71808.GIJ\n\nDescription\n\nA Lughulu \u2018beautiful\u2019 female mask; the mask is carved in oval shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long triangular shaped nose, open mouth with teeth painted white, elliptical shaped ears, circular design on temples, and linear markings in the centre of the forehead adorned with a button, and to the sides. On top are two shapes resembling a coiffure?.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Alayi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 1 of the negative album now numbered C17/.\n\nPublication: Similar images are found in Jones, 1989, p.16, Figure 8. The caption reads: \u201cLughulu masquerade, Ugwueke Alayi town, Isu-Item Ibo. Mask representing a beautiful female spirit.\u201d and in Jones, 1973, Figure 3, p.59.\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that it conforms to a stylized mode which converts the salient features to geometrical forms. In the Isu-Item maskerade, the beautiful female masks are carved in either a rounded or naturalistic mode while the fierce or comic male masks are stylized(Jones, 1973, pp. 60-61).\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]\n\nFM:206458\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71808_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656907_N.71808.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169641.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463623", "metadata": {"title": "Untitled", "idno": "P.169641.GIJ", "description": "A full length portrait of a man sitting on a chair outside a house. There are three children in the background. The man is looking at the camera. He is wearing a patterned wrapper. He is working at a hand-driven sewing machine, tailoring patterned material. There is a a roll of palm fencing propped up against a wall to the left of the man and a palm hand-broom on the ground between the roll and the wall. [PB 24/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibo [historically Igbo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.", "raw_text_dump": "IDNO\n\nP.169641.GIJ\n\nDescription\n\nA full length portrait of a man sitting on a chair outside a house. There are three children in the background. The man is looking at the camera. He is wearing a patterned wrapper. He is working at a hand-driven sewing machine, tailoring patterned material. There is a a roll of palm fencing propped up against a wall to the left of the man and a palm hand-broom on the ground between the roll and the wall. [PB 24/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nFM:310128\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169641_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127361_P.169641.GIJ_001.png"}, {"file_name": "P_169641_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127363_P.169641.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71935.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365206", "metadata": {"title": "Untitled", "idno": "N.71935.GIJ", "description": "Four modern masks from the Abiriba tribe. The masks are round and are painted with white and black paint. The characteristics of each mask consist of slit eyes, nose, open mouth and semicircled ears. The facial features are accentuated by the black paint and white paint outlines, the eyes, mouth and lips. The second mask from the left has a projection painted white, the third mask has a rounded hat on top. The one on the right has a linear line in the centre of the forehead. The masks are leaning against a wall.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 70 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nN.71935.GIJ\n\nDescription\n\nFour modern masks from the Abiriba tribe. The masks are round and are painted with white and black paint. The characteristics of each mask consist of slit eyes, nose, open mouth and semicircled ears. The facial features are accentuated by the black paint and white paint outlines, the eyes, mouth and lips. The second mask from the left has a projection painted white, the third mask has a rounded hat on top. The one on the right has a linear line in the centre of the forehead. The masks are leaning against a wall.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 70 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nFM:206585\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71935_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657026_N.71935.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171201.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465262", "metadata": {"title": "Untitled", "idno": "P.171201.GIJ", "description": "A group of males referred to as the body guard wearing coats of mail (hardnut shells). There are ten youths, nine of whom are wearing white hats/caps on their head an one youth with feathers in his hair and holding a mask? in one hand and a machete in the other. The other youth are holding sticks and two are carrying gong instruments. The costume consists of a cloth tunic adorned with the shells of hardnuts, white shorts, and a short raffia skirt around the waist; some of them are wearing bands around the knees. [Description from record N.71596.GIJ, PB 02/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171201.GIJ\n\nDescription\n\nA group of males referred to as the body guard wearing coats of mail (hardnut shells). There are ten youths, nine of whom are wearing white hats/caps on their head an one youth with feathers in his hair and holding a mask? in one hand and a machete in the other. The other youth are holding sticks and two are carrying gong instruments. The costume consists of a cloth tunic adorned with the shells of hardnuts, white shorts, and a short raffia skirt around the waist; some of them are wearing bands around the knees. [Description from record N.71596.GIJ, PB 02/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311892\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171201_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144417_P.171201.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71945.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365216", "metadata": {"title": "Untitled", "idno": "N.71945.GIJ", "description": "The Ngbangbo Ikoro masquerade. The masquerade character is crouched in the centre of the \u2018arena\u2019 and playing a clown. The mask is a dark wooden mask painted with a white pigment and with a projection (painted white) from the centre of the head. Around the mask is a woven cloth. There are spectators sitting and standing in the background. One young boy standing is holding branches in one hand.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 32 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Clown mask Ngbagba Ikoro, Abiriba. (10th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nN.71945.GIJ\n\nDescription\n\nThe Ngbangbo Ikoro masquerade. The masquerade character is crouched in the centre of the \u2018arena\u2019 and playing a clown. The mask is a dark wooden mask painted with a white pigment and with a projection (painted white) from the centre of the head. Around the mask is a woven cloth. There are spectators sitting and standing in the background. One young boy standing is holding branches in one hand.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 32 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Clown mask Ngbagba Ikoro, Abiriba. (10th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nFM:206595\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71945_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657038_N.71945.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "T.170068.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464109", "metadata": {"title": "Untitled", "idno": "T.170068.GIJ", "description": "A portrait of the character Iro Ekpetu (Merciless). The masquerader is wearing a fierce mask, black with fang-like teeth, and a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia. He is carrying a wand or a stick with which to threaten the crowd. Thatched buildings are in the background. [PB 15/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nImage used in Jones G.I. The art of eastern Nigeria. 1984 Cambridge: CUP Fig 10 p 60. Caption: 'Iro Ekpetu: Mau masquerade. Isuochi Ibo.'", "raw_text_dump": "IDNO\n\nT.170068.GIJ\n\nDescription\n\nA portrait of the character Iro Ekpetu (Merciless). The masquerader is wearing a fierce mask, black with fang-like teeth, and a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia. He is carrying a wand or a stick with which to threaten the crowd. Thatched buildings are in the background. [PB 15/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nImage used in Jones G.I. The art of eastern Nigeria. 1984 Cambridge: CUP Fig 10 p 60. Caption: 'Iro Ekpetu: Mau masquerade. Isuochi Ibo.'\n\nFM:310596\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170068_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128217_T.170068.GIJ_001.png"}, {"file_name": "T_170068_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128220_T.170068.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.170869.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464930", "metadata": {"title": "Untitled", "idno": "P.170869.GIJ", "description": "Spectators at a Ngbagba Ikoro masquerade. In the front row a man with a hat and a tunic is sitting on a chair. Alongside women and children are sitting, and another man in a collarless shirt and hat. Behind are standing women, children and men. [PB 04/04/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.170860.GIJ - P.170920.GIJ were located in a Derri Boots box, now numbered C765/.", "raw_text_dump": "IDNO\n\nP.170869.GIJ\n\nDescription\n\nSpectators at a Ngbagba Ikoro masquerade. In the front row a man with a hat and a tunic is sitting on a chair. Alongside women and children are sitting, and another man in a collarless shirt and hat. Behind are standing women, children and men. [PB 04/04/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.170860.GIJ - P.170920.GIJ were located in a Derri Boots box, now numbered C765/.\n\nFM:311527\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170869_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1143912_P.170869.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169874.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463893", "metadata": {"title": "Untitled", "idno": "P.169874.GIJ", "description": "A child sitting on the ground next to a bowl. [PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169874.GIJ\n\nDescription\n\nA child sitting on the ground next to a bowl. [PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310361\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169874_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127839_P.169874.GIJ_001.png"}, {"file_name": "P_169874_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127840_P.169874.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13287.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306559", "metadata": {"title": "Untitled", "idno": "N.13287.GIJ", "description": "A masquerade character called Obaji performing in the Okwanku masquerade. The masquerader is wearing a dark wooden round face mask with defined eyebrows, slits for eyes, triangular shaped nose, round pursed, open mouth, long raffia hair with a felt hat on top. he is wearing a printed wrapper around his waist and he is holding a broom in one hand. In the background is another masquerade character, spectators, a thatched building and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village", "cultural_affliation": "Igbo [historically Ibo]; Ohaffia", "named_person": "Obaji [name of masque character]", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ohafia/Abam Igbo\n2. Okwanko masquerade, Akanu Ohafia\n3. Mask depicting a dibia (healer) (3rd image).\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13287.GIJ\n\nDescription\n\nA masquerade character called Obaji performing in the Okwanku masquerade. The masquerader is wearing a dark wooden round face mask with defined eyebrows, slits for eyes, triangular shaped nose, round pursed, open mouth, long raffia hair with a felt hat on top. he is wearing a printed wrapper around his waist and he is holding a broom in one hand. In the background is another masquerade character, spectators, a thatched building and trees.\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ohaffia\n\nNamed Person\n\nObaji [name of masque character]\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ohafia/Abam Igbo\n2. Okwanko masquerade, Akanu Ohafia\n3. Mask depicting a dibia (healer) (3rd image).\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147937\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13287_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000550_N.13287.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71760.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365031", "metadata": {"title": "Untitled", "idno": "N.71760.GIJ", "description": "A Lughulu comic mask carved of wood. The face of the mask is painted white and it is round in shape with slit eyes enhanced by incised oval markings above and beneath the eyes, the nose is pointed with a dark line through the center, and the mouth is slit. Around the face, dark paint adorns the forehead and side culminating in a rounded stylised design. On top of the face is a central parting with two rounded shapes, possibly horns? or a hairstyle?.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Item", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 69 of the negative album now numbered C17/.\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes fulll-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)Igbo Arts: Community and Cosmos\nCole, H. & C. Aniakor, 1984. (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]", "raw_text_dump": "IDNO\n\nN.71760.GIJ\n\nDescription\n\nA Lughulu comic mask carved of wood. The face of the mask is painted white and it is round in shape with slit eyes enhanced by incised oval markings above and beneath the eyes, the nose is pointed with a dark line through the center, and the mouth is slit. Around the face, dark paint adorns the forehead and side culminating in a rounded stylised design. On top of the face is a central parting with two rounded shapes, possibly horns? or a hairstyle?.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Item\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 69 of the negative album now numbered C17/.\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes fulll-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)Igbo Arts: Community and Cosmos\nCole, H. & C. Aniakor, 1984. (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nFM:206410\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71760_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656870_N.71760.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171323.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465384", "metadata": {"title": "Untitled", "idno": "P.171323.GIJ", "description": "A white face mask on a masquerader. The mask is painted white and has very human and stylised features. The eyes are inset and the pupils are painted white, black eyebrows, elongated nose, protruding ears, defined lips with a black marking above the lip. There is a black line running down the centre of the face. In addition, there are two small black linear lines underneath the eyes and two small black circles on each side of the eyes. The hairline is scalloped and is possibly made of felt or fabric with strips of felt resembling hair. Around the chin is a band with pieces of fabric. In the background is a man in a cloth and some buildings. [Description from record P.71641.GIJ, PB 01/08/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Nsukka division", "cultural_affliation": "Igbo [historically Ibo]; Nsukka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767247.GIJ and P.767248.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171323.GIJ\n\nDescription\n\nA white face mask on a masquerader. The mask is painted white and has very human and stylised features. The eyes are inset and the pupils are painted white, black eyebrows, elongated nose, protruding ears, defined lips with a black marking above the lip. There is a black line running down the centre of the face. In addition, there are two small black linear lines underneath the eyes and two small black circles on each side of the eyes. The hairline is scalloped and is possibly made of felt or fabric with strips of felt resembling hair. Around the chin is a band with pieces of fabric. In the background is a man in a cloth and some buildings. [Description from record P.71641.GIJ, PB 01/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Nsukka division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nsukka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767247.GIJ and P.767248.GIJ are mounted together on card.\n\nFM:312014\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171323_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144539_P.171323.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171253.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465314", "metadata": {"title": "Untitled", "idno": "P.171253.GIJ", "description": "A close up head and shoulders portrait of a masquerade character. The 'fierce' face mask is roughly carved in dark wood, with a low brow over a wide pointed nose and open mouth revealing several spiked teeth. The eyes are inverted almond-shaped and highlighted with light pigment. Around the face is the edge band of a sackcloth covering for the head, neck and shoulders to which is attached festoons of hardnut shells. [PB 12/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra state; Nnewi", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767177.GIJ - P.767179.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171253.GIJ\n\nDescription\n\nA close up head and shoulders portrait of a masquerade character. The 'fierce' face mask is roughly carved in dark wood, with a low brow over a wide pointed nose and open mouth revealing several spiked teeth. The eyes are inverted almond-shaped and highlighted with light pigment. Around the face is the edge band of a sackcloth covering for the head, neck and shoulders to which is attached festoons of hardnut shells. [PB 12/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra state; Nnewi\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767177.GIJ - P.767179.GIJ are mounted together on card.\n\nFM:311944\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171253_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144469_P.171253.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169660.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463660", "metadata": {"title": "Untitled", "idno": "P.169660.GIJ", "description": "Obugulu mau masquerade depicting four masqueraders sitting down. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appliqued costumes with pointed breasts; their hands and feet are covered with cloth. [Description from record P.71525.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka; Amobia village", "cultural_affliation": "Ibo [historically Igbo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169660.GIJ\n\nDescription\n\nObugulu mau masquerade depicting four masqueraders sitting down. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appliqued costumes with pointed breasts; their hands and feet are covered with cloth. [Description from record P.71525.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nFM:310147\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169660_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127424_P.169660.GIJ_001.png"}, {"file_name": "P_169660_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127426_P.169660.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.71880.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365151", "metadata": {"title": "Untitled", "idno": "P.71880.GIJ", "description": "The interior of an Obu House with the close up view of a central pillar consisting of two figures- one male and one female. The figure at the top depicts a male who is seated. He is wearing a black top hat, his face is humanised and painted in two toned colours, his upper torso is painted a dark colour with white and he is holding a carved head in one hand. The figure below is female and she is seated and has a headdress, rounded face with half painted white and the other half a darker colour. Her torso is designed in the centre and she is wearing a cloth around her waist, and she is holding a baby in her hands. She is seated on an incised platform and placed on a large rounded incised pedestal. The walls behind are painted with borders of geometric designs in light and dark colours, and there are heavy incised striations along the bottom of the wall. The door in the back is painted with striped markings.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71880.GIJ to P.71882.GIJ were found wrapped in paper, now numbered C298/7/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. Figures in Obu house Woman with a baby. Above her a man with cutlass and trophy head, Abiriba. (9th image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]", "raw_text_dump": "IDNO\n\nP.71880.GIJ\n\nDescription\n\nThe interior of an Obu House with the close up view of a central pillar consisting of two figures- one male and one female. The figure at the top depicts a male who is seated. He is wearing a black top hat, his face is humanised and painted in two toned colours, his upper torso is painted a dark colour with white and he is holding a carved head in one hand. The figure below is female and she is seated and has a headdress, rounded face with half painted white and the other half a darker colour. Her torso is designed in the centre and she is wearing a cloth around her waist, and she is holding a baby in her hands. She is seated on an incised platform and placed on a large rounded incised pedestal. The walls behind are painted with borders of geometric designs in light and dark colours, and there are heavy incised striations along the bottom of the wall. The door in the back is painted with striped markings.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71880.GIJ to P.71882.GIJ were found wrapped in paper, now numbered C298/7/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. Figures in Obu house Woman with a baby. Above her a man with cutlass and trophy head, Abiriba. (9th image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\n\nFM:206530\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_71880_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656971_N.71881.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169881.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463900", "metadata": {"title": "Untitled", "idno": "P.169881.GIJ", "description": "View of Ekpe (Egbo) society meeting house in Umuajatta (Olokoro) village. The house has a tall thatched roof, and a wall painted by an Anang artist in the style of Ngwomo ghost houses. Surrounded by trees. [Description from record N.13222.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River Area; Umuajatta village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169881.GIJ\n\nDescription\n\nView of Ekpe (Egbo) society meeting house in Umuajatta (Olokoro) village. The house has a tall thatched roof, and a wall painted by an Anang artist in the style of Ngwomo ghost houses. Surrounded by trees. [Description from record N.13222.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River Area; Umuajatta village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310368\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169881_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127849_P.169881.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171234.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465295", "metadata": {"title": "Untitled", "idno": "P.171234.GIJ", "description": "A standing Ikenga figure with two pointed horns smoking a pipe. The wooden figure is rectangular in shape and does not have any arms. The head of the figure has incised striation markings on the face with clearly defined eyes, long nose and mouth with a long thin pipe. The torso is decorated with linear and square geometric patterns, a ruffle like tunic around the waist, and straight legs. [Description from record P.71475.GIJ, PB 04/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767158.GIJ is mounted on card\n\nPublication: in Jones, 1989, Plate 50, p. 143 with the caption: \u201cIkenga smoking a pipe. (P.R.M.) Nri/Awka Ibo\"", "raw_text_dump": "IDNO\n\nP.171234.GIJ\n\nDescription\n\nA standing Ikenga figure with two pointed horns smoking a pipe. The wooden figure is rectangular in shape and does not have any arms. The head of the figure has incised striation markings on the face with clearly defined eyes, long nose and mouth with a long thin pipe. The torso is decorated with linear and square geometric patterns, a ruffle like tunic around the waist, and straight legs. [Description from record P.71475.GIJ, PB 04/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767158.GIJ is mounted on card\n\nPublication: in Jones, 1989, Plate 50, p. 143 with the caption: \u201cIkenga smoking a pipe. (P.R.M.) Nri/Awka Ibo\"\n\nFM:311925\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171234_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144450_P.171234.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.7049.ACH1", "source_url": "https://collections.maa.cam.ac.uk/photographs/300321", "metadata": {"title": "Untitled", "idno": "P.7049.ACH1", "description": "On Catalogue Card: A woman of the south Ekoi country.", "place": "W Africa; Nigeria; south eastern Nigeria; Ekoi country", "cultural_affliation": "", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Mounted Haddon Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "", "raw_text_dump": "IDNO\n\nP.7049.ACH1\n\nDescription\n\nOn Catalogue Card: A woman of the south Ekoi country.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; Ekoi country\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nMounted Haddon Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nFM:141699\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_7049_ACH1_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/866772_P.7049.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169894.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463913", "metadata": {"title": "Untitled", "idno": "P.169894.GIJ", "description": "A shrine with a thatched roof resting on six branches. There is a single mud figure painted white. The figure is painted white? It has a rough body shape, with eyes and mouth highlighted in black? [PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169894.GIJ\n\nDescription\n\nA shrine with a thatched roof resting on six branches. There is a single mud figure painted white. The figure is painted white? It has a rough body shape, with eyes and mouth highlighted in black? [PB 15/12/2022]\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310381\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169894_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127862_P.169894.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171227.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465288", "metadata": {"title": "Untitled", "idno": "P.171227.GIJ", "description": "An object documentation image of an ikenga figure. The male figure is seated on a stool and is holding a head in one hand and a cutlass in the other. The face of the ikenga is long with a high forehead with incised striations and adorned with the characteristic two horns which are curled at the top; one of the horns has twine wrapped around it. [Description from record P.71450.GIJ, PB 04/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767150.GIJ - P.767152.GIJ are mounted together on paper.\n\nPublication: the figures in P.767150.GIJ - P.767152.GIJ are a collage image in Jones, 1984, Plate 36, p. 42 with the caption: \u201cIkenga figures. Nimo town. Nri-Awka Ibo. The one in the centre has a cutlass and a human head; the one on the left is drinking palm wine through a straw.\"", "raw_text_dump": "IDNO\n\nP.171227.GIJ\n\nDescription\n\nAn object documentation image of an ikenga figure. The male figure is seated on a stool and is holding a head in one hand and a cutlass in the other. The face of the ikenga is long with a high forehead with incised striations and adorned with the characteristic two horns which are curled at the top; one of the horns has twine wrapped around it. [Description from record P.71450.GIJ, PB 04/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767150.GIJ - P.767152.GIJ are mounted together on paper.\n\nPublication: the figures in P.767150.GIJ - P.767152.GIJ are a collage image in Jones, 1984, Plate 36, p. 42 with the caption: \u201cIkenga figures. Nimo town. Nri-Awka Ibo. The one in the centre has a cutlass and a human head; the one on the left is drinking palm wine through a straw.\"\n\nFM:311918\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171227_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144443_P.171227.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.170129.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464190", "metadata": {"title": "Untitled", "idno": "T.170129.GIJ", "description": "A long modern ngwomo wall with open ground in front. The wall extends across the ground with several pillars and a central arch, and gently curves in an out. The wall is decorated with paintings. [PB 29/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River Area; Okwu village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; October 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nBibliographical Reference: In Jones, G.I. 1984. The Art of Eastern Nigeria. (Cambridge: CUP), pp.106-7, Jones describes this wall in detail: \"This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with a corrugated iron roof over it framing two sides of their market and public meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the outside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted.\" [PB 29/03/2023]", "raw_text_dump": "IDNO\n\nT.170129.GIJ\n\nDescription\n\nA long modern ngwomo wall with open ground in front. The wall extends across the ground with several pillars and a central arch, and gently curves in an out. The wall is decorated with paintings. [PB 29/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River Area; Okwu village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; October 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nBibliographical Reference: In Jones, G.I. 1984. The Art of Eastern Nigeria. (Cambridge: CUP), pp.106-7, Jones describes this wall in detail: \"This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with a corrugated iron roof over it framing two sides of their market and public meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the outside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted.\" [PB 29/03/2023]\n\nFM:310657\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170129_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128381_T.170129.GIJ_001.png"}, {"file_name": "T_170129_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128382_T.170129.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171601.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465662", "metadata": {"title": "Untitled", "idno": "P.171601.GIJ", "description": "A documentation photograph of two carved wooden ancestral figures, both wearing waist wrappers. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171601.GIJ to P.171603.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171601.GIJ\n\nDescription\n\nA documentation photograph of two carved wooden ancestral figures, both wearing waist wrappers. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171601.GIJ to P.171603.GIJ are mounted on card.\n\nFM:312321\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171601_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144897_P.171601.GIJ_001.jpg"}, {"file_name": "P_171601_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144898_P.171601.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71451.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364722", "metadata": {"title": "Untitled", "idno": "N.71451.GIJ", "description": "Three wooden Ikenga figures; the central figure is the largest of the three. The male figure is seated on a stool and is holding a head in one hand and a cutlass in the other. The face of the\nIkenga is long with a high forehead with incised striations and adorned with the characteristic two horns which are curled at the top; one of the horns has twine wrapped around it. A side view of the other two figures is shown; the one on the left is seated on a stool with a large horn and drinking palm wine through a straw; the figure on the right is standing with knees slightly bent, the face has incised striations on the forehead and two horns. In front of the Ikenga is a wooden object. Behind the objects is a building.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "P.71450.GIJ to P.71456.GIJ were wrapped in paper, now numbered C302/8/ and were presumed to have come from box 5, now numbered C302/.\n\nPublication: Same photograph published in Jones, 1989, Plate 36, p. 42 with the caption: \u201cIkenga figures, Nimo Town, Nri-Akwa Ibo. The one in the centre has a cutlass and a human head; the one on the left is drinking palm wine through a straw. In addition, the figure of the central Ikenga sculpture is also published in Jones, 1984, Plate 51. p.143.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Three Ikenga Nimo, Nri-Awka Igbo (4th image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d In reference to Ikenga figures, he writes, \u201c The best known Ibo personal cult and the one that has given rise to the greatest number of carvings is that of Ikenga, a Lower Niger cult of a man\u2019s right arm and of success associated with it, which the Edo shared with the Western, Northern, most of the Southern Ibo and with Igala groups. The Ohuhu-Ngwa, Cross River and Northeastern Ibo did not participate in it. Most Ibo and Edo had a small cylindrical object with some geometrical carving on it and ending in a pair of pointed horns. Some Western Ibo increased the size so that it looked more like a circular stool . Other Ibo and Edo added a head and some carved a whole figure. The Nri-Akwa Ibo produced the most elaborate cult objects and in the greatest number. Older examples carved by them elaborated the horns and the head, which was shown smoking a pipe. Later ones consisted of complete figures which were shown standing or more usually seated on a circular stool with a cutlass in one hand and a human head in the other or, alternatively, holding a tusk horn and an ornamental staff (Jones, 1989, p.40). Also, see Jones, 1984, pp. 141-142.\n\nContext: Cole and Aniakor write in detail about Ikenga (see Chapter Two). They show that the concept of Ikenga reverberates throughout much of Igbo life . These images are found in the shrines of individual diviners and corporate tutelary cults and as representatives of age-grades and communities. ...They continue to describe that the basic Igbo Ikenga image is a human with horns, sometimes rendered very simply as an abstract head and horns base. Larger, more elaborate examples include fully realized males seated on stools, holding and wearing various symbols, and with more or less complex headdresses determined in part by horns and often including several other motifs (Cole and Aniakor, 1984, p.24).\n\nPublications: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]", "raw_text_dump": "IDNO\n\nN.71451.GIJ\n\nDescription\n\nThree wooden Ikenga figures; the central figure is the largest of the three. The male figure is seated on a stool and is holding a head in one hand and a cutlass in the other. The face of the\nIkenga is long with a high forehead with incised striations and adorned with the characteristic two horns which are curled at the top; one of the horns has twine wrapped around it. A side view of the other two figures is shown; the one on the left is seated on a stool with a large horn and drinking palm wine through a straw; the figure on the right is standing with knees slightly bent, the face has incised striations on the forehead and two horns. In front of the Ikenga is a wooden object. Behind the objects is a building.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71450.GIJ to P.71456.GIJ were wrapped in paper, now numbered C302/8/ and were presumed to have come from box 5, now numbered C302/.\n\nPublication: Same photograph published in Jones, 1989, Plate 36, p. 42 with the caption: \u201cIkenga figures, Nimo Town, Nri-Akwa Ibo. The one in the centre has a cutlass and a human head; the one on the left is drinking palm wine through a straw. In addition, the figure of the central Ikenga sculpture is also published in Jones, 1984, Plate 51. p.143.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Three Ikenga Nimo, Nri-Awka Igbo (4th image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d In reference to Ikenga figures, he writes, \u201c The best known Ibo personal cult and the one that has given rise to the greatest number of carvings is that of Ikenga, a Lower Niger cult of a man\u2019s right arm and of success associated with it, which the Edo shared with the Western, Northern, most of the Southern Ibo and with Igala groups. The Ohuhu-Ngwa, Cross River and Northeastern Ibo did not participate in it. Most Ibo and Edo had a small cylindrical object with some geometrical carving on it and ending in a pair of pointed horns. Some Western Ibo increased the size so that it looked more like a circular stool . Other Ibo and Edo added a head and some carved a whole figure. The Nri-Akwa Ibo produced the most elaborate cult objects and in the greatest number. Older examples carved by them elaborated the horns and the head, which was shown smoking a pipe. Later ones consisted of complete figures which were shown standing or more usually seated on a circular stool with a cutlass in one hand and a human head in the other or, alternatively, holding a tusk horn and an ornamental staff (Jones, 1989, p.40). Also, see Jones, 1984, pp. 141-142.\n\nContext: Cole and Aniakor write in detail about Ikenga (see Chapter Two). They show that the concept of Ikenga reverberates throughout much of Igbo life . These images are found in the shrines of individual diviners and corporate tutelary cults and as representatives of age-grades and communities. ...They continue to describe that the basic Igbo Ikenga image is a human with horns, sometimes rendered very simply as an abstract head and horns base. Larger, more elaborate examples include fully realized males seated on stools, holding and wearing various symbols, and with more or less complex headdresses determined in part by horns and often including several other motifs (Cole and Aniakor, 1984, p.24).\n\nPublications: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]\n\n\n\nFM:206101\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71451_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656596_N.71451.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171132.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465193", "metadata": {"title": "Untitled", "idno": "P.171132.GIJ", "description": "A documentation photograph of a helmet mask for the Okorosie masquerade. A white mask with an elaborate extending headdress. The mask consists of a face with slit eyes, nose and open (damaged) mouth, horn like coiffure and a figure in the centre at the top. The \u201cwhite\u201d mask is decorated with black dots.[Description from record N.13325.GIJ, PB 18/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767056.GIJ is mounted on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171132.GIJ\n\nDescription\n\nA documentation photograph of a helmet mask for the Okorosie masquerade. A white mask with an elaborate extending headdress. The mask consists of a face with slit eyes, nose and open (damaged) mouth, horn like coiffure and a figure in the centre at the top. The \u201cwhite\u201d mask is decorated with black dots.[Description from record N.13325.GIJ, PB 18/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767056.GIJ is mounted on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311823\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171132_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144348_P.171132.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171204.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465265", "metadata": {"title": "Untitled", "idno": "P.171204.GIJ", "description": "An object documentation image of three Mau face masks on display in a museum. The mask in the centre is on a stand and faces the camera. The face is painted white with black hair lined. The forehead has a black star shape from which a line of black runs between the almond shaped eye slits down the nose to the chin. There are ichi marks in black on the cheek and under the eyes. The closed lips are painted red. Raffia grass standards are attached to the neck.\n\nThe two smaller masks are resting on their backs. Their faces are painted white with features roughly carved. The mask on the right has a damaged chin. [PB 04/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Colour Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767128.GIJ is mounted on paper.\n\nThese masks are in the Simon Ottenberg collection.", "raw_text_dump": "IDNO\n\nP.171204.GIJ\n\nDescription\n\nAn object documentation image of three Mau face masks on display in a museum. The mask in the centre is on a stand and faces the camera. The face is painted white with black hair lined. The forehead has a black star shape from which a line of black runs between the almond shaped eye slits down the nose to the chin. There are ichi marks in black on the cheek and under the eyes. The closed lips are painted red. Raffia grass standards are attached to the neck.\n\nThe two smaller masks are resting on their backs. Their faces are painted white with features roughly carved. The mask on the right has a damaged chin. [PB 04/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Colour Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767128.GIJ is mounted on paper.\n\nThese masks are in the Simon Ottenberg collection.\n\n\n\nFM:311895\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171204_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144420_P.171204.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171337.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465398", "metadata": {"title": "Untitled", "idno": "P.171337.GIJ", "description": "Ogbugulu Mau Mask Series. An Ogbugulu Mau helmet mask. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with painted teeth. There are elaborate painted designs above and beneath the eyes and o the cheeks. The top of the mask consists of a dark arched crest with white circles on the top and with swirled incised designs representing uli on the sides of the crest. Pieces of felt fabric are attached to the sides. [Description from record .71405.GIJ, PB 02/08/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri-Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767261.GIJ is mounted on card.", "raw_text_dump": "IDNO\n\nP.171337.GIJ\n\nDescription\n\nOgbugulu Mau Mask Series. An Ogbugulu Mau helmet mask. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with painted teeth. There are elaborate painted designs above and beneath the eyes and o the cheeks. The top of the mask consists of a dark arched crest with white circles on the top and with swirled incised designs representing uli on the sides of the crest. Pieces of felt fabric are attached to the sides. [Description from record .71405.GIJ, PB 02/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri-Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767261.GIJ is mounted on card.\n\n\n\nFM:312028\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171337_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144553_P.171337.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71441.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364712", "metadata": {"title": "Untitled", "idno": "N.71441.GIJ", "description": "A rectangular house consisting of mud walls, two open doors in the front, a mud threshold and a thatched roof. There are four carved panels; the panel on the left depicts a figure in a wrapper holding a tool?; the second panel shows a snake like scroll in the centre with animals and geometric patterns on either side; the third panel shows a figure with knees bent holding a tool?; and the fourth panel carving (leaning on the house) depicts a snake like or zig zag design in the centre flanked by lizards or geckos, birds and geometric patterns. The right side of the house is incised with geometric designs. In the background are houses and vegetation.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "Publication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Other Igbo cultural items\n3. House with carved panels Nri-Awka (9th image).\n\nContext: Jones discusses the various types of houses in Eastern Nigeria according which varied based on the materials available. He writes that, Houses were round with conical roofs in the Savannah zone and rectangular with gabled roofs in the forest. On the Savannah forest margin the forms were transitional; for example square with a conical roof in parts of the North-Eastern Ibo territory. Walls were of mud, solid in the Savannah and in the northern part of the forest zone, plastered on to a lathe-and-stick framework in the southern forests and those of Cross River. Floors were of mud which, as it dried, was flattened with wooden beaters and was then, like the inside of the walls rubbed smooth by hand. This was women\u2019s work: all other work connected with house building was done by men. The roofs were of grass or leaves supported on rafters made from the branches of larger trees and the trunks of smaller ones. There were no windows, and the entrance varied from a small opening through which one had to crawl, to a wood-framed doorway closed by a door which was either pivoted or sliding or, today, hinged (Jones, 1984, p.95). Jones also writes about the panel carving as shown in this photograph. \u201c In addition to carving stools the Nri-Akwa Ibo carvers had perfected the art of decorating wooden panels (which formed the walls of a titled man\u2019s meeting-house), doors and other flat wooden surfaces. The carving was executed with a mallet and a short heavy-headed knife to produce deeply incised geometric patterns. Although most Nri-Akwa carvers were able to decorate the objects they made in this way, the decoration of panels and doors, and more recently of chests by local carpenters was a specialist occupation and there were craftsmen who were engaged almost entirely in this work. As with the stools and bowls, the wood used for doors and panels was hardwood and mainly iroko. The panels were split from balks of iroko but for most this century were planks obtained from pit sawyers. The doors were split from even larger sections of iroko trunks and shaped with cutlasses and adzes to have a projection tang on one side at the top and bottom which could be fitted into a door frame\u201d. (Jones, 1984, pp. 118-119)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nPublication: Image published in a blog 'Traditional Igbo Houses: Architecture and Cultural Significance' by Onyeka Nwokike on 22 July 2024, in 'Igbo Archives: Preserving the Past, Inspiring the Future', and captioned: \"An Igbo house decorated with carvings. Credit: Kaycee Alozie and Isioma Ani.\"\nRelated text notes \"Decorative Elements\nOne of the most striking features of traditional Igbo houses is their decorative elements. The walls are adorned with intricate carvings and vibrant paintings, serving as a symbolic language that conveys various aspects of Igbo life, such as social status, spiritual beliefs, and historical events..\" [source: https://igboarchives.com.ng/traditional-igbo-houses-architecture-and-cultural-significance/ JD 19/02/2025]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/11/2007]", "raw_text_dump": "IDNO\n\nN.71441.GIJ\n\nDescription\n\nA rectangular house consisting of mud walls, two open doors in the front, a mud threshold and a thatched roof. There are four carved panels; the panel on the left depicts a figure in a wrapper holding a tool?; the second panel shows a snake like scroll in the centre with animals and geometric patterns on either side; the third panel shows a figure with knees bent holding a tool?; and the fourth panel carving (leaning on the house) depicts a snake like or zig zag design in the centre flanked by lizards or geckos, birds and geometric patterns. The right side of the house is incised with geometric designs. In the background are houses and vegetation.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Other Igbo cultural items\n3. House with carved panels Nri-Awka (9th image).\n\nContext: Jones discusses the various types of houses in Eastern Nigeria according which varied based on the materials available. He writes that, Houses were round with conical roofs in the Savannah zone and rectangular with gabled roofs in the forest. On the Savannah forest margin the forms were transitional; for example square with a conical roof in parts of the North-Eastern Ibo territory. Walls were of mud, solid in the Savannah and in the northern part of the forest zone, plastered on to a lathe-and-stick framework in the southern forests and those of Cross River. Floors were of mud which, as it dried, was flattened with wooden beaters and was then, like the inside of the walls rubbed smooth by hand. This was women\u2019s work: all other work connected with house building was done by men. The roofs were of grass or leaves supported on rafters made from the branches of larger trees and the trunks of smaller ones. There were no windows, and the entrance varied from a small opening through which one had to crawl, to a wood-framed doorway closed by a door which was either pivoted or sliding or, today, hinged (Jones, 1984, p.95). Jones also writes about the panel carving as shown in this photograph. \u201c In addition to carving stools the Nri-Akwa Ibo carvers had perfected the art of decorating wooden panels (which formed the walls of a titled man\u2019s meeting-house), doors and other flat wooden surfaces. The carving was executed with a mallet and a short heavy-headed knife to produce deeply incised geometric patterns. Although most Nri-Akwa carvers were able to decorate the objects they made in this way, the decoration of panels and doors, and more recently of chests by local carpenters was a specialist occupation and there were craftsmen who were engaged almost entirely in this work. As with the stools and bowls, the wood used for doors and panels was hardwood and mainly iroko. The panels were split from balks of iroko but for most this century were planks obtained from pit sawyers. The doors were split from even larger sections of iroko trunks and shaped with cutlasses and adzes to have a projection tang on one side at the top and bottom which could be fitted into a door frame\u201d. (Jones, 1984, pp. 118-119)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nPublication: Image published in a blog 'Traditional Igbo Houses: Architecture and Cultural Significance' by Onyeka Nwokike on 22 July 2024, in 'Igbo Archives: Preserving the Past, Inspiring the Future', and captioned: \"An Igbo house decorated with carvings. Credit: Kaycee Alozie and Isioma Ani.\"\nRelated text notes \"Decorative Elements\nOne of the most striking features of traditional Igbo houses is their decorative elements. The walls are adorned with intricate carvings and vibrant paintings, serving as a symbolic language that conveys various aspects of Igbo life, such as social status, spiritual beliefs, and historical events..\" [source: https://igboarchives.com.ng/traditional-igbo-houses-architecture-and-cultural-significance/ JD 19/02/2025]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/11/2007]\n\nFM:206091\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71441_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656586_N.71441.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169639.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463618", "metadata": {"title": "Untitled", "idno": "P.169639.GIJ", "description": "A side view of a masquerader dancing in an Ikem Play. The mask consists of a naturalistic female face that depicts inset eyes, arched black eyebrows, nose, open painted mouth and ears. The hairstyle is an elaborate coiffure painted black and consisting of three elongated braids that project upward and outward in bold curves from the top of the head. The face is varnished. Around the upper body is square shaped form that is covered in a light cloth. The masquerader is wearing trousers and several pieces of plaid cloth around the waist and seed anklets. He is holding a decorated stick in one hand. Next to him are the attendants dressed in white shirts and plaid wrappers. In the background are spectators and thatch and mud buildings. [Description from record P.71330.GIJ, PB 20/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Umuahia", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nP.71326.GIJ; P.71334.GIJ [Same scene]\n\nPublication: Same mask in Jones, 1984, p. 185, Figure 93 with the caption, \u201cModern Anang mask\u201d.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ibibio, Ijo and Ogoni\n2. Ibibio\n3. Ikem Masquerade (6th image).\n\nContext: Jones writes about the Cross River Style and the Modern Anang (Ibibio) style . He notes, \u201cThe Cross River masquerade called Ikem spread from Old Calabar to the Ibibio country in the early decades of the twentieth century and Anang carvers were producing by the 1930s, if not well before this, skin-covered heads in this style equal to the best that had been made in Ejagham country and in Old Calabar. There were certain minor differences that distinguished these Anang heads, the most obvious being their drooping upper eyelids. The Ikem masquerade and heads in this modified Cross River diffused into the Umuahia area and as far north as Ozu Item. But the Ikem masquerade seems to have inspired the Akang to produce similar masquerades and their own variant of these heads in what was locally held to be a completely naturalistic style. The hair, eyes and lips were painted in natural colours and in place of the covering of skin the face and neck were painted with clear varnish(as in the photograph). The associated masquerade, which received different names in different areas, was spread widely to their Ibibio and Ibo neighbours. During the colonial period there was an increasing demand for Anang sculpture but primarily for masks, heads and figures in this modern naturalistic style. For it was a very successful compromise between the Traditional Anang (Ibibio) and the \u2018traditional European\u2019 style, meaning by the latter term Victorian naturalism and the classical Greek sculpture which inspired it. Europeans bought this sculpture because it looked sufficiently African but not too African. Nigerians bought it because it looked sufficiently modern and European. In response to this demand Anang carvers developed a minor local industry in the Ikot Ekpene district mass-producing inferior masks, heads, and dolls. The inferiority was due primarily for the buyers\u2019 reluctance to pay for something better (Jones, 1984, pp. 184-185).\u201d\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 16/1/2008]", "raw_text_dump": "IDNO\n\nP.169639.GIJ\n\nDescription\n\nA side view of a masquerader dancing in an Ikem Play. The mask consists of a naturalistic female face that depicts inset eyes, arched black eyebrows, nose, open painted mouth and ears. The hairstyle is an elaborate coiffure painted black and consisting of three elongated braids that project upward and outward in bold curves from the top of the head. The face is varnished. Around the upper body is square shaped form that is covered in a light cloth. The masquerader is wearing trousers and several pieces of plaid cloth around the waist and seed anklets. He is holding a decorated stick in one hand. Next to him are the attendants dressed in white shirts and plaid wrappers. In the background are spectators and thatch and mud buildings. [Description from record P.71330.GIJ, PB 20/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Umuahia\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nP.71326.GIJ; P.71334.GIJ [Same scene]\n\nPublication: Same mask in Jones, 1984, p. 185, Figure 93 with the caption, \u201cModern Anang mask\u201d.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ibibio, Ijo and Ogoni\n2. Ibibio\n3. Ikem Masquerade (6th image).\n\nContext: Jones writes about the Cross River Style and the Modern Anang (Ibibio) style . He notes, \u201cThe Cross River masquerade called Ikem spread from Old Calabar to the Ibibio country in the early decades of the twentieth century and Anang carvers were producing by the 1930s, if not well before this, skin-covered heads in this style equal to the best that had been made in Ejagham country and in Old Calabar. There were certain minor differences that distinguished these Anang heads, the most obvious being their drooping upper eyelids. The Ikem masquerade and heads in this modified Cross River diffused into the Umuahia area and as far north as Ozu Item. But the Ikem masquerade seems to have inspired the Akang to produce similar masquerades and their own variant of these heads in what was locally held to be a completely naturalistic style. The hair, eyes and lips were painted in natural colours and in place of the covering of skin the face and neck were painted with clear varnish(as in the photograph). The associated masquerade, which received different names in different areas, was spread widely to their Ibibio and Ibo neighbours. During the colonial period there was an increasing demand for Anang sculpture but primarily for masks, heads and figures in this modern naturalistic style. For it was a very successful compromise between the Traditional Anang (Ibibio) and the \u2018traditional European\u2019 style, meaning by the latter term Victorian naturalism and the classical Greek sculpture which inspired it. Europeans bought this sculpture because it looked sufficiently African but not too African. Nigerians bought it because it looked sufficiently modern and European. In response to this demand Anang carvers developed a minor local industry in the Ikot Ekpene district mass-producing inferior masks, heads, and dolls. The inferiority was due primarily for the buyers\u2019 reluctance to pay for something better (Jones, 1984, pp. 184-185).\u201d\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 16/1/2008]\n\nFM:310126\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169639_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127354_P.169639.GIJ_001.png"}, {"file_name": "P_169639_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127355_P.169639.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71913.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365184", "metadata": {"title": "Untitled", "idno": "N.71913.GIJ", "description": "A wooden face mask consisting of an oval shaped face with prominent forehead, slit eyes, nose, open mouth, ears and scarification markings in front of the ears, The top of the mask is a circular wooden projection at the top marked with a four leaf clover design. Around the mask is woven twine or braid attached to the holes on the periphery. The mask is dark but features such as the eyes are accentuated by white paint. The mask is propped up against a wall.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 20 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nN.71913.GIJ\n\nDescription\n\nA wooden face mask consisting of an oval shaped face with prominent forehead, slit eyes, nose, open mouth, ears and scarification markings in front of the ears, The top of the mask is a circular wooden projection at the top marked with a four leaf clover design. Around the mask is woven twine or braid attached to the holes on the periphery. The mask is dark but features such as the eyes are accentuated by white paint. The mask is propped up against a wall.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 20 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nFM:206563\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71913_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657013_N.71913.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169677.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463686", "metadata": {"title": "Untitled", "idno": "P.169677.GIJ", "description": "Agu Necheanyi (lion waits for elephant) mask. The mask is unfinished and is being \u201cmodelled\u2019 by a seated man. The mask is unpainted and consists of a carved face with large rounded eyes, pointed nose and large muzzle with pointed teeth, jutting out from the side of the jaw are two curved horns and on the forehead is a small horned animal head and emanating from that are two pointed horns making up the front part of the \u201csuperstructure\u201d with four other projections behind, perched on top is a carved animal, perhaps a dog? with a curled tail. In the background are wooden chairs, thatched huts and trees. [Description from record P.71643.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169677.GIJ\n\nDescription\n\nAgu Necheanyi (lion waits for elephant) mask. The mask is unfinished and is being \u201cmodelled\u2019 by a seated man. The mask is unpainted and consists of a carved face with large rounded eyes, pointed nose and large muzzle with pointed teeth, jutting out from the side of the jaw are two curved horns and on the forehead is a small horned animal head and emanating from that are two pointed horns making up the front part of the \u201csuperstructure\u201d with four other projections behind, perched on top is a carved animal, perhaps a dog? with a curled tail. In the background are wooden chairs, thatched huts and trees. [Description from record P.71643.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nFM:310164\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169677_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127453_P.169677.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.169721.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463730", "metadata": {"title": "Untitled", "idno": "P.169721.GIJ", "description": "Half-length side profile portrait of a man wearing a shirt. [Description from record N.13309.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169721.GIJ\n\nDescription\n\nHalf-length side profile portrait of a man wearing a shirt. [Description from record N.13309.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310208\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169721_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127536_P.169721.GIJ_001.png"}, {"file_name": "P_169721_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127537_P.169721.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13270.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306542", "metadata": {"title": "Untitled", "idno": "N.13270.GIJ", "description": "Close up view of an Akwa stool (in its early stage) being carved by a man. The stool is on its side depicting a round or \u2018saucer like seat\u2019, pedestal and splayed out at the base into four feet. The carver is sitting on a small stool and holding the Akwa stool with one hand carving with a wooden handled axe and iron blade. The carver is wearing a wrapper or cloth around his waist.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?Amobia village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nOn the GI Jones website, www.siu.edu/~anthro/mccall/jones/, under,\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Other Igbo cultural items\n3. Carving a stool Amobia Village, Nri-Awka (15th image).\n\nContext: The Akwa stool consisted of the usual saucer like seat, which was supported on a narrow pedestal splayed out at the base into four feet. Another Akwa variant resembled in profile is an Ashanti stool, but the top and bottom were oval and pointed and not rectangular like the Ashanti one. These and other stools were part of the regalia of the members of the Ozo title society and their carving was developed into a fine art unmatched anywhere in the region (jones, 1984, p.117)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/10/2007]", "raw_text_dump": "IDNO\n\nN.13270.GIJ\n\nDescription\n\nClose up view of an Akwa stool (in its early stage) being carved by a man. The stool is on its side depicting a round or \u2018saucer like seat\u2019, pedestal and splayed out at the base into four feet. The carver is sitting on a small stool and holding the Akwa stool with one hand carving with a wooden handled axe and iron blade. The carver is wearing a wrapper or cloth around his waist.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nOn the GI Jones website, www.siu.edu/~anthro/mccall/jones/, under,\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Other Igbo cultural items\n3. Carving a stool Amobia Village, Nri-Awka (15th image).\n\nContext: The Akwa stool consisted of the usual saucer like seat, which was supported on a narrow pedestal splayed out at the base into four feet. Another Akwa variant resembled in profile is an Ashanti stool, but the top and bottom were oval and pointed and not rectangular like the Ashanti one. These and other stools were part of the regalia of the members of the Ozo title society and their carving was developed into a fine art unmatched anywhere in the region (jones, 1984, p.117)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/10/2007]\n\nFM:147920\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13270_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000533_N.13270.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169793.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463802", "metadata": {"title": "Untitled", "idno": "P.169793.GIJ", "description": "Head and shoulders portrait of a man wearing a cloth around his neck, and standing side on to the camera. There is a palm bush in the background to the right. [PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169791.GIJ - P.169803.GIJ were located in an brown envelope now numbered C754/8/.", "raw_text_dump": "IDNO\n\nP.169793.GIJ\n\nDescription\n\nHead and shoulders portrait of a man wearing a cloth around his neck, and standing side on to the camera. There is a palm bush in the background to the right. [PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169791.GIJ - P.169803.GIJ were located in an brown envelope now numbered C754/8/.\n\nFM:310280\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169793_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127679_P.169793.GIJ_001.png"}, {"file_name": "P_169793_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127680_P.169793.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171102.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465163", "metadata": {"title": "Untitled", "idno": "P.171102.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nUdu Ezuo (World Famous) and Iro Ekeptu (Merciless) performing in a masquerade. Udo Ezuo is standing in the foreground, wearing a white (painted in white clay or gypsum?) head-mask to the top of the head attached to a geometric patterned cloth top, striped leggings, raffia skirt, and ankle-rattles. The mask appears to be similar to a female helmet mask, though the face is above the head of the wearer.\nIro Ekpetu is standing behind Udo Ezuo and is wearing a black,fierce face mask, with eyes and teeth painted white?, raffia hair, cloth tights and top, and a raffia skirt.\nThere are mud and thatch huts, trees, and vegetation in the background. [Description from record N.13243.GIJ, PB 14/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767019.GIJ - P.767028.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Udo Ezu (World famous), G.I. Jones writes in the notes: \"A white faced female head with the neck portion expanded and hollowed out so as to fit over the head like a cap. Wearing a loose fitting \"gown\" of imported blue and white patterned cotton cloth with a raffia skirt and white the sleeves and trouser-legs of local \"Yoruba type\" cloth. I did not see her dancing before any band but only mooning about with the other masks. \"\n\nAbout the character Iro Ekpetu (Merciless), G.I. Jones writes in the notes: \"There were two of these fierce masks, black with fang-like teeth, wearing a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia, and carrying a wand or a stick with which to theaten the crowd.\"", "raw_text_dump": "IDNO\n\nP.171102.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nUdu Ezuo (World Famous) and Iro Ekeptu (Merciless) performing in a masquerade. Udo Ezuo is standing in the foreground, wearing a white (painted in white clay or gypsum?) head-mask to the top of the head attached to a geometric patterned cloth top, striped leggings, raffia skirt, and ankle-rattles. The mask appears to be similar to a female helmet mask, though the face is above the head of the wearer.\nIro Ekpetu is standing behind Udo Ezuo and is wearing a black,fierce face mask, with eyes and teeth painted white?, raffia hair, cloth tights and top, and a raffia skirt.\nThere are mud and thatch huts, trees, and vegetation in the background. [Description from record N.13243.GIJ, PB 14/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767019.GIJ - P.767028.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Udo Ezu (World famous), G.I. Jones writes in the notes: \"A white faced female head with the neck portion expanded and hollowed out so as to fit over the head like a cap. Wearing a loose fitting \"gown\" of imported blue and white patterned cotton cloth with a raffia skirt and white the sleeves and trouser-legs of local \"Yoruba type\" cloth. I did not see her dancing before any band but only mooning about with the other masks. \"\n\nAbout the character Iro Ekpetu (Merciless), G.I. Jones writes in the notes: \"There were two of these fierce masks, black with fang-like teeth, wearing a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia, and carrying a wand or a stick with which to theaten the crowd.\"\n\nFM:311793\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171102_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144318_P.171102.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171143.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465204", "metadata": {"title": "Untitled", "idno": "P.171143.GIJ", "description": "A Mau helmet mask. The face of the mask is painted white with darker paint / pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open and outlined in black. On the temple are two circular etched and raised markings (resembling keloids?) and an etched marking in the centre of the forehead. The arched crest is striated with diagonal incisions and there are round white markings adorning the side of the crest and in the centre. The side of the mask consists of swirled, incised designs representing uli and two etched combs are attached to the \u201chair\u201d. [Description from record N.13331.GIJ, PB 20/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767067.GIJ is mounted on card.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171143.GIJ\n\nDescription\n\nA Mau helmet mask. The face of the mask is painted white with darker paint / pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open and outlined in black. On the temple are two circular etched and raised markings (resembling keloids?) and an etched marking in the centre of the forehead. The arched crest is striated with diagonal incisions and there are round white markings adorning the side of the crest and in the centre. The side of the mask consists of swirled, incised designs representing uli and two etched combs are attached to the \u201chair\u201d. [Description from record N.13331.GIJ, PB 20/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767067.GIJ is mounted on card.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311834\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171143_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144359_P.171143.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169786.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463795", "metadata": {"title": "Untitled", "idno": "P.169786.GIJ", "description": "A portrait of a boy with an infant on his back. He is standing next to a mud wall building. Other children are in the background, peeking around the corner at the camera. [PB 08/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169780.GIJ - P.169790.GIJ were located in an brown envelope now numbered C754/7/.", "raw_text_dump": "IDNO\n\nP.169786.GIJ\n\nDescription\n\nA portrait of a boy with an infant on his back. He is standing next to a mud wall building. Other children are in the background, peeking around the corner at the camera. [PB 08/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169780.GIJ - P.169790.GIJ were located in an brown envelope now numbered C754/7/.\n\nFM:310273\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169786_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127666_P.169786.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.71891.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365162", "metadata": {"title": "Untitled", "idno": "N.71891.GIJ", "description": "The exterior of an Obu House which is rectangular in shape, made of mud with open-fenced areas in front of several wooden carvings. In the centre is a large doorway and a corrugated iron roof. Around the house is a slightly raised platform and a pile of rocks in the foreground. In the background are other mud and thatch buildings.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 31 of the negative album now numbered C19/.\n\nP.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71884.GIJ to P.71892.GIJ were found wrapped in paper, now numbered C298/8/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. Obu house Abiriba. (5th image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nExhibition: Digital reproduction of photograph exhibited in \u2018Afrique, mille vies d\u2019objects / Africa, a thousand lives of objects\u2019 at Mus\u00e9e de Confluences, Lyon, France, from June 2023 \u2013 February 2024. See www.museedesconfluences.fr/en. [JD 25/01/2023]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]", "raw_text_dump": "IDNO\n\nN.71891.GIJ\n\nDescription\n\nThe exterior of an Obu House which is rectangular in shape, made of mud with open-fenced areas in front of several wooden carvings. In the centre is a large doorway and a corrugated iron roof. Around the house is a slightly raised platform and a pile of rocks in the foreground. In the background are other mud and thatch buildings.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 31 of the negative album now numbered C19/.\n\nP.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71884.GIJ to P.71892.GIJ were found wrapped in paper, now numbered C298/8/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. Obu house Abiriba. (5th image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nExhibition: Digital reproduction of photograph exhibited in \u2018Afrique, mille vies d\u2019objects / Africa, a thousand lives of objects\u2019 at Mus\u00e9e de Confluences, Lyon, France, from June 2023 \u2013 February 2024. See www.museedesconfluences.fr/en. [JD 25/01/2023]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\n\nFM:206541\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71891_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656983_N.71891.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171324.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465385", "metadata": {"title": "Untitled", "idno": "P.171324.GIJ", "description": "A white face mask modelled by a man. The mask is white and has very human and stylised features. The eyes are inset and the pupils are painted white, black eyebrows, elongated nose, protruding ears, defined lips with a black marking above the lip. There is a black line running down the centre of the face. In addition, there are two small black linear lines underneath the eyes and two small black circles either side of the eyes. The hairline is scalloped and is possibly made of felt or fabric. Around the chin is a felt, stitched band with pieces of square felt attached; some of the squares have designs cut out of them. In the background is a man in a cloth and some buildings. [Description from record N.13335.GIJ, PB 01/08/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Nsukka division", "cultural_affliation": "Igbo [historically Ibo]; Nsukka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767247.GIJ and P.767248.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171324.GIJ\n\nDescription\n\nA white face mask modelled by a man. The mask is white and has very human and stylised features. The eyes are inset and the pupils are painted white, black eyebrows, elongated nose, protruding ears, defined lips with a black marking above the lip. There is a black line running down the centre of the face. In addition, there are two small black linear lines underneath the eyes and two small black circles either side of the eyes. The hairline is scalloped and is possibly made of felt or fabric. Around the chin is a felt, stitched band with pieces of square felt attached; some of the squares have designs cut out of them. In the background is a man in a cloth and some buildings. [Description from record N.13335.GIJ, PB 01/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Nsukka division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nsukka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767247.GIJ and P.767248.GIJ are mounted together on card.\n\nFM:312015\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171324_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144540_P.171324.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71909.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365180", "metadata": {"title": "Untitled", "idno": "N.71909.GIJ", "description": "A masquerader wearing a wooden face mask. The mask is comical and it is shows a large face with marks on the forehead, slit eyes, rounded nose, puffy cheeks and a pouting or snout like open mouth. The mask is covered in raffia encircling the base of the mask and around the chin. The masquerader is covered in a printed cloth and the arms are bent; both hands are touching the chin of the mask. The hands are covered in woolen socks.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 18 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Igbo\n3. Mask Abiriba. (7th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nN.71909.GIJ\n\nDescription\n\nA masquerader wearing a wooden face mask. The mask is comical and it is shows a large face with marks on the forehead, slit eyes, rounded nose, puffy cheeks and a pouting or snout like open mouth. The mask is covered in raffia encircling the base of the mask and around the chin. The masquerader is covered in a printed cloth and the arms are bent; both hands are touching the chin of the mask. The hands are covered in woolen socks.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 18 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Igbo\n3. Mask Abiriba. (7th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nFM:206559\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71909_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657011_N.71909.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.35336.ACH2", "source_url": "https://collections.maa.cam.ac.uk/photographs/328608", "metadata": {"title": "Untitled", "idno": "N.35336.ACH2", "description": "On Catalogue Card: Native of Ekong.", "place": "W Africa; Nigeria; south eastern Nigeria; Ekong", "cultural_affliation": "", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Unmounted Haddon Collection", "source": "", "format": "Film Negative", "primary_documentation": "", "other_information": "The negative was previously stored in an envelope now numbered C106/105/ which was in a wooden box now marked C106/. The envelope (C106/105/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.", "raw_text_dump": "IDNO\n\nN.35336.ACH2\n\nDescription\n\nOn Catalogue Card: Native of Ekong.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; Ekong\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nUnmounted Haddon Collection\n\nSource\n\nFormat\n\nFilm Negative\n\nPrimary Documentation\n\nOther Information\n\nThe negative was previously stored in an envelope now numbered C106/105/ which was in a wooden box now marked C106/. The envelope (C106/105/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.\n\nFM:169986\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_35336_ACH2_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/607094_cat.P.7048.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171087.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465148", "metadata": {"title": "Untitled", "idno": "P.171087.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nClose up portrait of a masquerade character identified as Egu Agu (\u2018Money Finish\u2019); the masquerader is wearing a helmet mask painted white with black markings to accentuate the eyes, nose, mouth and uli designs. The top of the mask is painted in black and white and with a crescent shape at the top; it is decorated with pieces of cloth and tassel. The masquerader is wearing a brightly coloured harlequin-like costume. A cloth shawl is tied around the neck, over woven cloth which is attached to the mask. In the background are trees. [Description from record N.13255.GIJ, PB 13/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The peformers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Egu Agu (money finish), G.I. Jones writes in the notes: \"A white faced \"Awka\" type of mask with an openwork superstructure of wire or cane covered with coloured wools and wearing a tight fitting costume of cloth covered with appliqued geometric patterns in red, green, blue and other coloured strands of cloth of the typical \"Awka\" Obugulu Mau type. \"Money finish\" indicated the costliness of her maintenance. She had rattles on her ankles and she danced and stamped before the first band, supported by the singing and clapping chorus and led by the piper on his whistle. When she had finished she sat on a chair near by.\"", "raw_text_dump": "IDNO\n\nP.171087.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nClose up portrait of a masquerade character identified as Egu Agu (\u2018Money Finish\u2019); the masquerader is wearing a helmet mask painted white with black markings to accentuate the eyes, nose, mouth and uli designs. The top of the mask is painted in black and white and with a crescent shape at the top; it is decorated with pieces of cloth and tassel. The masquerader is wearing a brightly coloured harlequin-like costume. A cloth shawl is tied around the neck, over woven cloth which is attached to the mask. In the background are trees. [Description from record N.13255.GIJ, PB 13/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The peformers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Egu Agu (money finish), G.I. Jones writes in the notes: \"A white faced \"Awka\" type of mask with an openwork superstructure of wire or cane covered with coloured wools and wearing a tight fitting costume of cloth covered with appliqued geometric patterns in red, green, blue and other coloured strands of cloth of the typical \"Awka\" Obugulu Mau type. \"Money finish\" indicated the costliness of her maintenance. She had rattles on her ankles and she danced and stamped before the first band, supported by the singing and clapping chorus and led by the piper on his whistle. When she had finished she sat on a chair near by.\"\n\nFM:311778\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171087_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144303_P.171087.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.170394.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464455", "metadata": {"title": "Untitled", "idno": "N.170394.GIJ", "description": "A documentary photograph an unfinished mask of Ngbila an Owu water spirit to be worn in an Owu masquerade. The wooden head mask is tall, with a broad central collar of chequered design on a wide neck, above which the face is elongated with large pointed ears. The face has a stud crest on the top of the head, prominent eyelids, a long harrow nose and a straight rectangular mouth with teeth. [PB 24/11/23]", "place": "W Africa; Nigeria; South Eastern Nigeria; Nembe", "cultural_affliation": "Ijo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Glass Negative 1/8 plate", "primary_documentation": "", "other_information": "T.170298.GIJ - ??? were located as loose photos and envelopes in an folder box now numbered C760/.\n\nN.7604001.GIJ - N.7604016.GIJ were located in a Kodak transparency box, now numbered C760/4.\n\nPublication: This mask is featured in in Jones G.I., 1984. The Art of Eastern Nigeria. (Cambridge: CUP), Fig. 75 p. 168, and captioned \"Ngbila: Owu masquerade. Twon village. Nembe state. Central Ijo.\" [PB 24/11/23]", "raw_text_dump": "IDNO\n\nN.170394.GIJ\n\nDescription\n\nA documentary photograph an unfinished mask of Ngbila an Owu water spirit to be worn in an Owu masquerade. The wooden head mask is tall, with a broad central collar of chequered design on a wide neck, above which the face is elongated with large pointed ears. The face has a stud crest on the top of the head, prominent eyelids, a long harrow nose and a straight rectangular mouth with teeth. [PB 24/11/23]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Nembe\n\nCultural Affliation\n\nIjo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nGlass Negative 1/8 plate\n\nPrimary Documentation\n\nOther Information\n\nT.170298.GIJ - ??? were located as loose photos and envelopes in an folder box now numbered C760/.\n\nN.7604001.GIJ - N.7604016.GIJ were located in a Kodak transparency box, now numbered C760/4.\n\nPublication: This mask is featured in in Jones G.I., 1984. The Art of Eastern Nigeria. (Cambridge: CUP), Fig. 75 p. 168, and captioned \"Ngbila: Owu masquerade. Twon village. Nembe state. Central Ijo.\" [PB 24/11/23]\n\nFM:310970\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_170394_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1199405_N.170394.GIJ_001.jpg"}, {"file_name": "N_170394_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1199406_N.170394.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.170132.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464193", "metadata": {"title": "Untitled", "idno": "T.170132.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two figures; one is on the ground with legs open and the other is holding the figure and he has an erect penis. The scene is framed with linear and chevron designs around it.[Description from record N.13223.GIJ, PB 29/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; Umuajatta village", "cultural_affliation": "Anang; Ibibio Olokoro; Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170132.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two figures; one is on the ground with legs open and the other is holding the figure and he has an erect penis. The scene is framed with linear and chevron designs around it.[Description from record N.13223.GIJ, PB 29/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; Umuajatta village\n\nCultural Affliation\n\nAnang; Ibibio Olokoro; Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310660\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170132_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128387_T.170132.GIJ_001.png"}, {"file_name": "T_170132_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128388_T.170132.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13197.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306469", "metadata": {"title": "Untitled", "idno": "N.13197.GIJ", "description": "Carved wooden face mask. With eyes, nose, mouth.\n\nObject documentation photograph.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: Jones provides a detailed description of the masks and the costumes, he writes, \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nIn relation to the mask in the photograph he writes that, \u201cthe carving bears no obvious resemblance to the human or animal form it represents\u201d (Jones, 1989, p.130)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 5/3/2008]Date:", "raw_text_dump": "IDNO\n\nN.13197.GIJ\n\nDescription\n\nCarved wooden face mask. With eyes, nose, mouth.\n\nObject documentation photograph.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: Jones provides a detailed description of the masks and the costumes, he writes, \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nIn relation to the mask in the photograph he writes that, \u201cthe carving bears no obvious resemblance to the human or animal form it represents\u201d (Jones, 1989, p.130)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 5/3/2008]Date:\n\nFM:147847\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13197_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000459_N.13197.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169739.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463748", "metadata": {"title": "Untitled", "idno": "P.169739.GIJ", "description": "A half-length portrait of a man wearing a collarless tunic. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169739.GIJ\n\nDescription\n\nA half-length portrait of a man wearing a collarless tunic. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310226\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169739_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127572_P.169739.GIJ_001.png"}, {"file_name": "P_169739_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127573_P.169739.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13312.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306584", "metadata": {"title": "Untitled", "idno": "N.13312.GIJ", "description": "Close up portrait of a male elder wearing a jacket and head-gear (woolly hat).", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13312.GIJ\n\nDescription\n\nClose up portrait of a male elder wearing a jacket and head-gear (woolly hat).\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147962\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13312_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000575_N.13312.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171608.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465669", "metadata": {"title": "Untitled", "idno": "P.171608.GIJ", "description": "A cut out image of an carved wooden ancestral figure in profile. The figure is male, with angled limbs. A shallow sun hat painted white is on top of its head. [PB 05/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Obogwe", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171608.GIJ to P.171612.GIJ are mounted on card.\n\nImages P.171608.GIJ to P.171612.GIJ are of the same figures.", "raw_text_dump": "IDNO\n\nP.171608.GIJ\n\nDescription\n\nA cut out image of an carved wooden ancestral figure in profile. The figure is male, with angled limbs. A shallow sun hat painted white is on top of its head. [PB 05/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Obogwe\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171608.GIJ to P.171612.GIJ are mounted on card.\n\nImages P.171608.GIJ to P.171612.GIJ are of the same figures.\n\nFM:312328\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171608_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144911_P.171608.GIJ_001.jpg"}, {"file_name": "P_171608_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144912_P.171608.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71659.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364930", "metadata": {"title": "Untitled", "idno": "N.71659.GIJ", "description": "A wooden Ikenga figure seated on a round circular stool. The figure is holding a staff in one hand and a sack? in the other. The head of the Ikenga figure consists of a delicately carved face with incised markings in the centre of the forehead, underneath the eyes, and cheeks. Tne facial features are delicate and include almond shaped eyes, nose, lips and rounded ears, placed on top of the head are two curved horns. The figure is \u2018dressed \u2018 and there are decorative incisions round the neck, a protruding umbilicus, pleated wrapper and coiled rings around the ankles.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Achalla", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "Publication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Another view of the same Ikenga Nri-Awka Igbo (6th image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d In reference to Ikenga figures, he writes, \u201c The best known Ibo personal cult and the one that has given rise to the greatest number of carvings is that of Ikenga, a Lower Niger cult of a man\u2019s right arm and of success associated with it, which the Edo shared with the Western, Northern, most of the Southern Ibo and with Igala groups. The Ohuhu-Ngwa, Cross River and Northeastern Ibo did not participate in it. Most Ibo and Edo had a small cylindrical object with some geometrical carving on it and ending in a pair of pointed horns. Some Western Ibo increased the size so that it looked more like a circular stool . Other Ibo and Edo added a head and some carved a whole figure. The Nri-Akwa Ibo produced the most elaborate cult objects and in the greatest number. Older examples carved by them elaborated the horns and the head, which was shown smoking a pipe. Later ones consisted of complete figures which were shown standing or more usually seated on a circular stool with a cutlass in one hand and a human head in the other or, alternatively, holding a tusk horn and an ornamental staff (Jones, 1989, p.40). Also, see Jones, 1984, pp. 141-142.\n\nContext: Cole and Aniakor write in detail about Ikenga (see Chapter Two). They show that the concept of Ikenga reverberates throughout much of Igbo life . These images are found in the shrines of individual diviners and corporate tutelary cults and as representatives of age-grades and communities. ...They continue to describe that the basic Igbo Ikenga image is a human with horns, sometimes rendered very simply as an abstract head and horns base. Larger, more elaborate examples include fully realized males seated on stools, holding and wearing various symbols, and with more or less complex headdresses determined in part by horns and often including several other motifs (Cole and Aniakor, 1984, p.24).\n\nPublications: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989 Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71659.GIJ\n\nDescription\n\nA wooden Ikenga figure seated on a round circular stool. The figure is holding a staff in one hand and a sack? in the other. The head of the Ikenga figure consists of a delicately carved face with incised markings in the centre of the forehead, underneath the eyes, and cheeks. Tne facial features are delicate and include almond shaped eyes, nose, lips and rounded ears, placed on top of the head are two curved horns. The figure is \u2018dressed \u2018 and there are decorative incisions round the neck, a protruding umbilicus, pleated wrapper and coiled rings around the ankles.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Achalla\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Another view of the same Ikenga Nri-Awka Igbo (6th image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d In reference to Ikenga figures, he writes, \u201c The best known Ibo personal cult and the one that has given rise to the greatest number of carvings is that of Ikenga, a Lower Niger cult of a man\u2019s right arm and of success associated with it, which the Edo shared with the Western, Northern, most of the Southern Ibo and with Igala groups. The Ohuhu-Ngwa, Cross River and Northeastern Ibo did not participate in it. Most Ibo and Edo had a small cylindrical object with some geometrical carving on it and ending in a pair of pointed horns. Some Western Ibo increased the size so that it looked more like a circular stool . Other Ibo and Edo added a head and some carved a whole figure. The Nri-Akwa Ibo produced the most elaborate cult objects and in the greatest number. Older examples carved by them elaborated the horns and the head, which was shown smoking a pipe. Later ones consisted of complete figures which were shown standing or more usually seated on a circular stool with a cutlass in one hand and a human head in the other or, alternatively, holding a tusk horn and an ornamental staff (Jones, 1989, p.40). Also, see Jones, 1984, pp. 141-142.\n\nContext: Cole and Aniakor write in detail about Ikenga (see Chapter Two). They show that the concept of Ikenga reverberates throughout much of Igbo life . These images are found in the shrines of individual diviners and corporate tutelary cults and as representatives of age-grades and communities. ...They continue to describe that the basic Igbo Ikenga image is a human with horns, sometimes rendered very simply as an abstract head and horns base. Larger, more elaborate examples include fully realized males seated on stools, holding and wearing various symbols, and with more or less complex headdresses determined in part by horns and often including several other motifs (Cole and Aniakor, 1984, p.24).\n\nPublications: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989 Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206309\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71659_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656761_N.71659.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71503.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364774", "metadata": {"title": "Untitled", "idno": "N.71503.GIJ", "description": "A man holding two Lugbulu masks; a female mask and a male mask. The mask on the left is a comic male mask which is dark in colour, the mask has rounded eyes accentuated in white paint a small nose and square open mouth; the cheeks are swollen and look puffy; the mask on the right is the female mask. It is lighter in colour with delicate features; circular designs on the forehead, slit eyes, long nose and pursed mouth; the top of the mask culminates in a pointed coiffure. The man is wearing a shirt and a plaid wrapper around his waist. In the background is a wall and a shaded area with raffia.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Umuahia; Uzuakoli area", "cultural_affliation": "Igbo [historically Ibo]; Item", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 94 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Item Igbo\n3. Lugbulu Mask Man holding \u2018female\u2019 mask and \u2018comic male\u2019 mask (1st image).\n\nPublication: A reproduction of this image was displayed in Collected Sights in the section G.I. Jones\u2019 Photographs of Nigerian Masquerades with the descriptive label: \u201cMan holding Lugulu masks of the Item tribe, one female and one comic male.\u201d (Herle et al, 2001). Jones also mentions the Lugulu masks as small masks which only covered part of the wearer\u2019s face (Jones, 1984,p.210).\n\nBibliographical Reference:\nHerle, A. with R. Boast and S.Guha (2001) Collected Sights: Photographic Collection from Museum of Archaeology and Anthropology 1860s-1930s (Cambridge).\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/11/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71503.GIJ\n\nDescription\n\nA man holding two Lugbulu masks; a female mask and a male mask. The mask on the left is a comic male mask which is dark in colour, the mask has rounded eyes accentuated in white paint a small nose and square open mouth; the cheeks are swollen and look puffy; the mask on the right is the female mask. It is lighter in colour with delicate features; circular designs on the forehead, slit eyes, long nose and pursed mouth; the top of the mask culminates in a pointed coiffure. The man is wearing a shirt and a plaid wrapper around his waist. In the background is a wall and a shaded area with raffia.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Umuahia; Uzuakoli area\n\nCultural Affliation\n\nIgbo [historically Ibo]; Item\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 94 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Item Igbo\n3. Lugbulu Mask Man holding \u2018female\u2019 mask and \u2018comic male\u2019 mask (1st image).\n\nPublication: A reproduction of this image was displayed in Collected Sights in the section G.I. Jones\u2019 Photographs of Nigerian Masquerades with the descriptive label: \u201cMan holding Lugulu masks of the Item tribe, one female and one comic male.\u201d (Herle et al, 2001). Jones also mentions the Lugulu masks as small masks which only covered part of the wearer\u2019s face (Jones, 1984,p.210).\n\nBibliographical Reference:\nHerle, A. with R. Boast and S.Guha (2001) Collected Sights: Photographic Collection from Museum of Archaeology and Anthropology 1860s-1930s (Cambridge).\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/11/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206153\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71503_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656644_N.71503.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169852.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463867", "metadata": {"title": "Untitled", "idno": "P.169852.GIJ", "description": "A masquerader in an Ogbukere masquerade dancing. There are women dancing behind the masquerader, and drummers alongside. A crowd of spectators and houses are the background. The masquerade character Asele (Beloved daughter mask). The mask consists of a wooden horizontal base that is abstract and displays various geometric shapes and protrusions.\n\nThe mask is known as Asele Asele (Water Spirit head mask) and from the Ijaw and Abua groups, in the Bayelsa River area. [Information by Bolcit Byanyik and, Justina Eke-Abuiya, National Museum Headquarters, Abuja, Nigeria, Onime Wilson, National Museum Lagos, and Emily Isaa-Emmanuel, Lafia Museum, Abuja, Nigeria, JD 8/13/2013]\n\n[PB 05/01/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria: Cross Rivers State", "cultural_affliation": "Igbo {Ibo]; South Ikwerri", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169852.GIJ\n\nDescription\n\nA masquerader in an Ogbukere masquerade dancing. There are women dancing behind the masquerader, and drummers alongside. A crowd of spectators and houses are the background. The masquerade character Asele (Beloved daughter mask). The mask consists of a wooden horizontal base that is abstract and displays various geometric shapes and protrusions.\n\nThe mask is known as Asele Asele (Water Spirit head mask) and from the Ijaw and Abua groups, in the Bayelsa River area. [Information by Bolcit Byanyik and, Justina Eke-Abuiya, National Museum Headquarters, Abuja, Nigeria, Onime Wilson, National Museum Lagos, and Emily Isaa-Emmanuel, Lafia Museum, Abuja, Nigeria, JD 8/13/2013]\n\n[PB 05/01/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria: Cross Rivers State\n\nCultural Affliation\n\nIgbo {Ibo]; South Ikwerri\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310339\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169852_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127802_P.169852.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171136.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465197", "metadata": {"title": "Untitled", "idno": "P.171136.GIJ", "description": "Agu Necheanyi (lion waits for elephant) mask. The mask is unfinished and is being \u201cmodelled\u2019 by a seated male. The mask is unpainted and consists of a carved face with large rounded eyes, pointed nose and large muzzle with pointed teeth, jutting out from the side of the jaw are two curved horns and on the forehead is a small head and emanating from that are two pointed horns making up the front part of the \u201csuperstructure\u201d with four other projections behind, perched on top is a carved animal, perhaps a dog? with a curled tail. In the background are wooden chairs, thatched huts and trees. [Description from record P.71593.GIJ, PB 20/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767058.GIJ - P.767060.GIJ are mounted together on card.\n\nNote: This image is a cut out of the mask from the original image.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171136.GIJ\n\nDescription\n\nAgu Necheanyi (lion waits for elephant) mask. The mask is unfinished and is being \u201cmodelled\u2019 by a seated male. The mask is unpainted and consists of a carved face with large rounded eyes, pointed nose and large muzzle with pointed teeth, jutting out from the side of the jaw are two curved horns and on the forehead is a small head and emanating from that are two pointed horns making up the front part of the \u201csuperstructure\u201d with four other projections behind, perched on top is a carved animal, perhaps a dog? with a curled tail. In the background are wooden chairs, thatched huts and trees. [Description from record P.71593.GIJ, PB 20/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767058.GIJ - P.767060.GIJ are mounted together on card.\n\nNote: This image is a cut out of the mask from the original image.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311827\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171136_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144352_P.171136.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.170260.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464321", "metadata": {"title": "Untitled", "idno": "P.170260.GIJ", "description": "Close up view of Ekpo face mask. Representation of an oval face with rimmed head, high forehead with two round keloid markings, almond shaped eyes, nose, protruding cheeks, open mouth with inicised teeth, whiskers on either side of the mouth, and large rounded ears. Plant fibres surround the mask. The mask is highly polished darkened wood. [Description from record N.13183.GIJ, PB 03/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene; ?Ikot Abia village", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.", "raw_text_dump": "IDNO\n\nP.170260.GIJ\n\nDescription\n\nClose up view of Ekpo face mask. Representation of an oval face with rimmed head, high forehead with two round keloid markings, almond shaped eyes, nose, protruding cheeks, open mouth with inicised teeth, whiskers on either side of the mouth, and large rounded ears. Plant fibres surround the mask. The mask is highly polished darkened wood. [Description from record N.13183.GIJ, PB 03/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene; ?Ikot Abia village\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.\n\n\nFM:310818\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170260_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131685_P.170260.GIJ_001.png"}, {"file_name": "P_170260_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131686_P.170260.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171606.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465667", "metadata": {"title": "Untitled", "idno": "P.171606.GIJ", "description": "A documentation photograph of two carved wooden ancestral figures, standing in the yard of a compound. The taller male figure on the left is in profile. The forehead of the figure is incised with lines and petal like decoration, with a domed hat on top of the head. The shorter female figure on the right is standing at an angle with back to camera. The back of the figure is flat. [PB 05/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Inyogugu", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171606.GIJ and P.171607.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171606.GIJ\n\nDescription\n\nA documentation photograph of two carved wooden ancestral figures, standing in the yard of a compound. The taller male figure on the left is in profile. The forehead of the figure is incised with lines and petal like decoration, with a domed hat on top of the head. The shorter female figure on the right is standing at an angle with back to camera. The back of the figure is flat. [PB 05/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Inyogugu\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171606.GIJ and P.171607.GIJ are mounted on card.\n\nFM:312326\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171606_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144907_P.171606.GIJ_001.jpg"}, {"file_name": "P_171606_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144908_P.171606.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "D.169671.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463680", "metadata": {"title": "Untitled", "idno": "D.169671.GIJ", "description": "A half length portrait of man in profile. The location is a village or town in Nigeria. There is a tree and a large house with a thatched roof in the background. The man is wearing a pith helmet. He has a striped cloth wrapped diagonally over his left shoulder and across his chest, and another length of cloth draped over the same shoulder. [PB 24/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nD.169671.GIJ\n\nDescription\n\nA half length portrait of man in profile. The location is a village or town in Nigeria. There is a tree and a large house with a thatched roof in the background. The man is wearing a pith helmet. He has a striped cloth wrapped diagonally over his left shoulder and across his chest, and another length of cloth draped over the same shoulder. [PB 24/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nFM:310158\n\nImages (Click to view full size):"}, "images": [{"file_name": "D_169671_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127446_P.169671.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.71843.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365114", "metadata": {"title": "Untitled", "idno": "N.71843.GIJ", "description": "The interior of an Obu House with a large wooden sculpture. The sculpture consists of a figure sitting on a carved stool. The figure is humanised and holding a machete in one hand a head in the other. The face of the figure is stylised and there are incised markings on the forehead, distinctive facial features, thick neck, and stylised incised markings on the feet. In front of the sculpture are pieces of twine, animal skulls, bones, and wood. Inside the building are wooden railings and blocks of buttressing or support columns. The roof is made up of wooden? rafters and there is a door in the background.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 1 of the negative album now numbered C19/.\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 5/12/2007]", "raw_text_dump": "IDNO\n\nN.71843.GIJ\n\nDescription\n\nThe interior of an Obu House with a large wooden sculpture. The sculpture consists of a figure sitting on a carved stool. The figure is humanised and holding a machete in one hand a head in the other. The face of the figure is stylised and there are incised markings on the forehead, distinctive facial features, thick neck, and stylised incised markings on the feet. In front of the sculpture are pieces of twine, animal skulls, bones, and wood. Inside the building are wooden railings and blocks of buttressing or support columns. The roof is made up of wooden? rafters and there is a door in the background.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 1 of the negative album now numbered C19/.\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 5/12/2007]\n\nFM:206493\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71843_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656935_N.71843.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71865.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365136", "metadata": {"title": "Untitled", "idno": "N.71865.GIJ", "description": "The interior of an Obu House with a frontal view of a large wooden figure holding a baby. The face of the sculpture consists of a humanised female figure with carved arched eyebrows, elliptical shaped eyes, string nose, lips and curved ears. On top of the head is a crested and rounded coiffure? The figure is holding a figure or baby in its hand. The figure is damaged with woodworm and the figure was painted in dark and light colours. Behind the sculpture is a block wall and a wooden railing,", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 58 of the negative album now numbered C19/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. Figures in Obu house Female with pot on head, male with cutlass and trophy head, Abiriba. (8th image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and enga\nge in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]", "raw_text_dump": "IDNO\n\nN.71865.GIJ\n\nDescription\n\nThe interior of an Obu House with a frontal view of a large wooden figure holding a baby. The face of the sculpture consists of a humanised female figure with carved arched eyebrows, elliptical shaped eyes, string nose, lips and curved ears. On top of the head is a crested and rounded coiffure? The figure is holding a figure or baby in its hand. The figure is damaged with woodworm and the figure was painted in dark and light colours. Behind the sculpture is a block wall and a wooden railing,\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 58 of the negative album now numbered C19/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. Figures in Obu house Female with pot on head, male with cutlass and trophy head, Abiriba. (8th image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and enga\nge in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\n\nFM:206515\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71865_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656956_N.71865.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.170243.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464304", "metadata": {"title": "Untitled", "idno": "P.170243.GIJ", "description": "A documentation photograph of a wooden face mask. The mask is propped against a mud wall and resting on slatted wood. The mask has a fringe of raffia. The face combines human and animal features, with a long bird's beak, a short pointed nose, wide eyeholes in rimmed eye recesses. There are notched ridges in middle forehead and temples. [PB 02/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Abak division", "cultural_affliation": "Anang; Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170232.GIJ - P.170243.GIJ were located in a brown envelope, now numbered C759/1.\n\nPublication: Image published in Jones G.I. The art of eastern Nigeria. 1984 Cambridge: CUP. Fig 89 p 180, and captioned: \"Mask with bird's beak: Ekpo masquerade (N.M.). Anang (Ibibio).\" [PB 03/11/2023]", "raw_text_dump": "IDNO\n\nP.170243.GIJ\n\nDescription\n\nA documentation photograph of a wooden face mask. The mask is propped against a mud wall and resting on slatted wood. The mask has a fringe of raffia. The face combines human and animal features, with a long bird's beak, a short pointed nose, wide eyeholes in rimmed eye recesses. There are notched ridges in middle forehead and temples. [PB 02/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Abak division\n\nCultural Affliation\n\nAnang; Ibibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170232.GIJ - P.170243.GIJ were located in a brown envelope, now numbered C759/1.\n\nPublication: Image published in Jones G.I. The art of eastern Nigeria. 1984 Cambridge: CUP. Fig 89 p 180, and captioned: \"Mask with bird's beak: Ekpo masquerade (N.M.). Anang (Ibibio).\" [PB 03/11/2023]\n\nFM:310801\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170243_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131590_P.170243.GIJ_001.png"}, {"file_name": "P_170243_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131591_P.170243.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171100.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465161", "metadata": {"title": "Untitled", "idno": "P.171100.GIJ", "description": "An Ogbugulu mau (ghost) masquerade which shows a frontal view of Iro Ekpetu (\u2018Merciless\u2019). The masquerader is standing in the centre of the compound with his arms stretched out, wearing a fierce-looking black carved mask with incised decorative design along the lower forehead, white? painted eyes, pointed nose, bulging mouth with protruding teeth painted white?, and a cloth top, trousers and a raffia skirt tied around the waist. The masquerader is holding a stick in the left hand. Behind the masquerader is a walled compound with mud huts and thatched roofs, trees and vegetation. [Description from record N.13247.GIJ, PB 14/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767019.GIJ - P.767028.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Iro Ekpetu (Merciless), G.I. Jones writes in the notes: \"There were two of these fierce masks, black with fang-like teeth, wearing a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia, and carrying a wand or a stick with which to theaten the crowd.\"", "raw_text_dump": "IDNO\n\nP.171100.GIJ\n\nDescription\n\nAn Ogbugulu mau (ghost) masquerade which shows a frontal view of Iro Ekpetu (\u2018Merciless\u2019). The masquerader is standing in the centre of the compound with his arms stretched out, wearing a fierce-looking black carved mask with incised decorative design along the lower forehead, white? painted eyes, pointed nose, bulging mouth with protruding teeth painted white?, and a cloth top, trousers and a raffia skirt tied around the waist. The masquerader is holding a stick in the left hand. Behind the masquerader is a walled compound with mud huts and thatched roofs, trees and vegetation. [Description from record N.13247.GIJ, PB 14/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767019.GIJ - P.767028.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Iro Ekpetu (Merciless), G.I. Jones writes in the notes: \"There were two of these fierce masks, black with fang-like teeth, wearing a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia, and carrying a wand or a stick with which to theaten the crowd.\"\n\nFM:311791\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171100_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144316_P.171100.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13188.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306460", "metadata": {"title": "Untitled", "idno": "N.13188.GIJ", "description": "A close up view of two Ibibio masqueraders kneeling down on the ground. The masquerader on the left is holding the chin of the mask with one hand and a stick in the other. The face of the wooden mask is round and consists of a high protruding forehead, slit eyes, nose, two slits on either dies of the nose, open mouth with teeth. There is a triangular white border around the forehead with two incised arched hair designs ending in coiled braids. The face is dark with white markings under the eyes, on the sides of the cheeks and mouth. Raffia or plant fibre is attached as a \u201chairpiece\u201d. The costume consists of a dark shirt and woven cloth around the waist. The masquerader on the right is holding white sticks in one hand. The face of the wooden mask is round and consists of slit eyes, nose and mouth with three markings on the side of the face. There is a border around the forehead and two coiled horns emanate from the sides of the head. The face is dark with white diagonal markings from the eyelids to the cheeks and around the border of the head. Raffia or plant fibre is attached as a \u201chairpiece\u201d. The costume is made of plant fibre. In the background are spectators.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Umuahia; Uzuakoli area", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ibibio, Ijo and Ogoni\n2. Ibibio\n3. Two masquerades from Uzuakoli (1st image).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13188.GIJ\n\nDescription\n\nA close up view of two Ibibio masqueraders kneeling down on the ground. The masquerader on the left is holding the chin of the mask with one hand and a stick in the other. The face of the wooden mask is round and consists of a high protruding forehead, slit eyes, nose, two slits on either dies of the nose, open mouth with teeth. There is a triangular white border around the forehead with two incised arched hair designs ending in coiled braids. The face is dark with white markings under the eyes, on the sides of the cheeks and mouth. Raffia or plant fibre is attached as a \u201chairpiece\u201d. The costume consists of a dark shirt and woven cloth around the waist. The masquerader on the right is holding white sticks in one hand. The face of the wooden mask is round and consists of slit eyes, nose and mouth with three markings on the side of the face. There is a border around the forehead and two coiled horns emanate from the sides of the head. The face is dark with white diagonal markings from the eyelids to the cheeks and around the border of the head. Raffia or plant fibre is attached as a \u201chairpiece\u201d. The costume is made of plant fibre. In the background are spectators.\n\n\n\n\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Umuahia; Uzuakoli area\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ibibio, Ijo and Ogoni\n2. Ibibio\n3. Two masquerades from Uzuakoli (1st image).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147838\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13188_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000450_N.13188.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.170898.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464959", "metadata": {"title": "Untitled", "idno": "P.170898.GIJ", "description": "View of a Nri Awka brass-smith sitting cross-legged on a board on top of a folded chair, fitting brass rings on to the legs of a young woman who is sitting on a chair in front of him. The man is just fitting a brass ring to her left leg, her right leg already has rings from her ankle to her thigh. The man is wearing a floppy broad-brimmed hat and a waistcloth. The woman is wearing a patterns head cloth and a wrapped. They are positioned in front of a mud brick wall on which is incised? or embossed? a wheel design. [PB 05/04/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.170860.GIJ - P.170920.GIJ were located in a Derri Boots box, now numbered C765/.", "raw_text_dump": "IDNO\n\nP.170898.GIJ\n\nDescription\n\nView of a Nri Awka brass-smith sitting cross-legged on a board on top of a folded chair, fitting brass rings on to the legs of a young woman who is sitting on a chair in front of him. The man is just fitting a brass ring to her left leg, her right leg already has rings from her ankle to her thigh. The man is wearing a floppy broad-brimmed hat and a waistcloth. The woman is wearing a patterns head cloth and a wrapped. They are positioned in front of a mud brick wall on which is incised? or embossed? a wheel design. [PB 05/04/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.170860.GIJ - P.170920.GIJ were located in a Derri Boots box, now numbered C765/.\n\nFM:311556\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170898_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1143954_P.170898.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71468.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364739", "metadata": {"title": "Untitled", "idno": "N.71468.GIJ", "description": "A documentation photograph of three white face masks.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 56 of the negative album now numbered C16/.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. Publication: [Alicia Fentiman 26/3/2008]", "raw_text_dump": "IDNO\n\nN.71468.GIJ\n\nDescription\n\nA documentation photograph of three white face masks.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 56 of the negative album now numbered C16/.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. Publication: [Alicia Fentiman 26/3/2008]\n\nFM:206118\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71468_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656603_N.71468.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "T.170105.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464166", "metadata": {"title": "Untitled", "idno": "T.170105.GIJ", "description": "The interior of an Obu House with four wooden Obu house figures. The figures are all painted in white and darker colour pigments. From left to right:\nThe first figure depicts a male standing in a frontal position. The figure is painted white with darker colours. He is wearing a rounded hat with a rim, stylised facial features, elongated torso and adorned with a woven cloth around the waist. He is holding a gun? in one hand.\nThe second figure depicts a female and she is standing in a frontal position and holding a bowl or calabash in one hand. She has an elaborate cone-like hairstyle with a rounded top, a stylised face, a long torso with etched scarification markings down the centre of the body and two geometric square patterns around the umbilicus; she is wearing a cloth wrapper around the waist\nThe third figure depicts a male and he is wearing a rounded hat, sitting on a stool an holding an umbrella or parasol. The head is rounded and the face is stylised; his torso is painted in stripes, and he is wearing a wrapper around the waist.\nThe fourth figure appears to be kneeling and is carrying a rounded tray on his head with two carved heads ad a bird. The head is round and with almond shaped eyes, nose and large lips,torso of the figure is painted in light and dark stripes. He is holding a lead and an animal, probably a dog? is carved with a rounded, spiralled tail. The figures are \u201cframed\u201d by two decorated walls? or columns? on either side. The interior of the room is decorated and painted. [Description from record P.71856.GIJ, PB 22/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 19894", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170105.GIJ\n\nDescription\n\nThe interior of an Obu House with four wooden Obu house figures. The figures are all painted in white and darker colour pigments. From left to right:\nThe first figure depicts a male standing in a frontal position. The figure is painted white with darker colours. He is wearing a rounded hat with a rim, stylised facial features, elongated torso and adorned with a woven cloth around the waist. He is holding a gun? in one hand.\nThe second figure depicts a female and she is standing in a frontal position and holding a bowl or calabash in one hand. She has an elaborate cone-like hairstyle with a rounded top, a stylised face, a long torso with etched scarification markings down the centre of the body and two geometric square patterns around the umbilicus; she is wearing a cloth wrapper around the waist\nThe third figure depicts a male and he is wearing a rounded hat, sitting on a stool an holding an umbrella or parasol. The head is rounded and the face is stylised; his torso is painted in stripes, and he is wearing a wrapper around the waist.\nThe fourth figure appears to be kneeling and is carrying a rounded tray on his head with two carved heads ad a bird. The head is round and with almond shaped eyes, nose and large lips,torso of the figure is painted in light and dark stripes. He is holding a lead and an animal, probably a dog? is carved with a rounded, spiralled tail. The figures are \u201cframed\u201d by two decorated walls? or columns? on either side. The interior of the room is decorated and painted. [Description from record P.71856.GIJ, PB 22/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 19894\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310633\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170105_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128333_T.170105.GIJ_001.png"}, {"file_name": "T_170105_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128334_T.170105.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71873.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365144", "metadata": {"title": "Untitled", "idno": "N.71873.GIJ", "description": "The interior of an Obu House with the close up view of a two wooden figures and pillars. The figure on the left is standing upright and consists of a rounded head with facial features accentuated with large arched eyebrows, white painted eyes, nose, white lips and three square geometric designs on the side of the face. The torso is rounded in the shoulders with an elongated upper torso decorated with a white line running down the centre, around the waist is a striped cloth wrapper. The other figure is the bottom part of a pillar and depicts the upper torso of a figure with a rounded face with a distinctive hairline and squarish carved incised object on the top of the head. The upper torso is decorated with a dark paint in a triangular pattern adorning the centre of the chest. The wooden pillars are painted and a semicircular pattern is distinct along the right hand side. A partial glimpse of a male is visible in the far right.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 45 of the negative album now numbered C19/.\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]", "raw_text_dump": "IDNO\n\nN.71873.GIJ\n\nDescription\n\nThe interior of an Obu House with the close up view of a two wooden figures and pillars. The figure on the left is standing upright and consists of a rounded head with facial features accentuated with large arched eyebrows, white painted eyes, nose, white lips and three square geometric designs on the side of the face. The torso is rounded in the shoulders with an elongated upper torso decorated with a white line running down the centre, around the waist is a striped cloth wrapper. The other figure is the bottom part of a pillar and depicts the upper torso of a figure with a rounded face with a distinctive hairline and squarish carved incised object on the top of the head. The upper torso is decorated with a dark paint in a triangular pattern adorning the centre of the chest. The wooden pillars are painted and a semicircular pattern is distinct along the right hand side. A partial glimpse of a male is visible in the far right.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 45 of the negative album now numbered C19/.\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\n\nFM:206523\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71873_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656964_N.71873.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13206.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306478", "metadata": {"title": "Untitled", "idno": "N.13206.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts a figure, probably a policeman, standing with his hand stretched out holding his belt. He is dressed in white top and trousers, high socks and a black hat. Around him are geometric designs.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Umuajatta village; ?Okwu village", "cultural_affliation": "Anang; Ibibio Olokoro; Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13206.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts a figure, probably a policeman, standing with his hand stretched out holding his belt. He is dressed in white top and trousers, high socks and a black hat. Around him are geometric designs.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Umuajatta village; ?Okwu village\n\nCultural Affliation\n\nAnang; Ibibio Olokoro; Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147856\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13206_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000468_N.13206.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13294.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306566", "metadata": {"title": "Untitled", "idno": "N.13294.GIJ", "description": "Head and shoulders portrait of a man wearing a shirt and a knitted hat. There are spectators in the background.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13294.GIJ\n\nDescription\n\nHead and shoulders portrait of a man wearing a shirt and a knitted hat. There are spectators in the background.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\n\nFM:147944\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13294_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000557_N.13294.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.30461.NWT", "source_url": "https://collections.maa.cam.ac.uk/photographs/323733", "metadata": {"title": "Untitled", "idno": "P.30461.NWT", "description": "On Negative Listing: \"2036. 24. Burning of sheep. [Thomas' manuscript on RAI MS 467-2(1801-2475)]\n\nIn Blench and Alexander Catalogue for N. W. Thomas photograph collection: \u201c2036 location: Amobia; associations: religion?;\u201d [printed text]", "place": "W Africa; Nigeria; south eastern Nigeria; near Awka; Amobia village", "cultural_affliation": "", "named_person": "", "photographer": "Thomas, Northcote Whitridge", "collector_/_expedition": "", "date": "1909 - 1913", "collection_name": "Northcote Thomas Collection", "source": "Thomas, Northcote Whitridge", "format": "Print Black & White", "primary_documentation": "", "other_information": "This print was previously stored in a box in the fourth drawer of a container which has four drawers. The cataloguer has marked the container C70/, the fourth drawer C70/4/ and the box in which this print was kept C70/4/6/.", "raw_text_dump": "IDNO\n\nP.30461.NWT\n\nDescription\n\nOn Negative Listing: \"2036. 24. Burning of sheep. [Thomas' manuscript on RAI MS 467-2(1801-2475)]\n\nIn Blench and Alexander Catalogue for N. W. Thomas photograph collection: \u201c2036 location: Amobia; associations: religion?;\u201d [printed text]\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; near Awka; Amobia village\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nThomas, Northcote Whitridge\n\nCollector / Expedition\n\nDate\n\n1909 - 1913\n\nCollection Name\n\nNorthcote Thomas Collection\n\nSource\n\nThomas, Northcote Whitridge\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis print was previously stored in a box in the fourth drawer of a container which has four drawers. The cataloguer has marked the container C70/, the fourth drawer C70/4/ and the box in which this print was kept C70/4/6/.\n\n\n\nFM:165111\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_30461_NWT_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/860118_P.30461.NWT_001.png"}, {"file_name": "P_30461_NWT_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/860119_P.30461.NWT_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.71939.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365210", "metadata": {"title": "Untitled", "idno": "N.71939.GIJ", "description": "Two men standing against a wall \u201cmodelling\u201d two wooden face masks, The mask on the left is a dark rounded mask with an overhanging forehead, slit eyes, open squarish mouth, etched markings the side and a crest-like fan, incised protrusion on the top. The man is wearing a short sleeved shirt and he is holding the mask with one one hand. The mask on the right is more rectangular in shape with squared eyes, long pointed nose, slightly protruding jaw and lips. Facial features such as the eyes are outlined in white. On the top of the mask is an incised ridge or crest. In the background is a mud building with an open window.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 75 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nN.71939.GIJ\n\nDescription\n\nTwo men standing against a wall \u201cmodelling\u201d two wooden face masks, The mask on the left is a dark rounded mask with an overhanging forehead, slit eyes, open squarish mouth, etched markings the side and a crest-like fan, incised protrusion on the top. The man is wearing a short sleeved shirt and he is holding the mask with one one hand. The mask on the right is more rectangular in shape with squared eyes, long pointed nose, slightly protruding jaw and lips. Facial features such as the eyes are outlined in white. On the top of the mask is an incised ridge or crest. In the background is a mud building with an open window.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 75 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nFM:206589\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71939_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657030_N.71939.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169656.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463652", "metadata": {"title": "Untitled", "idno": "P.169656.GIJ", "description": "Members of a band playing various musical instruments, including an igba (membrane drum) which is slung over the shoulder of the drummer with a shoulder strap and beaten by the drummer, udu (pot drum), ogene (gong) made of metal, rattles made from basket containers, and a ngedegwu (xylophone). In the right of the photograph, one young man is wearing a white striped cloth wrapper and a white woven cap and appears to be playing a wind instrument such as an oja (flute). The man standing next is wearing woven white trousers rolled up to his knees and appears to be playing an instrument. The man next to him is wearing a loin cloth with feathers attached to a head covering and holding a machete/cutlass. Behind are more band members of varying ages and in the background are spectators and trees. [Description from record P.71612.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River area", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169656.GIJ\n\nDescription\n\nMembers of a band playing various musical instruments, including an igba (membrane drum) which is slung over the shoulder of the drummer with a shoulder strap and beaten by the drummer, udu (pot drum), ogene (gong) made of metal, rattles made from basket containers, and a ngedegwu (xylophone). In the right of the photograph, one young man is wearing a white striped cloth wrapper and a white woven cap and appears to be playing a wind instrument such as an oja (flute). The man standing next is wearing woven white trousers rolled up to his knees and appears to be playing an instrument. The man next to him is wearing a loin cloth with feathers attached to a head covering and holding a machete/cutlass. Behind are more band members of varying ages and in the background are spectators and trees. [Description from record P.71612.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River area\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nFM:310143\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169656_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127411_P.169656.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171269.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465330", "metadata": {"title": "Untitled", "idno": "P.171269.GIJ", "description": "An object documentation photograph of four carved wooden staffs. They are displayed against a white blanket which is being held from above on a wall by a man in shorts, whose legs and arms can be seen at the top of the image. The staff on the left is plain and thin. It has a finial of three carved feathers and has carved garlands hanging from its top and middle. The other staffs have rounded finials and are carved and notched along their lengths. [PB 12/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767193.GIJ - P.767195.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171269.GIJ\n\nDescription\n\nAn object documentation photograph of four carved wooden staffs. They are displayed against a white blanket which is being held from above on a wall by a man in shorts, whose legs and arms can be seen at the top of the image. The staff on the left is plain and thin. It has a finial of three carved feathers and has carved garlands hanging from its top and middle. The other staffs have rounded finials and are carved and notched along their lengths. [PB 12/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767193.GIJ - P.767195.GIJ are mounted together on card.\n\nFM:311960\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171269_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144485_P.171269.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.170272.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464333", "metadata": {"title": "Untitled", "idno": "P.170272.GIJ", "description": "Close up view of Ekpo face mask, fringed with plant fibres. The face with rimmed head band, a low forehead with large almond shaped eyes, a broad nose, shallow cheeks, and a closed mouth. [PB 03/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Otoro village", "cultural_affliation": "Anang; Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.", "raw_text_dump": "IDNO\n\nP.170272.GIJ\n\nDescription\n\nClose up view of Ekpo face mask, fringed with plant fibres. The face with rimmed head band, a low forehead with large almond shaped eyes, a broad nose, shallow cheeks, and a closed mouth. [PB 03/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Otoro village\n\nCultural Affliation\n\nAnang; Ibibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.\n\nFM:310830\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170272_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131710_P.170272.GIJ_001.png"}, {"file_name": "P_170272_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131711_P.170272.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169865.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463884", "metadata": {"title": "Untitled", "idno": "P.169865.GIJ", "description": "An Okorosie or Okoroshi masquerade with a full length portrait of the masquerade character identified as Akatakpuru. The masquerader is wearing a dark \u2018fierce\u2019 face mask that is rectangular in shape at the top and rounded at the bottom. The forehead is edged and the eyes are white bulbous circles, rectangular nose and rounded jaw and chin. The mouth is open with pointed teeth. The masquerader is wearing a dark woven cloth and raffia fronds around the waist, seed anklets and holding a stick in one hand. In the background are spectators and trees.\n[PB 12/01/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; South Ikwerri", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169865.GIJ\n\nDescription\n\nAn Okorosie or Okoroshi masquerade with a full length portrait of the masquerade character identified as Akatakpuru. The masquerader is wearing a dark \u2018fierce\u2019 face mask that is rectangular in shape at the top and rounded at the bottom. The forehead is edged and the eyes are white bulbous circles, rectangular nose and rounded jaw and chin. The mouth is open with pointed teeth. The masquerader is wearing a dark woven cloth and raffia fronds around the waist, seed anklets and holding a stick in one hand. In the background are spectators and trees.\n[PB 12/01/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; South Ikwerri\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310352\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169865_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127826_P.169865.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.71830.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365101", "metadata": {"title": "Untitled", "idno": "N.71830.GIJ", "description": "An elder at the Ajonku Masquerade in Ovim Village. The elder is leaning on a stick/cane and is wearing a wrapper tied around his waist and has a piece of cloth resting on his shoulder. Near him are young boys and an older male dressed in white tops and wrappers. In the background are spectators, trees, and buildings.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Isu Ikuru Ato", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 88 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Isu Ikwu Ato\n3. Elder attending Ajouku masquerade Ovim village (2nd image).\nP.71728.GIJ to P.71831.GIJ were kept in box 14, now numbered C300/.\n\nContext: In reference to the Abam/Ohaffia area, Jones writes that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin-covered heads in the Cross-River Style, usually called Ajonku. But they also had masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of the Abiriba. All these tribes, but particularly the Abiriba, were great doctors and traders and travelled extensively in the Cross River area and through the Ibibio country to the coastal trading states. Anang (Ibibio) sculpture was greatly admired, but it does not seem to have had much influence on the local styles\u201d (Jones, 1984, p.208)\n\nContext: Cole and Aniakor talk about the skin covered masks and headdresses which were common in the Cross River Area. Through the work of Nicklin, Salmons, Jones and Campbell, some provenances of these masquerades are now being sorted out. It is acknowledged that Ejagham peoples originated the genre, but not often mentioned that Cross River Igbo were also exponents of it, creating some variants that stand as important works of art. Examples are documented from Isu-Item, Bende, Umuahia, Abiribia, Ohafia, Arochukwu, and some north-eastern Igbo peoples, and it is probable that a number of of masks labeled Ekoi are also of Igbo origin. They were danced in the masquerades of men\u2019s societies: Ekpe (Ohuhu-Ngwa), Ikem, Oiyima, Ajonkwu, Ekong, and probably others as well...Jones\u2019 designation of \u201cCross River Style\u201d for these and other skin covered masks is understandable since the peoples of the region carved for one another in several substyles, traded dances and associations, and thus confounded any but the most broad classifications. (Cole and Aniakor, 1984, p.182). [AF 3/12/2007]\n\nBibliographical Reference: A brief history is provided by Emmanuel Eze on the website: History, Culture and Politics in Isuikwuato LGA; Emmanuel Eze reporting from Abia\nSubmitted on 25/07/2005\nIsuikwuato is one of the Local Government Areas in Abia state. The name itself means a union of three main components or kindreds as [ikwu] represents in igbo language. It is bounded in the North by by Uturu, in the east by Alayi, to the suoth by Akoli and Mkpa, and to the west by Otanchara and Otanzu. However, the present political structure of Isuikwuato has Uturu as part of it.\nThe people of Isuikwuato speak Igbo language though with a distinct dialect. The people are quite friendly and hospitable. They are into farming as the area has a large landmass though it is hilly and undulating as per the topography. In addition, they are also businessmen cum women and professionals in different fields. Like all other igbos they are seasoned sojourners and can be found in all parts of Nigeria and beyond.\nOwing to the topography of Isuikwuato, there are many rivers cum streams from were the indigenes get their water, the only difficulty being the long distance .\nIn recent times, the area has come to produce great Academicians and intellectuals one of whom is Dr Chinweizu; Author of Anatomy of Female Power, among others.\nThere are a number of cultural celebrations such as the Ajonkwu in Ovim[ Ovum], Ebo in Umuobiala and the New Yam festival which is a general festival in Igboland. [Source: nigerianmasses.com, AF 3/12/2007]\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 3/12/2007]", "raw_text_dump": "IDNO\n\nN.71830.GIJ\n\nDescription\n\nAn elder at the Ajonku Masquerade in Ovim Village. The elder is leaning on a stick/cane and is wearing a wrapper tied around his waist and has a piece of cloth resting on his shoulder. Near him are young boys and an older male dressed in white tops and wrappers. In the background are spectators, trees, and buildings.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isu Ikuru Ato\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 88 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Isu Ikwu Ato\n3. Elder attending Ajouku masquerade Ovim village (2nd image).\nP.71728.GIJ to P.71831.GIJ were kept in box 14, now numbered C300/.\n\nContext: In reference to the Abam/Ohaffia area, Jones writes that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin-covered heads in the Cross-River Style, usually called Ajonku. But they also had masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of the Abiriba. All these tribes, but particularly the Abiriba, were great doctors and traders and travelled extensively in the Cross River area and through the Ibibio country to the coastal trading states. Anang (Ibibio) sculpture was greatly admired, but it does not seem to have had much influence on the local styles\u201d (Jones, 1984, p.208)\n\nContext: Cole and Aniakor talk about the skin covered masks and headdresses which were common in the Cross River Area. Through the work of Nicklin, Salmons, Jones and Campbell, some provenances of these masquerades are now being sorted out. It is acknowledged that Ejagham peoples originated the genre, but not often mentioned that Cross River Igbo were also exponents of it, creating some variants that stand as important works of art. Examples are documented from Isu-Item, Bende, Umuahia, Abiribia, Ohafia, Arochukwu, and some north-eastern Igbo peoples, and it is probable that a number of of masks labeled Ekoi are also of Igbo origin. They were danced in the masquerades of men\u2019s societies: Ekpe (Ohuhu-Ngwa), Ikem, Oiyima, Ajonkwu, Ekong, and probably others as well...Jones\u2019 designation of \u201cCross River Style\u201d for these and other skin covered masks is understandable since the peoples of the region carved for one another in several substyles, traded dances and associations, and thus confounded any but the most broad classifications. (Cole and Aniakor, 1984, p.182). [AF 3/12/2007]\n\nBibliographical Reference: A brief history is provided by Emmanuel Eze on the website: History, Culture and Politics in Isuikwuato LGA; Emmanuel Eze reporting from Abia\nSubmitted on 25/07/2005\nIsuikwuato is one of the Local Government Areas in Abia state. The name itself means a union of three main components or kindreds as [ikwu] represents in igbo language. It is bounded in the North by by Uturu, in the east by Alayi, to the suoth by Akoli and Mkpa, and to the west by Otanchara and Otanzu. However, the present political structure of Isuikwuato has Uturu as part of it.\nThe people of Isuikwuato speak Igbo language though with a distinct dialect. The people are quite friendly and hospitable. They are into farming as the area has a large landmass though it is hilly and undulating as per the topography. In addition, they are also businessmen cum women and professionals in different fields. Like all other igbos they are seasoned sojourners and can be found in all parts of Nigeria and beyond.\nOwing to the topography of Isuikwuato, there are many rivers cum streams from were the indigenes get their water, the only difficulty being the long distance .\nIn recent times, the area has come to produce great Academicians and intellectuals one of whom is Dr Chinweizu; Author of Anatomy of Female Power, among others.\nThere are a number of cultural celebrations such as the Ajonkwu in Ovim[ Ovum], Ebo in Umuobiala and the New Yam festival which is a general festival in Igboland. [Source: nigerianmasses.com, AF 3/12/2007]\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 3/12/2007]\n\nFM:206480\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71830_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656925_N.71830.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.35327.ACH2", "source_url": "https://collections.maa.cam.ac.uk/photographs/328599", "metadata": {"title": "Untitled", "idno": "N.35327.ACH2", "description": "On Catalogue Card: Ekoi people. No. 21 side face from a village farther N. than the others. He is in a yam stack.", "place": "W Africa; Nigeria; south eastern Nigeria", "cultural_affliation": "", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Unmounted Haddon Collection", "source": "", "format": "Film Negative", "primary_documentation": "", "other_information": "The negative was previously stored in an envelope now numbered C106/96/ which was in a wooden box now marked C106/. The envelope (C106/96/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.", "raw_text_dump": "IDNO\n\nN.35327.ACH2\n\nDescription\n\nOn Catalogue Card: Ekoi people. No. 21 side face from a village farther N. than the others. He is in a yam stack.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nUnmounted Haddon Collection\n\nSource\n\nFormat\n\nFilm Negative\n\nPrimary Documentation\n\nOther Information\n\nThe negative was previously stored in an envelope now numbered C106/96/ which was in a wooden box now marked C106/. The envelope (C106/96/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.\n\nFM:169977\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_35327_ACH2_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/607086_cat.P.7050.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171104.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465165", "metadata": {"title": "Untitled", "idno": "P.171104.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nAwo Ohia (Traveller or he who travels through the bush) wearing a striped, netted costume covering the body and head, the netting on the head is black. A rattle is attached to the waist, probably made of seed? or shell?. In the background is a mud walled compound, thatched hut, trees and vegetation.\n[Description from record N.13245.GIJ, PB 14/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767019.GIJ - P.767028.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Awo Ohia (Traveller), G.I. Jones writes in the notes: \"Another fierce character in the close-fitting costume of the Egbo Runners of the Cross River Ekpe (Egbo) masquerades, and borrowed, no doubt, from the Ekpe (Egbo) masquerades of the Bende division. He lacked the usual handbell at the waist but wore instead a belt of large snail shells,.\"", "raw_text_dump": "IDNO\n\nP.171104.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nAwo Ohia (Traveller or he who travels through the bush) wearing a striped, netted costume covering the body and head, the netting on the head is black. A rattle is attached to the waist, probably made of seed? or shell?. In the background is a mud walled compound, thatched hut, trees and vegetation.\n[Description from record N.13245.GIJ, PB 14/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767019.GIJ - P.767028.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Awo Ohia (Traveller), G.I. Jones writes in the notes: \"Another fierce character in the close-fitting costume of the Egbo Runners of the Cross River Ekpe (Egbo) masquerades, and borrowed, no doubt, from the Ekpe (Egbo) masquerades of the Bende division. He lacked the usual handbell at the waist but wore instead a belt of large snail shells,.\"\n\nFM:311795\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171104_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144320_P.171104.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171286.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465347", "metadata": {"title": "Untitled", "idno": "P.171286.GIJ", "description": "View of a painted wooden model of a train inside a building. Electricity pylons run parallel with the track, and in the foreground a man figure wearing a helmet smoking a pipe is sitting on a chair at a table with two wine bottles on it. The pylon behind the chair has the word 'Dancer' painted on it. The interior walls are painted with multi-coloured? patterns. The building has a corrugated iron roof. [Description from record T.169982.GIJ, PB 18/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Enugu; Nike", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767209.GIJ - P.767210.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171286.GIJ\n\nDescription\n\nView of a painted wooden model of a train inside a building. Electricity pylons run parallel with the track, and in the foreground a man figure wearing a helmet smoking a pipe is sitting on a chair at a table with two wine bottles on it. The pylon behind the chair has the word 'Dancer' painted on it. The interior walls are painted with multi-coloured? patterns. The building has a corrugated iron roof. [Description from record T.169982.GIJ, PB 18/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Enugu; Nike\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767209.GIJ - P.767210.GIJ are mounted together on card.\n\nFM:311977\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171286_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144502_P.171286.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169658.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463655", "metadata": {"title": "Untitled", "idno": "P.169658.GIJ", "description": "Young adult males performing in an age set dance, surrounded by crowds. Male in centre is wearing waist ornaments and bands, some of which have bells attached to them, knee-rattles, and head-gear (which appears to be a wig with pale round ornaments sewn onto it). [Description from record N.13259.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169658.GIJ\n\nDescription\n\nYoung adult males performing in an age set dance, surrounded by crowds. Male in centre is wearing waist ornaments and bands, some of which have bells attached to them, knee-rattles, and head-gear (which appears to be a wig with pale round ornaments sewn onto it). [Description from record N.13259.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nFM:310145\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169658_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127415_P.169658.GIJ_001.png"}, {"file_name": "P_169658_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127418_P.169658.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171322.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465383", "metadata": {"title": "Untitled", "idno": "P.171322.GIJ", "description": "A close up view of a Mau helmet mask. The face of the mask is painted white with darker paint / pigments to accentuate the etched and raised eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with painted white teeth. There are painted and incised designs on the forehead, around the eyes, and three circular etched markings on the temples (raised markings representative of keloids). The top of the mask consists of swirled, incised designs representing uli with horns jutting out and a carved animal. [Description from record N.13330.GIJ, PB 01/08/2024]", "place": "W Africa; Nigeria; Southeastern Nigeria; South Eastern Nigeria; Niger River area", "cultural_affliation": "Nri-Awka Igbo; Northern Igbo; Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767245.GIJ and P.767246.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171322.GIJ\n\nDescription\n\nA close up view of a Mau helmet mask. The face of the mask is painted white with darker paint / pigments to accentuate the etched and raised eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with painted white teeth. There are painted and incised designs on the forehead, around the eyes, and three circular etched markings on the temples (raised markings representative of keloids). The top of the mask consists of swirled, incised designs representing uli with horns jutting out and a carved animal. [Description from record N.13330.GIJ, PB 01/08/2024]\n\nPlace\n\nW Africa; Nigeria; Southeastern Nigeria; South Eastern Nigeria; Niger River area\n\nCultural Affliation\n\nNri-Awka Igbo; Northern Igbo; Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767245.GIJ and P.767246.GIJ are mounted together on card.\n\nFM:312013\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171322_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144538_P.171322.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171614.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465675", "metadata": {"title": "Untitled", "idno": "P.171614.GIJ", "description": "A cut out image of a carved wooden ancestral female figure. The head has a round head cap. There is a vertical row of parallel studs in the centre of the forehead, and a cross of studs from neck to chest and from side to side, centred on the raised navel. [PB 05/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171613.GIJ and P.171614.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171614.GIJ\n\nDescription\n\nA cut out image of a carved wooden ancestral female figure. The head has a round head cap. There is a vertical row of parallel studs in the centre of the forehead, and a cross of studs from neck to chest and from side to side, centred on the raised navel. [PB 05/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171613.GIJ and P.171614.GIJ are mounted on card.\n\nFM:312334\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171614_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144923_P.171614.GIJ_001.jpg"}, {"file_name": "P_171614_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144924_P.171614.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.7050.ACH1", "source_url": "https://collections.maa.cam.ac.uk/photographs/300322", "metadata": {"title": "Untitled", "idno": "P.7050.ACH1", "description": "On Catalogue Card: Ekoi people. No. 21 side face from a village farther N. than the others. He is in a yam stack.", "place": "W Africa; Nigeria; south eastern Nigeria", "cultural_affliation": "Ekoi", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Mounted Haddon Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "", "raw_text_dump": "IDNO\n\nP.7050.ACH1\n\nDescription\n\nOn Catalogue Card: Ekoi people. No. 21 side face from a village farther N. than the others. He is in a yam stack.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria\n\nCultural Affliation\n\nEkoi\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nMounted Haddon Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nFM:141700\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_7050_ACH1_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/866773_P.7050.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71576.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364847", "metadata": {"title": "Untitled", "idno": "N.71576.GIJ", "description": "Onyema Ogadi, a boy\u2019s mask on a masquerader. The mask is painted white with black markings to accentuate the eyebrows, nose, and mouth. There are small black circles dotted underneath the eyes, nose and chin. The forehead is painted black with incised striations denoting hair. On top of the mask is long raffia \u201chair\u201d. The masquerader is wearing a striped, woven costume with a white cloth tied around the neck; the arms are stretched out. In the background are spectators, a building and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 52 of the negative album now numbered C15/.\n\nContext: Jones writes about boys masquerades and says that \u201cuninitiated boys were expected to \u2018play at masquerading\u2019 and had their own masquerades, which were either imitations of those of their elders, like the Anang (Ibibio) Ekpo ntoke eyen (small boy\u2019s Ekpo), or masquerades which had \u2018died\u2019, that is, had been discarded by their seniors and been replaced by others. For their masks and costumes boys made use of anything they could get hold of or make. Many of the cruder masks in European collections were probably made by boys for their masquerades; on the other hand I have seen them using very old ones discarded by their elders. The secrets from which the uninitiated were excluded, usually on pain of death, included the privacy attached to society meetings and information abut its rituals, masks, instruments for making ghostly noises and other property of the society. These were revealed to members during their initiation, together with instructions and training in their use\u201d (Jones, 1984, pp.61-62)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71576.GIJ\n\nDescription\n\nOnyema Ogadi, a boy\u2019s mask on a masquerader. The mask is painted white with black markings to accentuate the eyebrows, nose, and mouth. There are small black circles dotted underneath the eyes, nose and chin. The forehead is painted black with incised striations denoting hair. On top of the mask is long raffia \u201chair\u201d. The masquerader is wearing a striped, woven costume with a white cloth tied around the neck; the arms are stretched out. In the background are spectators, a building and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 52 of the negative album now numbered C15/.\n\nContext: Jones writes about boys masquerades and says that \u201cuninitiated boys were expected to \u2018play at masquerading\u2019 and had their own masquerades, which were either imitations of those of their elders, like the Anang (Ibibio) Ekpo ntoke eyen (small boy\u2019s Ekpo), or masquerades which had \u2018died\u2019, that is, had been discarded by their seniors and been replaced by others. For their masks and costumes boys made use of anything they could get hold of or make. Many of the cruder masks in European collections were probably made by boys for their masquerades; on the other hand I have seen them using very old ones discarded by their elders. The secrets from which the uninitiated were excluded, usually on pain of death, included the privacy attached to society meetings and information abut its rituals, masks, instruments for making ghostly noises and other property of the society. These were revealed to members during their initiation, together with instructions and training in their use\u201d (Jones, 1984, pp.61-62)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206226\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71576_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656681_N.71576.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171209.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465270", "metadata": {"title": "Untitled", "idno": "P.171209.GIJ", "description": "A mau (ghost) face mask painted white with black paint consisting of slit eyes, elongated nose, mouth with teeth and ears. It is carved and painted in darker colour(s) in extended triangles underneath the eyes and on the forehead. In the centre of the forehead and the near the temples are etched markings. There are additional areas of darkly painted incised decorations on the chin and above the main panel on the forehead. The holes for attaching the mask are visible. [Description from record P.71409.GIJ, PB 04/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767133.GIJ is mounted on paper.", "raw_text_dump": "IDNO\n\nP.171209.GIJ\n\nDescription\n\nA mau (ghost) face mask painted white with black paint consisting of slit eyes, elongated nose, mouth with teeth and ears. It is carved and painted in darker colour(s) in extended triangles underneath the eyes and on the forehead. In the centre of the forehead and the near the temples are etched markings. There are additional areas of darkly painted incised decorations on the chin and above the main panel on the forehead. The holes for attaching the mask are visible. [Description from record P.71409.GIJ, PB 04/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767133.GIJ is mounted on paper.\n\nFM:311900\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171209_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144425_P.171209.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169675.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463684", "metadata": {"title": "Untitled", "idno": "P.169675.GIJ", "description": "A close up view of a masquerade character called Ogalanya or (Big Man). The masquerader is seated. He is wearing a white face mask painted with black markings. The eyes, nose, and lips are bordered in black and there is a large rectangular area on the forehead that is incised with geometric striations and painted black, a around his neck is a beaded necklace. Carved on the top of the mask is a white sun helmet with a black border and a feather tucked in. The costume is made of a loose woven tunic dyed in batik tunic, baggy woven trousers and additional plaid cloth. In the background are spectators.\n[Description from record N.71600.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169675.GIJ\n\nDescription\n\nA close up view of a masquerade character called Ogalanya or (Big Man). The masquerader is seated. He is wearing a white face mask painted with black markings. The eyes, nose, and lips are bordered in black and there is a large rectangular area on the forehead that is incised with geometric striations and painted black, a around his neck is a beaded necklace. Carved on the top of the mask is a white sun helmet with a black border and a feather tucked in. The costume is made of a loose woven tunic dyed in batik tunic, baggy woven trousers and additional plaid cloth. In the background are spectators.\n[Description from record N.71600.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\n\n\nFM:310162\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169675_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127451_P.169675.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.169799.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463808", "metadata": {"title": "Untitled", "idno": "P.169799.GIJ", "description": "A head and shoulders portrait of a man, wearing a collarless shirt open at the neck, and facing the camera. In the background there is open country with scattered bushes and trees. [PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169791.GIJ - P.169803.GIJ were located in an brown envelope now numbered C754/8/.", "raw_text_dump": "IDNO\n\nP.169799.GIJ\n\nDescription\n\nA head and shoulders portrait of a man, wearing a collarless shirt open at the neck, and facing the camera. In the background there is open country with scattered bushes and trees. [PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169791.GIJ - P.169803.GIJ were located in an brown envelope now numbered C754/8/.\n\nFM:310286\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169799_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127691_P.169799.GIJ_001.png"}, {"file_name": "P_169799_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127692_P.169799.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171252.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465313", "metadata": {"title": "Untitled", "idno": "P.171252.GIJ", "description": "A close up view of a seated masquerade character in the oji onu masquerade. The masquerader is wearing a janus-faced helment mask. One face has deep-set eyes, a hooked nose and a wide open mouth. The other face has a hooked nose and a long downward curving beak. Both faces are painted white, with the features highlighted in dark pigment. On the top of the mask is a carved bird with two curved tail feathers; on each side a head with a conical hat. The mask is fringed with raffia. The neck and shoulders are covered in a mantle of grass which extends down to the ground to each side of the masquerader. The masquerader wears a strip of patterns cloth on front of back of torso. [PB 11/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra state; Idemili; Akama", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767175.GIJ - P.767176.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171252.GIJ\n\nDescription\n\nA close up view of a seated masquerade character in the oji onu masquerade. The masquerader is wearing a janus-faced helment mask. One face has deep-set eyes, a hooked nose and a wide open mouth. The other face has a hooked nose and a long downward curving beak. Both faces are painted white, with the features highlighted in dark pigment. On the top of the mask is a carved bird with two curved tail feathers; on each side a head with a conical hat. The mask is fringed with raffia. The neck and shoulders are covered in a mantle of grass which extends down to the ground to each side of the masquerader. The masquerader wears a strip of patterns cloth on front of back of torso. [PB 11/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra state; Idemili; Akama\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767175.GIJ - P.767176.GIJ are mounted together on card.\n\nFM:311943\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171252_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144468_P.171252.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171318.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465379", "metadata": {"title": "Untitled", "idno": "P.171318.GIJ", "description": "Two Ghost court messengers standing and holding sticks. They are dressed in dark uniforms which consist of long sleeved dark shirts with square pockets, cropped trousers, and knee socks. Sashes are worn across the chest. Their heads are covered with black knitted face masks with two holes for eyes and a hole for the mouth. The features are accentuated by white markings above and below the eyes and on top is a baseball style or cap. with visor. Behind them are ghost police officers armed with their replica rifles. In the background are spectators, trees and vegetation. [Description from record P.71636.GIJ, PB 01/08/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767242.GIJ is mounted on card.\n\nPublication: Same image in Jones, 1984, p.58, Plate 8 with the caption, \"'Court messengers': cloth-masked figures. Mau masquerade. Amobia village. Nri/Awka Ibo.\"", "raw_text_dump": "IDNO\n\nP.171318.GIJ\n\nDescription\n\nTwo Ghost court messengers standing and holding sticks. They are dressed in dark uniforms which consist of long sleeved dark shirts with square pockets, cropped trousers, and knee socks. Sashes are worn across the chest. Their heads are covered with black knitted face masks with two holes for eyes and a hole for the mouth. The features are accentuated by white markings above and below the eyes and on top is a baseball style or cap. with visor. Behind them are ghost police officers armed with their replica rifles. In the background are spectators, trees and vegetation. [Description from record P.71636.GIJ, PB 01/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767242.GIJ is mounted on card.\n\nPublication: Same image in Jones, 1984, p.58, Plate 8 with the caption, \"'Court messengers': cloth-masked figures. Mau masquerade. Amobia village. Nri/Awka Ibo.\"\n\nFM:312009\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171318_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144534_P.171318.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169754.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463763", "metadata": {"title": "Untitled", "idno": "P.169754.GIJ", "description": "Half-length portrait of an old man. He has a grey/white beard and moustache. He is wearing a torn shirt. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169754.GIJ\n\nDescription\n\nHalf-length portrait of an old man. He has a grey/white beard and moustache. He is wearing a torn shirt. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310241\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169754_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127602_P.169754.GIJ_001.png"}, {"file_name": "P_169754_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127603_P.169754.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71933.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365204", "metadata": {"title": "Untitled", "idno": "N.71933.GIJ", "description": "A side view of a masquerader wearing a skin covered mask. The mask personofies a male and it is very naturalistic looking and depicts a high rounded forehead, long nose, open mouth, rounded ears and on the cheeks are three diagonal scars and a circular marking near the ear. The mask has hair and fibre attached to the head and to the chin to resemble a beard.\nAround the base of the mask is twine and calico printed cloth from India around the torso.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 45 of the negative album now numbered C17/.\n\nPublication: Same image in Jones, 1989, p.51, Figure 41 with the caption, \u201cAjonku masquerade. Abiriba town, Cross River Ibo. Skin covered head called Ajonku. Note the ancient Indian cotton print displayed with it.\u201d\n\nPublication: Same image in Jones, 1984, p. 35, Figure 2 with the caption, Ajonku.\n\nContext: In reference to the Cross River area (and to this particular mask), Jones writes that, \u201cOn the Cross River some of the heads representing mainly male characters carried diagonal cheek scars, usually two or three close together running from below the eye to the corner of the show. These were shown both on the skin-covered heads and on some of the Ohuhu/Ngwa Ekpe (Ibo) heads (Jones, 1984, p.34).\n\nContext: In reference to the Abam/Ohaffia area, Jones writes that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin-covered heads in the Cross-River Style, usually called Ajonku. But they also had masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of the Abiriba. All these tribes, but particularly the Abiriba, were great doctors and traders and travelled extensively in the Cross River area and through the Ibibio country to the coastal trading states. Anang (Ibibio) sculpture was greatly admired, but it does not seem to have had much influence on the local styles\u201d (Jones, 1984, p.208)\n\nContext: Nicklin researched the prevalence of skin covered masks in the Cross River area and talks about them in detail in his article. He notes, \u201cAccordig to Murray, in the Cross River area \u201cthe characteristic work is a head covered with skin carried on top of the dancer\u2019s head\u201d - that is, the cap mask type. \u201c He also discusses the distinctive markings found on the masks, \u201cSkin-covered masks, in their detailed portrayal of the various types of tribal marks, may be compared with Ekoi monliths. The most common type is raised circular marks on the temples and forehead, sometimes called the Cross River \u201ctarget\u201d marks.\n(Nicklin, 1974, p. 11)\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989, Ibo Art (Shire).\nNicklin, K. 1974 \u201cNigerian Skin-Covered Masks\u201d African Arts, Vol.7, no.3, pp.8-15+67-68+92.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 5/12/2007]", "raw_text_dump": "IDNO\n\nN.71933.GIJ\n\nDescription\n\nA side view of a masquerader wearing a skin covered mask. The mask personofies a male and it is very naturalistic looking and depicts a high rounded forehead, long nose, open mouth, rounded ears and on the cheeks are three diagonal scars and a circular marking near the ear. The mask has hair and fibre attached to the head and to the chin to resemble a beard.\nAround the base of the mask is twine and calico printed cloth from India around the torso.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 45 of the negative album now numbered C17/.\n\nPublication: Same image in Jones, 1989, p.51, Figure 41 with the caption, \u201cAjonku masquerade. Abiriba town, Cross River Ibo. Skin covered head called Ajonku. Note the ancient Indian cotton print displayed with it.\u201d\n\nPublication: Same image in Jones, 1984, p. 35, Figure 2 with the caption, Ajonku.\n\nContext: In reference to the Cross River area (and to this particular mask), Jones writes that, \u201cOn the Cross River some of the heads representing mainly male characters carried diagonal cheek scars, usually two or three close together running from below the eye to the corner of the show. These were shown both on the skin-covered heads and on some of the Ohuhu/Ngwa Ekpe (Ibo) heads (Jones, 1984, p.34).\n\nContext: In reference to the Abam/Ohaffia area, Jones writes that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin-covered heads in the Cross-River Style, usually called Ajonku. But they also had masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of the Abiriba. All these tribes, but particularly the Abiriba, were great doctors and traders and travelled extensively in the Cross River area and through the Ibibio country to the coastal trading states. Anang (Ibibio) sculpture was greatly admired, but it does not seem to have had much influence on the local styles\u201d (Jones, 1984, p.208)\n\nContext: Nicklin researched the prevalence of skin covered masks in the Cross River area and talks about them in detail in his article. He notes, \u201cAccordig to Murray, in the Cross River area \u201cthe characteristic work is a head covered with skin carried on top of the dancer\u2019s head\u201d - that is, the cap mask type. \u201c He also discusses the distinctive markings found on the masks, \u201cSkin-covered masks, in their detailed portrayal of the various types of tribal marks, may be compared with Ekoi monliths. The most common type is raised circular marks on the temples and forehead, sometimes called the Cross River \u201ctarget\u201d marks.\n(Nicklin, 1974, p. 11)\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989, Ibo Art (Shire).\nNicklin, K. 1974 \u201cNigerian Skin-Covered Masks\u201d African Arts, Vol.7, no.3, pp.8-15+67-68+92.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 5/12/2007]\n\nFM:206583\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71933_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657023_N.71933.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13190.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306462", "metadata": {"title": "Untitled", "idno": "N.13190.GIJ", "description": "A wooden Ekpo Mask which is humanistic and serene. The outline of the mask is square or panel shaped with four holes on the bottom and a few holes at the top. The face of the mask is rounded with a high forehead, slit eyes, defined lips and a protruding hairline.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]", "raw_text_dump": "IDNO\n\nN.13190.GIJ\n\nDescription\n\nA wooden Ekpo Mask which is humanistic and serene. The outline of the mask is square or panel shaped with four holes on the bottom and a few holes at the top. The face of the mask is rounded with a high forehead, slit eyes, defined lips and a protruding hairline.\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]\n\n\nFM:147840\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13190_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000452_N.13190.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171326.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465387", "metadata": {"title": "Untitled", "idno": "P.171326.GIJ", "description": "A documentation photograph of a dark wooden face mask with an arched crest on top. [Description from record P.71471.GIJ, PB 01/08/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; ?Nri Awka", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767250.GIJ and P.767251.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171326.GIJ\n\nDescription\n\nA documentation photograph of a dark wooden face mask with an arched crest on top. [Description from record P.71471.GIJ, PB 01/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; ?Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767250.GIJ and P.767251.GIJ are mounted together on card.\n\nFM:312017\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171326_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144542_P.171326.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.7046.ACH1", "source_url": "https://collections.maa.cam.ac.uk/photographs/300318", "metadata": {"title": "Untitled", "idno": "P.7046.ACH1", "description": "On Catalogue Card: Native of Ekong.", "place": "W Africa; Nigeria; south eastern Nigeria; Ekong", "cultural_affliation": "", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Mounted Haddon Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "", "raw_text_dump": "IDNO\n\nP.7046.ACH1\n\nDescription\n\nOn Catalogue Card: Native of Ekong.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; Ekong\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nMounted Haddon Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nFM:141696\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_7046_ACH1_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/866769_P.7046.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71810.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365081", "metadata": {"title": "Untitled", "idno": "N.71810.GIJ", "description": "A Lughulu \u2018beautiful\u2019 female mask; the mask is carved in oval shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long triangular shaped nose, open mouth with teeth painted white, elliptical shaped ears, circular design on temples, and linear markings in the centre of the forehead adorned with a button, and to the sides. On top are two shapes resembling a coiffure? which meet in the centre and are incised with v-shaped markings.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Alayi", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 2 of the negative album now numbered C17/.\n\nPublication: Similar images are found in Jones, 1989, p.16, Figure 8. The caption reads: \u201cLughulu masquerade, Ugwueke Alayi town, Isu-Item Ibo. Mask representing a beautiful female spirit.\u201d and in Jones, 1973, Figure 3, p.59.\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that it conforms to a stylized mode which converts the salient features to geometrical forms. In the Isu-Item maskerade, the beautiful female masks are carved in either a rounded or naturalistic mode while the fierce or comic male masks are stylized(Jones, 1973, pp. 60-61).\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]", "raw_text_dump": "IDNO\n\nN.71810.GIJ\n\nDescription\n\nA Lughulu \u2018beautiful\u2019 female mask; the mask is carved in oval shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long triangular shaped nose, open mouth with teeth painted white, elliptical shaped ears, circular design on temples, and linear markings in the centre of the forehead adorned with a button, and to the sides. On top are two shapes resembling a coiffure? which meet in the centre and are incised with v-shaped markings.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Alayi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 2 of the negative album now numbered C17/.\n\nPublication: Similar images are found in Jones, 1989, p.16, Figure 8. The caption reads: \u201cLughulu masquerade, Ugwueke Alayi town, Isu-Item Ibo. Mask representing a beautiful female spirit.\u201d and in Jones, 1973, Figure 3, p.59.\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that it conforms to a stylized mode which converts the salient features to geometrical forms. In the Isu-Item maskerade, the beautiful female masks are carved in either a rounded or naturalistic mode while the fierce or comic male masks are stylized(Jones, 1973, pp. 60-61).\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]\n\nFM:206460\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71810_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656908_N.71810.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "T.170099.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464160", "metadata": {"title": "Untitled", "idno": "T.170099.GIJ", "description": "A wooden mask oval in shape with a projection at the top. The face is humanistic and shows a dark scalloped hairline, slit eyes with dark brows, nose, mouth, kidney shaped ears, and hollowed cheekbones. A rectangular shaped protrusion is at the top of the head. [Description from record P.71918.GIJ, PB 22/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nPublication: Image published in Jones, G.I. 1984. The Art of Eastern Nigeria. (Cambridge: CUP), fig. 112, p. 209, and captioned as \"Okwanku mask: carved by Omyani of the Aribiba tribe. Cross River Ibo.\" [PB 22/09/2023]", "raw_text_dump": "IDNO\n\nT.170099.GIJ\n\nDescription\n\nA wooden mask oval in shape with a projection at the top. The face is humanistic and shows a dark scalloped hairline, slit eyes with dark brows, nose, mouth, kidney shaped ears, and hollowed cheekbones. A rectangular shaped protrusion is at the top of the head. [Description from record P.71918.GIJ, PB 22/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nPublication: Image published in Jones, G.I. 1984. The Art of Eastern Nigeria. (Cambridge: CUP), fig. 112, p. 209, and captioned as \"Okwanku mask: carved by Omyani of the Aribiba tribe. Cross River Ibo.\" [PB 22/09/2023]\n\nFM:310627\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170099_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128321_T.170099.GIJ_001.png"}, {"file_name": "T_170099_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128322_T.170099.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71915.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365186", "metadata": {"title": "Untitled", "idno": "N.71915.GIJ", "description": "A male modern figure standing on a rounded base. The figure has a large oval shaped face with stylised human features and a white hat with stripes. The upper torso is square like and the arms are against the sides, a penis, and legs with feet painted black and the incised markings to indicate toes.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 21 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Igbo\n3. Modern male figure Abiriba. (2nd image).\n\nContext: Jones describes the diverse types of sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nN.71915.GIJ\n\nDescription\n\nA male modern figure standing on a rounded base. The figure has a large oval shaped face with stylised human features and a white hat with stripes. The upper torso is square like and the arms are against the sides, a penis, and legs with feet painted black and the incised markings to indicate toes.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 21 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Igbo\n3. Modern male figure Abiriba. (2nd image).\n\nContext: Jones describes the diverse types of sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nFM:206565\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71915_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657014_N.71915.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71951.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365222", "metadata": {"title": "Untitled", "idno": "N.71951.GIJ", "description": "The Ngbangbo Ikoro masquerade with a masquerader wearing a dark wooden mask with a projection at the top and attached to the mask is a woven sack cloth material. The character is leaning over and holding a long stick. A group of young boys are sitting on the ground with masks attached to the top of their heads with their faces visible. Men and children are standing behind. In the background are trees and buildings.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 40 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71951.GIJ\n\nDescription\n\nThe Ngbangbo Ikoro masquerade with a masquerader wearing a dark wooden mask with a projection at the top and attached to the mask is a woven sack cloth material. The character is leaning over and holding a long stick. A group of young boys are sitting on the ground with masks attached to the top of their heads with their faces visible. Men and children are standing behind. In the background are trees and buildings.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 40 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206601\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71951_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657049_N.71951.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.170259.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464320", "metadata": {"title": "Untitled", "idno": "P.170259.GIJ", "description": "An Ibibio wooden mask, oval in shape with a delineated cap-like head, high forehead with incised line, two scalloped markings and central linear marking in the centre of the forehead, almond shaped eyes defined with upper and lower lids, protruding cheeks, small nose, open mouth with etched teeth (painted white) and large flappy ears. At the top of the mask are two peg like structures on either side. [Description from record P.71388.GIJ, PB 03/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Obot Akara village", "cultural_affliation": "Anang; Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.", "raw_text_dump": "IDNO\n\nP.170259.GIJ\n\nDescription\n\nAn Ibibio wooden mask, oval in shape with a delineated cap-like head, high forehead with incised line, two scalloped markings and central linear marking in the centre of the forehead, almond shaped eyes defined with upper and lower lids, protruding cheeks, small nose, open mouth with etched teeth (painted white) and large flappy ears. At the top of the mask are two peg like structures on either side. [Description from record P.71388.GIJ, PB 03/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Obot Akara village\n\nCultural Affliation\n\nAnang; Ibibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.\n\n\nFM:310817\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170259_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131683_P.170259.GIJ_001.png"}, {"file_name": "P_170259_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131684_P.170259.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "T.169980.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463999", "metadata": {"title": "Untitled", "idno": "T.169980.GIJ", "description": "A close up view of Mgbedike masquerade. The masquerader is wearing an elaborate headdress carved of horns, figures, animals, with a fierce face with pronounced sharp teeth. On top of the top of the headdress is a man with a white face riding a horse? The mask is covered with palm fronds, omu, and the masquerader is holding an object (machete? or knife?) in one hand. The costume is made of cloth, palm fronds, shells, seeds and porcupine quills jutting out around the neck. In the background are trees, bystanders, and houses. [Description from record P.71561.GIJ, PB 18/08/23]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; October 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.169980.GIJ\n\nDescription\n\nA close up view of Mgbedike masquerade. The masquerader is wearing an elaborate headdress carved of horns, figures, animals, with a fierce face with pronounced sharp teeth. On top of the top of the headdress is a man with a white face riding a horse? The mask is covered with palm fronds, omu, and the masquerader is holding an object (machete? or knife?) in one hand. The costume is made of cloth, palm fronds, shells, seeds and porcupine quills jutting out around the neck. In the background are trees, bystanders, and houses. [Description from record P.71561.GIJ, PB 18/08/23]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; October 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310508\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_169980_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127999_T.169980.GIJ_001.png"}, {"file_name": "T_169980_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128000_T.169980.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13272.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306544", "metadata": {"title": "Untitled", "idno": "N.13272.GIJ", "description": "A carved wooden stool made for a titled man. The stool has a circular seat and base which are connected by an arrangements of narrow interlaced supports. The upper side of the base is incised with patterns.", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha province; ?near Awka; ?Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Other Igbo cultural items\n3. Another type of stool Amobia village, Nri-Awka (17th image).\n\nPublication: For similar examples, see Jones, 1989, p. 29 and Cole and Aniakor, 1984, p. 50.\n\nContext: \u201cStools. In the past all married Ibo women used carved stools small enough to be carried in their market baskets. Senior men also had large, more impressive stools that were carried for them to sit on village meetings. Today most of these have disappeared and been replaced by upright and folding chairs and, in the case of the market stools, by even lighter ones made by local carpenters. Ibo stools were typically circular, made out of a cylindrical section of tree trunk with most of the centre cut away to lighten it, and leaving an upper and lower disc, the former being hollowed to fit the seat of the user...Akwa carvers polished the seats and incised their designs on the underside. In the early part of the twentieth century there was a small but flourishing industry in Akwa making superior stools in which the central portion consisted of various arrangements of narrow, curved supports. Some of these were said to define membership of the various grades in the Ozo title society (Jones, 1989, pp. 29-30).\n\nContext: \u201cTitle stools and staffs remain important visual markers. Both are subject to hierarchical ideas and/or local conventions about which design should accompany which specific rank. Without specific field data, we cannot identify them precisely except as having belonged to men of high grade. It would seem that three- or four-legged stools, still the most common and widely distributed, are those generally assigned to to high titles. Perhaps when still higher ranks were invented, carvers responded with more elaborate, tiered, openwork examples. Or perhaps it was the artist\u2019s playful innovative spirit that resulted in virtuosic stools with curving and intersecting supports and struts. Whatever the origin of different stool types, the Ozo institution made them mandator, as titled men were forbidden to sit on the ground. And while stools were carved in many Igbo communities, Akwa carvers are the best known.\u201d (Cole and Aniakor, 1984, p. 49)\n\nBibliographical Reference: Jones, G.I. 1989. Ibo Art (Shire); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/11/2007]", "raw_text_dump": "IDNO\n\nN.13272.GIJ\n\nDescription\n\nA carved wooden stool made for a titled man. The stool has a circular seat and base which are connected by an arrangements of narrow interlaced supports. The upper side of the base is incised with patterns.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha province; ?near Awka; ?Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Other Igbo cultural items\n3. Another type of stool Amobia village, Nri-Awka (17th image).\n\nPublication: For similar examples, see Jones, 1989, p. 29 and Cole and Aniakor, 1984, p. 50.\n\nContext: \u201cStools. In the past all married Ibo women used carved stools small enough to be carried in their market baskets. Senior men also had large, more impressive stools that were carried for them to sit on village meetings. Today most of these have disappeared and been replaced by upright and folding chairs and, in the case of the market stools, by even lighter ones made by local carpenters. Ibo stools were typically circular, made out of a cylindrical section of tree trunk with most of the centre cut away to lighten it, and leaving an upper and lower disc, the former being hollowed to fit the seat of the user...Akwa carvers polished the seats and incised their designs on the underside. In the early part of the twentieth century there was a small but flourishing industry in Akwa making superior stools in which the central portion consisted of various arrangements of narrow, curved supports. Some of these were said to define membership of the various grades in the Ozo title society (Jones, 1989, pp. 29-30).\n\nContext: \u201cTitle stools and staffs remain important visual markers. Both are subject to hierarchical ideas and/or local conventions about which design should accompany which specific rank. Without specific field data, we cannot identify them precisely except as having belonged to men of high grade. It would seem that three- or four-legged stools, still the most common and widely distributed, are those generally assigned to to high titles. Perhaps when still higher ranks were invented, carvers responded with more elaborate, tiered, openwork examples. Or perhaps it was the artist\u2019s playful innovative spirit that resulted in virtuosic stools with curving and intersecting supports and struts. Whatever the origin of different stool types, the Ozo institution made them mandator, as titled men were forbidden to sit on the ground. And while stools were carved in many Igbo communities, Akwa carvers are the best known.\u201d (Cole and Aniakor, 1984, p. 49)\n\nBibliographical Reference: Jones, G.I. 1989. Ibo Art (Shire); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/11/2007]\n\nFM:147922\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13272_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000535_N.13272.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171080.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465141", "metadata": {"title": "Untitled", "idno": "P.171080.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nA band of musicians playing various instruments including a Pot drum (udu), two small membrane drums. one small iron double gong (ogene), and one whistle. One person is sitting on a wooden chair with a large pot drum perched on his lap. The drum is circular in shape and has twine or rope tied around it. In the right hand corner is a masquerader wearing a cloth top, tights, socks and a raffia skirt. In the background are thatched roofs, trees and vegetation. [Description from record N.13242.GIJ, PB 13/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The pertformers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"", "raw_text_dump": "IDNO\n\nP.171080.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nA band of musicians playing various instruments including a Pot drum (udu), two small membrane drums. one small iron double gong (ogene), and one whistle. One person is sitting on a wooden chair with a large pot drum perched on his lap. The drum is circular in shape and has twine or rope tied around it. In the right hand corner is a masquerader wearing a cloth top, tights, socks and a raffia skirt. In the background are thatched roofs, trees and vegetation. [Description from record N.13242.GIJ, PB 13/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The pertformers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nFM:311771\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171080_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144296_P.171080.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13315.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306587", "metadata": {"title": "Untitled", "idno": "N.13315.GIJ", "description": "Close up portrait of a man wearing a cloth.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13315.GIJ\n\nDescription\n\nClose up portrait of a man wearing a cloth.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147965\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13315_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000578_N.13315.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171081.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465142", "metadata": {"title": "Untitled", "idno": "P.171081.GIJ", "description": "Young adult males performing in an age set dance, surrounded by crowds. They are wearing waist ornaments and bands, some of which have bells attached to them, knee-rattles, and head-gear, which appear to be a wig with pale round ornaments sewn onto it. [Description from record N.13261.GIJ, PB 13/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; near Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767005.GIJ - P.767007.GIJ are mounted together on paper.\n\nIn his notes in the folder about 'Age Set Passage Dance, N. Ibo. (?Nri-Awka Area) , G.I. Jones explains:\n\n\"This is a dance performed by adolescent males age set as it passes from the grade of boys to that of men. The dancers are attired as adolescent females (who until they are married are naked except for a string of beads around their waist and, when they go into seclusion before their marriage, with an elaborate hair do. The dancers have added to their waist strings little harness and other small bells, and have rattles of shells round their legs and they wear wigs representing elaborate hair dos.\n\nIn this dance they produced an acrobatic ballet, dancing together with elaborate leaps and bounds.\n\nIn other dance the players appeared with hand mirrors and mimicked young women at their toilets.\"", "raw_text_dump": "IDNO\n\nP.171081.GIJ\n\nDescription\n\nYoung adult males performing in an age set dance, surrounded by crowds. They are wearing waist ornaments and bands, some of which have bells attached to them, knee-rattles, and head-gear, which appear to be a wig with pale round ornaments sewn onto it. [Description from record N.13261.GIJ, PB 13/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; near Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767005.GIJ - P.767007.GIJ are mounted together on paper.\n\nIn his notes in the folder about 'Age Set Passage Dance, N. Ibo. (?Nri-Awka Area) , G.I. Jones explains:\n\n\"This is a dance performed by adolescent males age set as it passes from the grade of boys to that of men. The dancers are attired as adolescent females (who until they are married are naked except for a string of beads around their waist and, when they go into seclusion before their marriage, with an elaborate hair do. The dancers have added to their waist strings little harness and other small bells, and have rattles of shells round their legs and they wear wigs representing elaborate hair dos.\n\nIn this dance they produced an acrobatic ballet, dancing together with elaborate leaps and bounds.\n\nIn other dance the players appeared with hand mirrors and mimicked young women at their toilets.\"\n\n\nFM:311772\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171081_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144297_P.171081.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.170247.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464308", "metadata": {"title": "Untitled", "idno": "P.170247.GIJ", "description": "Obugulu Mau masqueraders sitting down. A cutout image of one of the masqueraders is wearing an elaborate headdress consisting of colourful felt, string and tassels. The mask is painted white with black markings around the eyes, nose, mouth and accentuating the eyebrows and cheeks and attached to a harlequin-like costume. [Description from record P.71509.GIJ, PB 02/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; IsuOchi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170244.GIJ - P.170247.GIJ were located in a brown envelope, now numbered C759/2.", "raw_text_dump": "IDNO\n\nP.170247.GIJ\n\nDescription\n\nObugulu Mau masqueraders sitting down. A cutout image of one of the masqueraders is wearing an elaborate headdress consisting of colourful felt, string and tassels. The mask is painted white with black markings around the eyes, nose, mouth and accentuating the eyebrows and cheeks and attached to a harlequin-like costume. [Description from record P.71509.GIJ, PB 02/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; IsuOchi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170244.GIJ - P.170247.GIJ were located in a brown envelope, now numbered C759/2.\n\nFM:310805\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170247_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131597_P.170247.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.169851.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463866", "metadata": {"title": "Untitled", "idno": "P.169851.GIJ", "description": "Close up portrait of a drummer at a masquerade. He is wearing a head cloth. He has a thin metal chain over his shoulder. There is a second drummer in the background. [PB 05/01/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo {Ibo]; South Ikwerri", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169851.GIJ\n\nDescription\n\nClose up portrait of a drummer at a masquerade. He is wearing a head cloth. He has a thin metal chain over his shoulder. There is a second drummer in the background. [PB 05/01/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo {Ibo]; South Ikwerri\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310338\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169851_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127798_P.169851.GIJ_001.png"}, {"file_name": "P_169851_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127800_P.169851.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169663.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463666", "metadata": {"title": "Untitled", "idno": "P.169663.GIJ", "description": "A close up view of Mgbedike masquerade. The masquerader is wearing an elaborate headdress carved of horns, figures, animals, and on the top of the headdress is a man with a white face riding a horse? The mask is covered with palm fronds, omu, and the masquerader is holding an object (machete? or knife?) in one hand. The costume is made of cloth, palm fronds, shells, seeds and porcupine quills jutting out around the neck. In the background are trees, bystanders, and houses. [Description from record P.71561.GIJ, PB 03/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Ibo [historically Igbo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169663.GIJ\n\nDescription\n\nA close up view of Mgbedike masquerade. The masquerader is wearing an elaborate headdress carved of horns, figures, animals, and on the top of the headdress is a man with a white face riding a horse? The mask is covered with palm fronds, omu, and the masquerader is holding an object (machete? or knife?) in one hand. The costume is made of cloth, palm fronds, shells, seeds and porcupine quills jutting out around the neck. In the background are trees, bystanders, and houses. [Description from record P.71561.GIJ, PB 03/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nFM:310150\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169663_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127432_P.169663.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171169.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465230", "metadata": {"title": "Untitled", "idno": "P.171169.GIJ", "description": "Close up view of an Akwa stool (in its early stage) being carved by a man. The stool is on its side depicting a round or \u2018saucer like seat\u2019, pedestal and splayed out at the base into four feet. The carver is sitting on a small stool and holding the Akwa stool with one hand carving with a wooden handled axe and iron blade. The carver is wearing a wrapper or cloth around his waist. [Description from record N.13270.GIJ, PB 21/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767093.GIJ - P.767094.GIJ are mounted together on paper.", "raw_text_dump": "IDNO\n\nP.171169.GIJ\n\nDescription\n\nClose up view of an Akwa stool (in its early stage) being carved by a man. The stool is on its side depicting a round or \u2018saucer like seat\u2019, pedestal and splayed out at the base into four feet. The carver is sitting on a small stool and holding the Akwa stool with one hand carving with a wooden handled axe and iron blade. The carver is wearing a wrapper or cloth around his waist. [Description from record N.13270.GIJ, PB 21/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767093.GIJ - P.767094.GIJ are mounted together on paper.\n\nFM:311860\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171169_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144385_P.171169.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171610.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465671", "metadata": {"title": "Untitled", "idno": "P.171610.GIJ", "description": "A cut out image of two carved wooden ancestral figures, standing facing the camera. The taller figure on the left is male, with angled limbs. A shallow sun hat painted white is on top of its head. A single cord is wound around its neck. The shorter figure on the right is female. There is a cord and necklet around the neck. A single broad crest is carved on top of the head. [PB 05/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Obogwe", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171608.GIJ to P.171612.GIJ are mounted on card.\n\nImages P.171608.GIJ to P.171612.GIJ are of the same figures.", "raw_text_dump": "IDNO\n\nP.171610.GIJ\n\nDescription\n\nA cut out image of two carved wooden ancestral figures, standing facing the camera. The taller figure on the left is male, with angled limbs. A shallow sun hat painted white is on top of its head. A single cord is wound around its neck. The shorter figure on the right is female. There is a cord and necklet around the neck. A single broad crest is carved on top of the head. [PB 05/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Obogwe\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171608.GIJ to P.171612.GIJ are mounted on card.\n\nImages P.171608.GIJ to P.171612.GIJ are of the same figures.\n\nFM:312330\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171610_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144915_P.171610.GIJ_001.jpg"}, {"file_name": "P_171610_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144916_P.171610.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13340.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306612", "metadata": {"title": "Untitled", "idno": "N.13340.GIJ", "description": "Object documentation photograph of a face mask.\nA face mask painted white with black paint consisting of slit eyes, elongated nose, mouth with teeth and ears. It is carved and painted in darker colour(s) in extended triangles underneath the eyes and on the forehead. In the centre of the forehead is an etched line with cross-mark in the centre. There are additional areas of darkly painted incised decorations on the chin and above the main panel on the forehead. The holes for attaching the mask are visible.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?Nkwelle town; ?Nwelle town", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "Prior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nPublication: Same Image reproduced in Jones.G.I. 1989 on p.18 as figure 10, with the caption \u201cFace mask, Nkwelle town, Nri-Awka Ibo, with representation of facial paintings on forehead and cheeks\u201d.\n\nContext: In reference to this photograph Jones describes the markings as representations of these facial scars can easily be confused with the circles, crosses and other simple figures that were painted on peple and reproduced on their carvings. The most striking of these are the curved triangles stretched diagonally across the cheeks and foreheads of many of the Nri Akwa Ibo white faced masks.\n\nBibliographical Reference: Jones, G.I. 1989 Ibo Art (Shire).\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]", "raw_text_dump": "IDNO\n\nN.13340.GIJ\n\nDescription\n\nObject documentation photograph of a face mask.\nA face mask painted white with black paint consisting of slit eyes, elongated nose, mouth with teeth and ears. It is carved and painted in darker colour(s) in extended triangles underneath the eyes and on the forehead. In the centre of the forehead is an etched line with cross-mark in the centre. There are additional areas of darkly painted incised decorations on the chin and above the main panel on the forehead. The holes for attaching the mask are visible.\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?Nkwelle town; ?Nwelle town\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPrior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nPublication: Same Image reproduced in Jones.G.I. 1989 on p.18 as figure 10, with the caption \u201cFace mask, Nkwelle town, Nri-Awka Ibo, with representation of facial paintings on forehead and cheeks\u201d.\n\nContext: In reference to this photograph Jones describes the markings as representations of these facial scars can easily be confused with the circles, crosses and other simple figures that were painted on peple and reproduced on their carvings. The most striking of these are the curved triangles stretched diagonally across the cheeks and foreheads of many of the Nri Akwa Ibo white faced masks.\n\nBibliographical Reference: Jones, G.I. 1989 Ibo Art (Shire).\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]\n\n\n\nFM:147990\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13340_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000603_N.13340.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171086.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465147", "metadata": {"title": "Untitled", "idno": "P.171086.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nA masquerader, Nwabogho Ehi, (Heifer), wearing a helmet mask (painted white and with v-shaped markings above and below the eyes) dressed in a brightly coloured harlequin-like/applique costume. Cloth cloak tied around the neck, over woven? or net? cloth which is attached to the mask, wrappers around the waist and ankle-rattles, made of seeds? Mud and thatch houses and trees and vegetation in the background. [Description from record N.13256.GIJ, PB 13/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The peformers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Nwabogho Efi (Heifer), G.I. Jones writes in the notes: \"A name given to young and comely, young unmarried woman. This was a typical \"Awka\" helmet mask with a white female face and a crested mud and charcoal hair do. She danced in a similar manner and mimed before the second hand band with the same piping, directing and supporting singing chorus and thern sat on a chair nearby\"", "raw_text_dump": "IDNO\n\nP.171086.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nA masquerader, Nwabogho Ehi, (Heifer), wearing a helmet mask (painted white and with v-shaped markings above and below the eyes) dressed in a brightly coloured harlequin-like/applique costume. Cloth cloak tied around the neck, over woven? or net? cloth which is attached to the mask, wrappers around the waist and ankle-rattles, made of seeds? Mud and thatch houses and trees and vegetation in the background. [Description from record N.13256.GIJ, PB 13/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The peformers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Nwabogho Efi (Heifer), G.I. Jones writes in the notes: \"A name given to young and comely, young unmarried woman. This was a typical \"Awka\" helmet mask with a white female face and a crested mud and charcoal hair do. She danced in a similar manner and mimed before the second hand band with the same piping, directing and supporting singing chorus and thern sat on a chair nearby\"\n\nFM:311777\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171086_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144302_P.171086.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169732.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463741", "metadata": {"title": "Untitled", "idno": "P.169732.GIJ", "description": "A half-length portrait of an older man. He is wearing a cloth hat and a torn shirt. He is smiling. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169732.GIJ\n\nDescription\n\nA half-length portrait of an older man. He is wearing a cloth hat and a torn shirt. He is smiling. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310219\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169732_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127558_P.169732.GIJ_001.png"}, {"file_name": "P_169732_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127559_P.169732.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171196.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465257", "metadata": {"title": "Untitled", "idno": "P.171196.GIJ", "description": "Ogbugulu Mau masquerade. The character is identified as Ayalugwe. The masquerader is standing in the centre of the arena and is holding a cutlass in one hand and a whisk in the other. The mask consists of a white painted face with black markings and an elaborate headdress consisting of feathers, cloth and felt and wearing a harlequin-like costume with pointed breasts and white gloves/sleeves. In the background are spectators and trees. [Description from record P.71519.GIJ, PB 02/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767117.GIJ - P.767120.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171196.GIJ\n\nDescription\n\nOgbugulu Mau masquerade. The character is identified as Ayalugwe. The masquerader is standing in the centre of the arena and is holding a cutlass in one hand and a whisk in the other. The mask consists of a white painted face with black markings and an elaborate headdress consisting of feathers, cloth and felt and wearing a harlequin-like costume with pointed breasts and white gloves/sleeves. In the background are spectators and trees. [Description from record P.71519.GIJ, PB 02/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767117.GIJ - P.767120.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311887\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171196_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144412_P.171196.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171321.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465382", "metadata": {"title": "Untitled", "idno": "P.171321.GIJ", "description": "A close up view of a Mau helmet mask. The face of the mask is painted white with darker paint / pigments to accentuate the etched and raised eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with painted white teeth. There are painted and incised designs on the forehead, around the eyes, and three circular etched markings on the temples (raised markings representative of keloids). The top of the mask consists of swirled, incised designs representing uli with horns jutting out and a carved animal. [Description from record N.13330.GIJ, PB 01/08/2024]", "place": "W Africa; Nigeria; Southeastern Nigeria; South Eastern Nigeria; Niger River area", "cultural_affliation": "Nri-Awka Igbo; Northern Igbo; Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767245.GIJ and P.767246.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171321.GIJ\n\nDescription\n\nA close up view of a Mau helmet mask. The face of the mask is painted white with darker paint / pigments to accentuate the etched and raised eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with painted white teeth. There are painted and incised designs on the forehead, around the eyes, and three circular etched markings on the temples (raised markings representative of keloids). The top of the mask consists of swirled, incised designs representing uli with horns jutting out and a carved animal. [Description from record N.13330.GIJ, PB 01/08/2024]\n\nPlace\n\nW Africa; Nigeria; Southeastern Nigeria; South Eastern Nigeria; Niger River area\n\nCultural Affliation\n\nNri-Awka Igbo; Northern Igbo; Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767245.GIJ and P.767246.GIJ are mounted together on card.\n\n\nFM:312012\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171321_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144537_P.171321.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171591.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465652", "metadata": {"title": "Untitled", "idno": "P.171591.GIJ", "description": "A documentation photograph of three diviner\u2019s Agu Nsi, carved wooden figures, with male and female heads and ridged necks. The figures are standing in front of a framework of canes among leaf debris. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171591.GIJ and P.171592.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171591.GIJ\n\nDescription\n\nA documentation photograph of three diviner\u2019s Agu Nsi, carved wooden figures, with male and female heads and ridged necks. The figures are standing in front of a framework of canes among leaf debris. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171591.GIJ and P.171592.GIJ are mounted on card.\n\nFM:312311\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171591_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144877_P.171591.GIJ_001.jpg"}, {"file_name": "P_171591_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144878_P.171591.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.7047.ACH1", "source_url": "https://collections.maa.cam.ac.uk/photographs/300319", "metadata": {"title": "Untitled", "idno": "P.7047.ACH1", "description": "On Catalogue Card: Native of Ekong.", "place": "W Africa; Nigeria; south eastern Nigeria; Ekong", "cultural_affliation": "", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Mounted Haddon Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "", "raw_text_dump": "IDNO\n\nP.7047.ACH1\n\nDescription\n\nOn Catalogue Card: Native of Ekong.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; Ekong\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nMounted Haddon Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nFM:141697\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_7047_ACH1_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/866770_P.7047.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13173.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306445", "metadata": {"title": "Untitled", "idno": "N.13173.GIJ", "description": "An Ekpo mask. The panel is rounded at the top with a flat bottom, the oval face is raised in the centre and is naturalistic and serene in form. The mask consists of a rounded border at the top of the head, high forehead with markings in the centre, slit eyes with overhanging eyelids, squarish nose, and diamond shaped mouth, elliptical shaped ears, and keloid markings on the side. The face is painted white with black markings.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?Ikot Ekpene", "cultural_affliation": "Anang; Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Similar image in Jones, 1984, p. 129, Plate 40 with the caption, \u201cEkpo mask, naturalistic in style.\n\nContext: \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]", "raw_text_dump": "IDNO\n\nN.13173.GIJ\n\nDescription\n\nAn Ekpo mask. The panel is rounded at the top with a flat bottom, the oval face is raised in the centre and is naturalistic and serene in form. The mask consists of a rounded border at the top of the head, high forehead with markings in the centre, slit eyes with overhanging eyelids, squarish nose, and diamond shaped mouth, elliptical shaped ears, and keloid markings on the side. The face is painted white with black markings.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?Ikot Ekpene\n\nCultural Affliation\n\nAnang; Ibibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Similar image in Jones, 1984, p. 129, Plate 40 with the caption, \u201cEkpo mask, naturalistic in style.\n\nContext: \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]\n\n\nFM:147823\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13173_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000435_N.13173.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71470.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364741", "metadata": {"title": "Untitled", "idno": "N.71470.GIJ", "description": "A documentation photograph of a dark wooden face mask.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 78 of the negative album now numbered C16/.P.71400.GIJ to P.71498.GIJ were kept in box 5, now numbered C302/.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/3/2008]", "raw_text_dump": "IDNO\n\nN.71470.GIJ\n\nDescription\n\nA documentation photograph of a dark wooden face mask.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 78 of the negative album now numbered C16/.P.71400.GIJ to P.71498.GIJ were kept in box 5, now numbered C302/.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/3/2008]\n\nFM:206120\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71470_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656604_N.71470.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13205.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306477", "metadata": {"title": "Untitled", "idno": "N.13205.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts a figure, standing frontal holding an object in one hand. He is dressed in a striped tunic and with a plaited hair style. Surround him are geometric patterns and designs.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Umuajatta village; ?Okwu village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13205.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts a figure, standing frontal holding an object in one hand. He is dressed in a striped tunic and with a plaited hair style. Surround him are geometric patterns and designs.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Umuajatta village; ?Okwu village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147855\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13205_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000467_N.13205.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13296.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306568", "metadata": {"title": "Untitled", "idno": "N.13296.GIJ", "description": "Close up portrait of a man wearing a shirt and jacket.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13296.GIJ\n\nDescription\n\nClose up portrait of a man wearing a shirt and jacket.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147946\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13296_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000559_N.13296.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71921.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365192", "metadata": {"title": "Untitled", "idno": "N.71921.GIJ", "description": "A man sitting on a chair with a headpiece consisting of curled horn-like proejctions with a knitted hat on top.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 27 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nN.71921.GIJ\n\nDescription\n\nA man sitting on a chair with a headpiece consisting of curled horn-like proejctions with a knitted hat on top.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 27 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nFM:206571\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71921_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657017_N.71921.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171091.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465152", "metadata": {"title": "Untitled", "idno": "P.171091.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nOjo (Eju) Onu (Long Mouth) masquerade character wearing a carved and painted wooden head mask, attached to a woven cloth costume which covers the whole of the top half of the wearer. The \u201canimal-like\u201d mask is carved with two horns, eyes, nose, ears, snout with teeth, and a criss-cross pattern in the centre of the forehead. It is painted with dark pigment, on to which pale spots and lines have been added. In the background are grasses, huts and trees. [Description from record P.71539.GIJ, PB 13/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767013.GIJ - P.767018.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The peformers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Eju Onu (long mouth), G.I. Jones writes in the notes: \"There were two of these both typical \"Awka\" type antelope masks worn on top of the actor head, facing upward and wearing a loose gown of blue and white patterned \"Yoruba\" cloth with sleeves and trouser-legs of the same type of cloth but white with narrow blue stripes. In most Northern Ibo masquerades the role of Eju Onu is a comic and stupid oaf-like one. On this play they carried wands and behaved like the fierce characters (only less fiercely) and thgey wore the same raffia aprons.\"", "raw_text_dump": "IDNO\n\nP.171091.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nOjo (Eju) Onu (Long Mouth) masquerade character wearing a carved and painted wooden head mask, attached to a woven cloth costume which covers the whole of the top half of the wearer. The \u201canimal-like\u201d mask is carved with two horns, eyes, nose, ears, snout with teeth, and a criss-cross pattern in the centre of the forehead. It is painted with dark pigment, on to which pale spots and lines have been added. In the background are grasses, huts and trees. [Description from record P.71539.GIJ, PB 13/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767013.GIJ - P.767018.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The peformers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Eju Onu (long mouth), G.I. Jones writes in the notes: \"There were two of these both typical \"Awka\" type antelope masks worn on top of the actor head, facing upward and wearing a loose gown of blue and white patterned \"Yoruba\" cloth with sleeves and trouser-legs of the same type of cloth but white with narrow blue stripes. In most Northern Ibo masquerades the role of Eju Onu is a comic and stupid oaf-like one. On this play they carried wands and behaved like the fierce characters (only less fiercely) and thgey wore the same raffia aprons.\"\n\nFM:311782\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171091_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144307_P.171091.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171109.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465170", "metadata": {"title": "Untitled", "idno": "P.171109.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nEgu Agu (Money Finish) masquerader depicting a close up view of the masquerader and supporters. The helmet shaped wooden mask is painted and consists of an elaborate superstructure which is adorned with pieces of cloth and tassels. A view in profile of the \u2018face\u2019 of mask depicts a white painted face, stylised and delicate eyes, nose and lips and a crescent-shaped design on the face. The upper torso is covered in harlequin cloth and wrappers. The performer is holding a fly whisk in his left hand. Male onlookers are to the side of the performer and in the background are trees and vegetation. [Description from record N.13250.GIJ, PB 14/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767033.GIJ - P.767038.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\" [PB 13/06/24]\n\nAbout the character Egu Agu (money finish), G.I. Jones writes in the notes: \"A white faced \"Awka\" type of mask with an openwork superstructure of wire or cane covered with coloured wools and wearing a tight fitting costume of cloth covered with appliqued geometric patterns in red, green, blue and other coloured strands of cloth of the typical \"Awka\" Obugulu Mau type. \"Money finish\" indicated the costliness of her maintenance. She had rattles on her ankles and she danced and stamped before the first band, supported by the singing and clapping chorus and led by the piper on his whistle. When she had finished she sat on a chair near by.\"", "raw_text_dump": "IDNO\n\nP.171109.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nEgu Agu (Money Finish) masquerader depicting a close up view of the masquerader and supporters. The helmet shaped wooden mask is painted and consists of an elaborate superstructure which is adorned with pieces of cloth and tassels. A view in profile of the \u2018face\u2019 of mask depicts a white painted face, stylised and delicate eyes, nose and lips and a crescent-shaped design on the face. The upper torso is covered in harlequin cloth and wrappers. The performer is holding a fly whisk in his left hand. Male onlookers are to the side of the performer and in the background are trees and vegetation. [Description from record N.13250.GIJ, PB 14/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767033.GIJ - P.767038.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\" [PB 13/06/24]\n\nAbout the character Egu Agu (money finish), G.I. Jones writes in the notes: \"A white faced \"Awka\" type of mask with an openwork superstructure of wire or cane covered with coloured wools and wearing a tight fitting costume of cloth covered with appliqued geometric patterns in red, green, blue and other coloured strands of cloth of the typical \"Awka\" Obugulu Mau type. \"Money finish\" indicated the costliness of her maintenance. She had rattles on her ankles and she danced and stamped before the first band, supported by the singing and clapping chorus and led by the piper on his whistle. When she had finished she sat on a chair near by.\"\n\nFM:311800\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171109_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144325_P.171109.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171195.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465256", "metadata": {"title": "Untitled", "idno": "P.171195.GIJ", "description": "Ogbugulu mau masquerade. A portrait of the masquerader wearing a white and black painted face mask adorned with an elaborate superstructure. The top of the mask consists of pieces of cloth, ribbon, felt, tassels, carvings, and mirrors. The carving on the top is wearing a white pith helmet and European clothing. The costume is harlequin-like appliqued material. Spectators and bystanders in the background. [Description from record P.71529.GIJ, PB 02/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767117.GIJ - P.767120.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171195.GIJ\n\nDescription\n\nOgbugulu mau masquerade. A portrait of the masquerader wearing a white and black painted face mask adorned with an elaborate superstructure. The top of the mask consists of pieces of cloth, ribbon, felt, tassels, carvings, and mirrors. The carving on the top is wearing a white pith helmet and European clothing. The costume is harlequin-like appliqued material. Spectators and bystanders in the background. [Description from record P.71529.GIJ, PB 02/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767117.GIJ - P.767120.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311886\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171195_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144411_P.171195.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171231.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465292", "metadata": {"title": "Untitled", "idno": "P.171231.GIJ", "description": "An object documentation image of an ikenga figure. The figure is painted white and red, with elaborate horns, a cutlass in right hand and a head in left hand. [PB 04/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Colour Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767155.GIJ - P.767156.GIJ are mounted together on paper.", "raw_text_dump": "IDNO\n\nP.171231.GIJ\n\nDescription\n\nAn object documentation image of an ikenga figure. The figure is painted white and red, with elaborate horns, a cutlass in right hand and a head in left hand. [PB 04/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Colour Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767155.GIJ - P.767156.GIJ are mounted together on paper.\n\n\n\nFM:311922\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171231_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144447_P.171231.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71911.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365182", "metadata": {"title": "Untitled", "idno": "N.71911.GIJ", "description": "A child wearing a discarded mask. The mask consists of a large oval shaped face with large eyes, nose, open mouth with two teeth, pointed chin and palm fronds. A white or light paint accentuates the eyebrows and the face of the mask. In the background is a wooden door.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 19 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Igbo\n3. Mask Abiriba. (7th image).\n\nPublication: Same mask worm by young boys in Jones, 1984, p.32, Figure 24 with the caption, \u201cSmall boys\u2019 masquerade, Abiriba town, Cross River Ibo. They are using an old discarded mask.\u201d\n\nContext: In reference to the mask in this photograph, Jones writes, \u201c Masquerades, ceremonial performances in which actors impersonating supernatural beings were paraded and displayed to the public, were an exclusively male domain from which women and children were strictly excluded, though uninitiated small boys were encouraged \u201cto play at masquerading\u201d. (Jones, 1988, p. 31)\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nN.71911.GIJ\n\nDescription\n\nA child wearing a discarded mask. The mask consists of a large oval shaped face with large eyes, nose, open mouth with two teeth, pointed chin and palm fronds. A white or light paint accentuates the eyebrows and the face of the mask. In the background is a wooden door.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 19 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Igbo\n3. Mask Abiriba. (7th image).\n\nPublication: Same mask worm by young boys in Jones, 1984, p.32, Figure 24 with the caption, \u201cSmall boys\u2019 masquerade, Abiriba town, Cross River Ibo. They are using an old discarded mask.\u201d\n\nContext: In reference to the mask in this photograph, Jones writes, \u201c Masquerades, ceremonial performances in which actors impersonating supernatural beings were paraded and displayed to the public, were an exclusively male domain from which women and children were strictly excluded, though uninitiated small boys were encouraged \u201cto play at masquerading\u201d. (Jones, 1988, p. 31)\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nFM:206561\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71911_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657012_N.71911.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171315.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465376", "metadata": {"title": "Untitled", "idno": "P.171315.GIJ", "description": "Ghost police sergeant in the Mau masquerade standing with a replica wooden rifle in one hand and a stick in the other. He is dressed in a dark police official\u2019s uniform which consists of a long sleeved dark shirt with buttons and \u2018official\u2019 (sergeant) stripes on both sleeves, cropped trousers, and knee socks. Around the waist is a cloth belt in which a truncheon and two pouches are attached. The head is covered with a black knitted face mask with two holes for eyes and a hole for the mouth. The features are accentuated by white border markings above and below the eyes, on top is a cap. In the background are spectators and trees. [Description from record P.71632.GIJ, PB 01/08/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767239.GIJ and P.767240.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171315.GIJ\n\nDescription\n\nGhost police sergeant in the Mau masquerade standing with a replica wooden rifle in one hand and a stick in the other. He is dressed in a dark police official\u2019s uniform which consists of a long sleeved dark shirt with buttons and \u2018official\u2019 (sergeant) stripes on both sleeves, cropped trousers, and knee socks. Around the waist is a cloth belt in which a truncheon and two pouches are attached. The head is covered with a black knitted face mask with two holes for eyes and a hole for the mouth. The features are accentuated by white border markings above and below the eyes, on top is a cap. In the background are spectators and trees. [Description from record P.71632.GIJ, PB 01/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767239.GIJ and P.767240.GIJ are mounted together on card.\n\nFM:312006\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171315_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144531_P.171315.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169642.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463624", "metadata": {"title": "Untitled", "idno": "P.169642.GIJ", "description": "A full length portrait of a man wearing a shirt and a wrapper. He is sitting in a wooden chair, looking directly at the camera. There is a basket on the ground to the left, and large timbers of wood propped up behind the chair to the right. In the background children are looking on, and there is a river. The man is mending or making a net. In his left hand he holds the length of netting, and in his right a wooden needle. [PB 24/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibo [historically Igbo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.", "raw_text_dump": "IDNO\n\nP.169642.GIJ\n\nDescription\n\nA full length portrait of a man wearing a shirt and a wrapper. He is sitting in a wooden chair, looking directly at the camera. There is a basket on the ground to the left, and large timbers of wood propped up behind the chair to the right. In the background children are looking on, and there is a river. The man is mending or making a net. In his left hand he holds the length of netting, and in his right a wooden needle. [PB 24/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nFM:310129\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169642_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127366_P.169642.GIJ_001.png"}, {"file_name": "P_169642_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127367_P.169642.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171611.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465672", "metadata": {"title": "Untitled", "idno": "P.171611.GIJ", "description": "A cut out image of a carved wooden ancestral figure in profile The figure is female. There is a cord and necklet around the neck. A single broad crest is carved on top of the head. [PB 05/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Obogwe", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171608.GIJ to P.171612.GIJ are mounted on card.\n\nImages P.171608.GIJ to P.171612.GIJ are of the same figures.", "raw_text_dump": "IDNO\n\nP.171611.GIJ\n\nDescription\n\nA cut out image of a carved wooden ancestral figure in profile The figure is female. There is a cord and necklet around the neck. A single broad crest is carved on top of the head. [PB 05/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Obogwe\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171608.GIJ to P.171612.GIJ are mounted on card.\n\nImages P.171608.GIJ to P.171612.GIJ are of the same figures.\n\nFM:312331\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171611_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144917_P.171611.GIJ_001.jpg"}, {"file_name": "P_171611_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144918_P.171611.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13244.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306516", "metadata": {"title": "Untitled", "idno": "N.13244.GIJ", "description": "A Mau (Ghost) masquerade depicting four masqueraders:\nIro Ekpetu (Merciless), Eju Ono (Long Mouth), Iro Ekptu (Merciless) and Awo Ohia (Traveller or he who travels through the bush) and his attendant.\n\nA Mau (Ghost) masquerade depicting four masqueraders:\nIro Ekpetu (Merciless), Eju Ono (Long Mouth), Iro Ekptu (Merciless) and Awo Ohia (Traveller or he who travels through the bush) and his attendant. From left, Iro Ekpetu (Merciless) is wearing a black,fierce face mask, with eyes and protruding teeth painted white, cloth top and tights, and a raffia skirt around the waist. Iju (Eju) Onu (Long Mouth) is wearing an animal-like mask painted black with white marking and horns, a cloth top, tights and a raffia skirt around the waist, holding two sticks in a frightening? position. Iro Ekpetu (Merciless) is wearing a black,fierce face mask, with eyes, nose, mouth and ears painted white,with a cloth top and tights, and a raffia skirt around the waist. Awo Ohia (Traveller - he who travels through the bush) is wearing a netted striped costume in which the whole body is completely covered and concealed by netting; the netting on the head is black and the netting from the neck down is patterned and striped; this character is not wearing a mask. An attendant stands behind him. All characters are waving thin ?stick switches. In the background are mud and thatch buildings, a child, trees and vegetation.", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "Iro Ekpetu; Merciless; Eju Onu; Long Mouth; Awo Ohia; Traveller [names of mask characters]", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer\n\nContext: During the Mau or ghost masquerades, there are different \u2019characters\u2019 who perform in the masquerade. Jones writes about the division between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair an gaily decorated head-dresses. The fierce were black and red. The modes of the former were rounded and angular, those of the latter also included the stylised and occasionally abstract, and the carving often incorporated fangs, horns, beaks and other fearsome animal features (Jones, 1984, p. 139). More specifically in relation to Iro Ekpetu:, Jones describes a masquerade performance in Amobia in which there were many different characters and one of the masqueraders was a black fierce and masculine creature with masks that combined animal and human features (Jones, 1984, p.59) whereas Oji (Eju) Oni (Long Mouth) belonged to the benign or comic animal category. The frontal part of his head mask projected forward as a muzzle or pair of jaws, the middle section carried a high human forehead and a high carinated human nose, occasionally flanked by bulbous eyes; the rear part as finished off with horns or animal ears or more abstract projections. Jones also mentions that some of the characters do not always wear masks, but hey wears netted costumes in which the actor\u2019s head is completely covered and concealed by net but without a mask or headpiece.\n\nAniakor and Cole discuss the differences between beauty and beast and good and bad.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/10/2007]", "raw_text_dump": "IDNO\n\nN.13244.GIJ\n\nDescription\n\nA Mau (Ghost) masquerade depicting four masqueraders:\nIro Ekpetu (Merciless), Eju Ono (Long Mouth), Iro Ekptu (Merciless) and Awo Ohia (Traveller or he who travels through the bush) and his attendant.\n\nA Mau (Ghost) masquerade depicting four masqueraders:\nIro Ekpetu (Merciless), Eju Ono (Long Mouth), Iro Ekptu (Merciless) and Awo Ohia (Traveller or he who travels through the bush) and his attendant. From left, Iro Ekpetu (Merciless) is wearing a black,fierce face mask, with eyes and protruding teeth painted white, cloth top and tights, and a raffia skirt around the waist. Iju (Eju) Onu (Long Mouth) is wearing an animal-like mask painted black with white marking and horns, a cloth top, tights and a raffia skirt around the waist, holding two sticks in a frightening? position. Iro Ekpetu (Merciless) is wearing a black,fierce face mask, with eyes, nose, mouth and ears painted white,with a cloth top and tights, and a raffia skirt around the waist. Awo Ohia (Traveller - he who travels through the bush) is wearing a netted striped costume in which the whole body is completely covered and concealed by netting; the netting on the head is black and the netting from the neck down is patterned and striped; this character is not wearing a mask. An attendant stands behind him. All characters are waving thin ?stick switches. In the background are mud and thatch buildings, a child, trees and vegetation.\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nIro Ekpetu; Merciless; Eju Onu; Long Mouth; Awo Ohia; Traveller [names of mask characters]\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer\n\nContext: During the Mau or ghost masquerades, there are different \u2019characters\u2019 who perform in the masquerade. Jones writes about the division between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair an gaily decorated head-dresses. The fierce were black and red. The modes of the former were rounded and angular, those of the latter also included the stylised and occasionally abstract, and the carving often incorporated fangs, horns, beaks and other fearsome animal features (Jones, 1984, p. 139). More specifically in relation to Iro Ekpetu:, Jones describes a masquerade performance in Amobia in which there were many different characters and one of the masqueraders was a black fierce and masculine creature with masks that combined animal and human features (Jones, 1984, p.59) whereas Oji (Eju) Oni (Long Mouth) belonged to the benign or comic animal category. The frontal part of his head mask projected forward as a muzzle or pair of jaws, the middle section carried a high human forehead and a high carinated human nose, occasionally flanked by bulbous eyes; the rear part as finished off with horns or animal ears or more abstract projections. Jones also mentions that some of the characters do not always wear masks, but hey wears netted costumes in which the actor\u2019s head is completely covered and concealed by net but without a mask or headpiece.\n\nAniakor and Cole discuss the differences between beauty and beast and good and bad.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/10/2007]\n\nFM:147894\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13244_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000507_N.13244.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.13321.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306593", "metadata": {"title": "Untitled", "idno": "N.13321.GIJ", "description": "Ogbugulu Mau Mask Series.\n\nA side view of an Obugulu Mau helmet mask displayed on a prop. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open. There are black cross designs on the cheek and forehead. The top of the mask consists of an arched crest with an incised circle in the centre. A knitted, striped fabric and pieces of felt are attached to the wooden mask and a small bell is dangling on the fabric.\n\nPhysical Condition: Negative damaged.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka", "cultural_affliation": "Nri-Awka Igbo; Northern Igbo; Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "Prior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nThis is the third image in the Ogbugulu Mau Mask series of eight photographs.\n\nP.71400.GIJ to P.71498.GIJ were kept in box 5, now numbered C302/.\nP.71400.GIJ to P.71407.GIJ were found wrapped in paper, now numbered C302/1/.\n\nThis is the first image in the Ogbugulu Mau Mask series of eight photographs.\n\nPublications: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The white-faced helmut type was confined to part of the Northern Ibo area and and to some of the Northern Edo. In the majority of examples the crested area, when scene in profile formed a curve which reached from the back of the head to the top of the forehead, while the mask section was flat and set at an angle to it, either coming down vertically over the actor\u2019s face or being extended forward at an angle (Jones, 1984, p.139)\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nContext: Cole and Aniakor provide further in-depth description about the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13321.GIJ\n\nDescription\n\nOgbugulu Mau Mask Series.\n\nA side view of an Obugulu Mau helmet mask displayed on a prop. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open. There are black cross designs on the cheek and forehead. The top of the mask consists of an arched crest with an incised circle in the centre. A knitted, striped fabric and pieces of felt are attached to the wooden mask and a small bell is dangling on the fabric.\n\nPhysical Condition: Negative damaged.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka\n\nCultural Affliation\n\nNri-Awka Igbo; Northern Igbo; Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPrior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nThis is the third image in the Ogbugulu Mau Mask series of eight photographs.\n\nP.71400.GIJ to P.71498.GIJ were kept in box 5, now numbered C302/.\nP.71400.GIJ to P.71407.GIJ were found wrapped in paper, now numbered C302/1/.\n\nThis is the first image in the Ogbugulu Mau Mask series of eight photographs.\n\nPublications: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The white-faced helmut type was confined to part of the Northern Ibo area and and to some of the Northern Edo. In the majority of examples the crested area, when scene in profile formed a curve which reached from the back of the head to the top of the forehead, while the mask section was flat and set at an angle to it, either coming down vertically over the actor\u2019s face or being extended forward at an angle (Jones, 1984, p.139)\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nContext: Cole and Aniakor provide further in-depth description about the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147971\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13321_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000584_N.13321.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.30457.NWT", "source_url": "https://collections.maa.cam.ac.uk/photographs/323729", "metadata": {"title": "Untitled", "idno": "P.30457.NWT", "description": "On Negative Listing: \"2034. 22. do do [ditto - 2032. 20. Okike.\nKilling of sheep]. [Thomas' manuscript on RAI MS 467-2(1801-2475)]\n\nIn Blench and Alexander Catalogue for N. W. Thomas photograph collection: \u201c2034 location: Amobia; associations: religion?;\u201d [printed text]", "place": "W Africa; Nigeria; south eastern Nigeria; near Awka; Amobia village", "cultural_affliation": "", "named_person": "", "photographer": "Thomas, Northcote Whitridge", "collector_/_expedition": "", "date": "1909 - 1913", "collection_name": "Northcote Thomas Collection", "source": "Thomas, Northcote Whitridge", "format": "Print Black & White", "primary_documentation": "", "other_information": "This print was previously stored in a box in the fourth drawer of a container which has four drawers. The cataloguer has marked the container C70/, the fourth drawer C70/4/ and the box in which this print was kept C70/4/6/.", "raw_text_dump": "IDNO\n\nP.30457.NWT\n\nDescription\n\nOn Negative Listing: \"2034. 22. do do [ditto - 2032. 20. Okike.\nKilling of sheep]. [Thomas' manuscript on RAI MS 467-2(1801-2475)]\n\nIn Blench and Alexander Catalogue for N. W. Thomas photograph collection: \u201c2034 location: Amobia; associations: religion?;\u201d [printed text]\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; near Awka; Amobia village\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nThomas, Northcote Whitridge\n\nCollector / Expedition\n\nDate\n\n1909 - 1913\n\nCollection Name\n\nNorthcote Thomas Collection\n\nSource\n\nThomas, Northcote Whitridge\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis print was previously stored in a box in the fourth drawer of a container which has four drawers. The cataloguer has marked the container C70/, the fourth drawer C70/4/ and the box in which this print was kept C70/4/6/.\n\n\n\nFM:165107\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_30457_NWT_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/860113_P.30457.NWT_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.169878.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463897", "metadata": {"title": "Untitled", "idno": "P.169878.GIJ", "description": "A group of human remains, including one skull and several bones, lying in grassy open ground. [PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169878.GIJ\n\nDescription\n\nA group of human remains, including one skull and several bones, lying in grassy open ground. [PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310365\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169878_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127846_image_not_public.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13232.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306504", "metadata": {"title": "Untitled", "idno": "N.13232.GIJ", "description": "An object documentation photograph of a carved and painted wooden mask represnting a human face with rectangular \u2018ears\u2019, carved coiffure, eyebrows, a dark mark between the eyebrows, eyes, nose, lips. It appears as if the lower jaw is moveable, dividing between the lips.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ogoni", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1937 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: See Jones.G.I. 1984: 189 for description of Ogoni masks representing human faces, and figure 97 on p. 188 for an image of a similar mask.\n\nNo print was found for this image. June 1999.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/3/2008]", "raw_text_dump": "IDNO\n\nN.13232.GIJ\n\nDescription\n\nAn object documentation photograph of a carved and painted wooden mask represnting a human face with rectangular \u2018ears\u2019, carved coiffure, eyebrows, a dark mark between the eyebrows, eyes, nose, lips. It appears as if the lower jaw is moveable, dividing between the lips.\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nOgoni\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1937 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: See Jones.G.I. 1984: 189 for description of Ogoni masks representing human faces, and figure 97 on p. 188 for an image of a similar mask.\n\nNo print was found for this image. June 1999.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/3/2008]\n\nFM:147882\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13232_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000495_N.13232.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171190.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465251", "metadata": {"title": "Untitled", "idno": "P.171190.GIJ", "description": "Onyema Ogadi masquerade, A standing masquerade character called Ogbuseyoloalu (one who carries poison). The mask is painted white with black markings to accentuate the eyebrows, nose, and mouth. There are small black circles dotted underneath the eyes, nose and chin. The forehead is painted black with incised striations denoting hair. On top of each mask is long raffia \u201chair\u201d.\nThe masquerader is wearing a striped, woven costume with raffia skirt. In the background in the right of the photograph are \u2018attendants\u2019 and spectators (sitting and standing) and trees. [Description from record P.169672.GIJ, PB 02/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767113.GIJ - P.767116.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171190.GIJ\n\nDescription\n\nOnyema Ogadi masquerade, A standing masquerade character called Ogbuseyoloalu (one who carries poison). The mask is painted white with black markings to accentuate the eyebrows, nose, and mouth. There are small black circles dotted underneath the eyes, nose and chin. The forehead is painted black with incised striations denoting hair. On top of each mask is long raffia \u201chair\u201d.\nThe masquerader is wearing a striped, woven costume with raffia skirt. In the background in the right of the photograph are \u2018attendants\u2019 and spectators (sitting and standing) and trees. [Description from record P.169672.GIJ, PB 02/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767113.GIJ - P.767116.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311881\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171190_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144406_P.171190.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171487.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465548", "metadata": {"title": "Untitled", "idno": "P.171487.GIJ", "description": "Obugulu Mau masquerade, a grandmother mask character. The masquerader is performing in front of an audience. The mask consists of a white face with black markings around the eyes, nose and three linear markings on the forehead. The top of the mask consists of cone-shaped headdress (coiffure) with a curved structure in the centre, painted white and black. There is woven cloth attached to the mask, a scarf tied around the neck and a harlequin-like costume, the sleeves are white covering the hands. In one hand there is a fly whisk and around the ankles are very thick ivory anklets. In the background are spectators and trees. [Description from record P.71517.GIJ , PB 20/09/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.768147.GIJ to P.768149.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171487.GIJ\n\nDescription\n\nObugulu Mau masquerade, a grandmother mask character. The masquerader is performing in front of an audience. The mask consists of a white face with black markings around the eyes, nose and three linear markings on the forehead. The top of the mask consists of cone-shaped headdress (coiffure) with a curved structure in the centre, painted white and black. There is woven cloth attached to the mask, a scarf tied around the neck and a harlequin-like costume, the sleeves are white covering the hands. In one hand there is a fly whisk and around the ankles are very thick ivory anklets. In the background are spectators and trees. [Description from record P.71517.GIJ , PB 20/09/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.768147.GIJ to P.768149.GIJ are mounted on card.\n\nFM:312188\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171487_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144704_P.171487.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171241.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465302", "metadata": {"title": "Untitled", "idno": "P.171241.GIJ", "description": "An object documentation photograph of a carved wooden ogbugulu mau helmet mask. The base of the mask is drum-like with a slit in the side, above which are several ridges. From the centre of the top of the helmet is a carved janus head, with a block hair comb decorated with notched dots. Around the neck of the face is a garland of twisted raffia. [PB 05/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra state; Ogidi", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767163.GIJ - P.767165.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171241.GIJ\n\nDescription\n\nAn object documentation photograph of a carved wooden ogbugulu mau helmet mask. The base of the mask is drum-like with a slit in the side, above which are several ridges. From the centre of the top of the helmet is a carved janus head, with a block hair comb decorated with notched dots. Around the neck of the face is a garland of twisted raffia. [PB 05/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra state; Ogidi\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767163.GIJ - P.767165.GIJ are mounted together on card.\n\nFM:311932\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171241_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144457_P.171241.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.170071.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464114", "metadata": {"title": "Untitled", "idno": "T.170071.GIJ", "description": "A close up view of Ajonku or Ajonkwu masquerade. The masquerader is wearing a knitted net costume which covers his face and on top of his head is a tall headdress consisting of a rounded platform with a cloth wrapped around it and on top, there is a humanistic rounded face which is attached and made of animal skin. The face consists of arched eyebrows, stylistic almond shaped eyes, nose, open mouth and elliptical shaped ears, in the centre of the forehead is a rounded protuberance. The costume is adorned with fronds and feathers. Surrounding the masqueraders are young men holding branches, and in the background are spectators, trees, and building.[Description from record P.71831.GIJ, PB 15/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Isu Ikuru Ato", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170071.GIJ\n\nDescription\n\nA close up view of Ajonku or Ajonkwu masquerade. The masquerader is wearing a knitted net costume which covers his face and on top of his head is a tall headdress consisting of a rounded platform with a cloth wrapped around it and on top, there is a humanistic rounded face which is attached and made of animal skin. The face consists of arched eyebrows, stylistic almond shaped eyes, nose, open mouth and elliptical shaped ears, in the centre of the forehead is a rounded protuberance. The costume is adorned with fronds and feathers. Surrounding the masqueraders are young men holding branches, and in the background are spectators, trees, and building.[Description from record P.71831.GIJ, PB 15/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isu Ikuru Ato\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310599\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170071_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128230_T.170071.GIJ_001.png"}, {"file_name": "T_170071_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128232_T.170071.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171103.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465164", "metadata": {"title": "Untitled", "idno": "P.171103.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nAwo Ohia (Traveller or he who travels through the bush) wearing a striped, netted costume covering the body and head, the netting on the head is black, holding a stick. A rattle is attached to the waist, probably made of seed? or shell?, partially obscured by raffia. In the background are mud and thatched huts, trees and vegetation. [Description from record N.13246.GIJ, PB 14/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767019.GIJ - P.767028.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Awo Ohia (Traveller), G.I. Jones writes in the notes: \"Another fierce character in the close-fitting costume of the Egbo Runners of the Cross River Ekpe (Egbo) masquerades, and borrowed, no doubt, from the Ekpe (Egbo) masquerades of the Bende division. He lacked the usual handbell at the waist but wore instead a belt of large snail shells,.\"", "raw_text_dump": "IDNO\n\nP.171103.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nAwo Ohia (Traveller or he who travels through the bush) wearing a striped, netted costume covering the body and head, the netting on the head is black, holding a stick. A rattle is attached to the waist, probably made of seed? or shell?, partially obscured by raffia. In the background are mud and thatched huts, trees and vegetation. [Description from record N.13246.GIJ, PB 14/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767019.GIJ - P.767028.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Awo Ohia (Traveller), G.I. Jones writes in the notes: \"Another fierce character in the close-fitting costume of the Egbo Runners of the Cross River Ekpe (Egbo) masquerades, and borrowed, no doubt, from the Ekpe (Egbo) masquerades of the Bende division. He lacked the usual handbell at the waist but wore instead a belt of large snail shells,.\"\n\nFM:311794\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171103_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144319_P.171103.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171223.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465284", "metadata": {"title": "Untitled", "idno": "P.171223.GIJ", "description": "A wooden Ikenga figure seated on a round circular stool. The figure is holding a staff in one hand and a sack? in the other. The head of the Ikenga figure consists of a delicately carved face with incised markings in the centre of the forehead, underneath the eyes, and cheeks. The facial features are delicate and include almond shaped eyes, nose, lips and rounded ears, placed on top of the head are two curved horns. The figure is \u2018dressed \u2018 and there are decorative incisions round the neck, a protruding umbilicus, pleated wrapper and coiled rings around the ankles. [Description from record P.71658.GIJ, PB 04/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Achalla village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.76746.GIJ - P.767147.GIJ are mounted together on card.\n\nPublication: Same photograph published in Jones, 1984, Plate 49, p. 142 with the caption: \u201cIkenga; Achalla village. Nri/Awka Ibo\"", "raw_text_dump": "IDNO\n\nP.171223.GIJ\n\nDescription\n\nA wooden Ikenga figure seated on a round circular stool. The figure is holding a staff in one hand and a sack? in the other. The head of the Ikenga figure consists of a delicately carved face with incised markings in the centre of the forehead, underneath the eyes, and cheeks. The facial features are delicate and include almond shaped eyes, nose, lips and rounded ears, placed on top of the head are two curved horns. The figure is \u2018dressed \u2018 and there are decorative incisions round the neck, a protruding umbilicus, pleated wrapper and coiled rings around the ankles. [Description from record P.71658.GIJ, PB 04/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Achalla village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.76746.GIJ - P.767147.GIJ are mounted together on card.\n\nPublication: Same photograph published in Jones, 1984, Plate 49, p. 142 with the caption: \u201cIkenga; Achalla village. Nri/Awka Ibo\"\n\nFM:311914\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171223_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144439_P.171223.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71841.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365112", "metadata": {"title": "Untitled", "idno": "N.71841.GIJ", "description": "A wooden sculpture inside an Obu (meeting house). The sculpture is consists of a series of levels. From the bottom there is the upper torso and head of a human figure on a rounded incised base. The figure is stylised with facial features, and etched scarification marks in the centre of the body and around the extended umbilicus, with one hand on the chest and the other along the side. The next two levels consist of rounded incised bases with linear markings, the third level depicts an animal? perched on a smaller incised base with the hands in a crouched position. In the background is the interior of the building with sloped roofing, wooden beams and mud? walls.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 7 of the negative album now numbered C19/.\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 5/12/2007]", "raw_text_dump": "IDNO\n\nN.71841.GIJ\n\nDescription\n\nA wooden sculpture inside an Obu (meeting house). The sculpture is consists of a series of levels. From the bottom there is the upper torso and head of a human figure on a rounded incised base. The figure is stylised with facial features, and etched scarification marks in the centre of the body and around the extended umbilicus, with one hand on the chest and the other along the side. The next two levels consist of rounded incised bases with linear markings, the third level depicts an animal? perched on a smaller incised base with the hands in a crouched position. In the background is the interior of the building with sloped roofing, wooden beams and mud? walls.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 7 of the negative album now numbered C19/.\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 5/12/2007]\n\nFM:206491\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71841_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656932_N.71841.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171149.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465210", "metadata": {"title": "Untitled", "idno": "P.171149.GIJ", "description": "Ogbugulu mau masquerade. A close up view of the masquerader wearing a white and black painted face mask adorned with an elaborate superstructure. The top of the mask consists of pieces of cloth, ribbon, felt, tassels, carvings, and mirrors. The carving on the top is wearing a white pith helmet and European clothing. The costume is harlequin-like appliqued material. [Description from record P.71529.GIJ, PB 20/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767071.GIJ - P.767074.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171149.GIJ\n\nDescription\n\nOgbugulu mau masquerade. A close up view of the masquerader wearing a white and black painted face mask adorned with an elaborate superstructure. The top of the mask consists of pieces of cloth, ribbon, felt, tassels, carvings, and mirrors. The carving on the top is wearing a white pith helmet and European clothing. The costume is harlequin-like appliqued material. [Description from record P.71529.GIJ, PB 20/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767071.GIJ - P.767074.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311840\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171149_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144365_P.171149.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13313.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306585", "metadata": {"title": "Untitled", "idno": "N.13313.GIJ", "description": "Close up portrait of a young man wearing a shirt.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13313.GIJ\n\nDescription\n\nClose up portrait of a young man wearing a shirt.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147963\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13313_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000576_N.13313.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.7054.ACH1", "source_url": "https://collections.maa.cam.ac.uk/photographs/300326", "metadata": {"title": "Untitled", "idno": "P.7054.ACH1", "description": "On Catalogue Card: Making a pot, Edo-speaking peoples, S. Nigeria.", "place": "W Africa; Nigeria; south eastern Nigeria", "cultural_affliation": "Edo", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Mounted Haddon Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "", "raw_text_dump": "IDNO\n\nP.7054.ACH1\n\nDescription\n\nOn Catalogue Card: Making a pot, Edo-speaking peoples, S. Nigeria.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria\n\nCultural Affliation\n\nEdo\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nMounted Haddon Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nFM:141704\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_7054_ACH1_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/866777_P.7054.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.170068.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464108", "metadata": {"title": "Untitled", "idno": "T.170068.GIJ", "description": "A portrait of the character Iro Ekpetu (Merciless). The masquerader is wearing a fierce mask, black with fang-like teeth, and a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia. He is carrying a wand or a stick with which to threaten the crowd. Thatched buildings are in the background. [PB 15/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nImage used in Jones G.I. The art of eastern Nigeria. 1984 Cambridge: CUP Fig 10 p 60. Caption: 'Iro Ekpetu: Mau masquerade. Isuochi Ibo.'", "raw_text_dump": "IDNO\n\nT.170068.GIJ\n\nDescription\n\nA portrait of the character Iro Ekpetu (Merciless). The masquerader is wearing a fierce mask, black with fang-like teeth, and a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia. He is carrying a wand or a stick with which to threaten the crowd. Thatched buildings are in the background. [PB 15/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nImage used in Jones G.I. The art of eastern Nigeria. 1984 Cambridge: CUP Fig 10 p 60. Caption: 'Iro Ekpetu: Mau masquerade. Isuochi Ibo.'\n\nFM:310596\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170068_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128218_T.170068.GIJ_001.png"}, {"file_name": "T_170068_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128219_T.170068.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13333.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306605", "metadata": {"title": "Untitled", "idno": "N.13333.GIJ", "description": "NA white face mask on a masquerader. The mask is painted white and has very human and stylised features. The eyes are inset and the pupils are painted white, black eyebrows, elongated nose, protruding ears, defined lips with a black marking above the lip. There is a black line running down the centre of the face. In addition, there are two small black linear lines underneath the eyes and two small black circles on each side of the eyes. The hairline is scalloped and is possibly made of felt or fabric with strips of felt resembling hair. Around the chin is a band with pieces of fabric. In the background is a man in a cloth and some buildings.", "place": "W Africa; Nigeria; South Eastern Nigeria; Nsukka division", "cultural_affliation": "Nsukka Igbo; Northern Igbo; Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "Prior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nThis is the second image in the Nsukka area masquerade series of two photographs.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nsukka Igbo\n3. Masquerader in Nsukka (2nd image).\n\nContext: White face masks?\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 4/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13333.GIJ\n\nDescription\n\nNA white face mask on a masquerader. The mask is painted white and has very human and stylised features. The eyes are inset and the pupils are painted white, black eyebrows, elongated nose, protruding ears, defined lips with a black marking above the lip. There is a black line running down the centre of the face. In addition, there are two small black linear lines underneath the eyes and two small black circles on each side of the eyes. The hairline is scalloped and is possibly made of felt or fabric with strips of felt resembling hair. Around the chin is a band with pieces of fabric. In the background is a man in a cloth and some buildings.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Nsukka division\n\nCultural Affliation\n\nNsukka Igbo; Northern Igbo; Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPrior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nThis is the second image in the Nsukka area masquerade series of two photographs.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nsukka Igbo\n3. Masquerader in Nsukka (2nd image).\n\nContext: White face masks?\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 4/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147983\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13333_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000596_N.13333.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169659.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463658", "metadata": {"title": "Untitled", "idno": "P.169659.GIJ", "description": "Mgbedike masquerade. The masquerader is wearing an elaborate headdress carved of horns, figures, animals, and on the top of the headdress is a man with a white face riding a horse? The mask is covered with palm fronds, omu, and the masquerader is holding an object (machete? or knife?) in one hand. The costume is made of cloth, palm fronds, shells, seeds and porcupine quills jutting out around the neck. In the background are trees, bystanders, and houses. [Description from record N.71562.GIJ, PB 18/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nN.71562.GIJ is a close up view of the masquerade character.", "raw_text_dump": "IDNO\n\nP.169659.GIJ\n\nDescription\n\nMgbedike masquerade. The masquerader is wearing an elaborate headdress carved of horns, figures, animals, and on the top of the headdress is a man with a white face riding a horse? The mask is covered with palm fronds, omu, and the masquerader is holding an object (machete? or knife?) in one hand. The costume is made of cloth, palm fronds, shells, seeds and porcupine quills jutting out around the neck. In the background are trees, bystanders, and houses. [Description from record N.71562.GIJ, PB 18/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nN.71562.GIJ is a close up view of the masquerade character.\n\nFM:310146\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169659_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127420_P.169659.GIJ_001.png"}, {"file_name": "P_169659_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127422_P.169659.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71768.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365039", "metadata": {"title": "Untitled", "idno": "N.71768.GIJ", "description": "An Item comic male mask. The mask is oval shaped with large holes for eyes carved in an almond shape design, accentuated by rounded incised eyebrows, square-ish nose, protruding ears and an open mouth. There are markings on the swollent cheeks. Holes for attaching the mask are visible on the forehead and ears.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Item", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 77 of the negative album now numbered C17/.\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]", "raw_text_dump": "IDNO\n\nN.71768.GIJ\n\nDescription\n\nAn Item comic male mask. The mask is oval shaped with large holes for eyes carved in an almond shape design, accentuated by rounded incised eyebrows, square-ish nose, protruding ears and an open mouth. There are markings on the swollent cheeks. Holes for attaching the mask are visible on the forehead and ears.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nItem\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 77 of the negative album now numbered C17/.\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nFM:206418\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71768_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656874_N.71768.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171138.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465199", "metadata": {"title": "Untitled", "idno": "P.171138.GIJ", "description": "Object documentation photograph of a face mask.\nA face mask painted white with black paint to accentuate and define the eyes, cheeks, open mouth, markings and \u2018 scalloped\u2019 hairline. They eyes are small slits and the ears are protruding from the sides. It is carved and painted in darker colour(s) in extended triangles from eyes across cheeks, and in a semi-rectangular area above the eyes on the forehead. The darkened area on the forehead is carved with a pattern of diagonal lines (representing itchi marks). There are additional areas of darkly painted incised decorations on the chin and above the main panel on the forehead. [Description from record N.13336.GIJ, PB 20/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri-Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767062.GIJ - P.767066.GIJ are mounted together on paper.", "raw_text_dump": "IDNO\n\nP.171138.GIJ\n\nDescription\n\nObject documentation photograph of a face mask.\nA face mask painted white with black paint to accentuate and define the eyes, cheeks, open mouth, markings and \u2018 scalloped\u2019 hairline. They eyes are small slits and the ears are protruding from the sides. It is carved and painted in darker colour(s) in extended triangles from eyes across cheeks, and in a semi-rectangular area above the eyes on the forehead. The darkened area on the forehead is carved with a pattern of diagonal lines (representing itchi marks). There are additional areas of darkly painted incised decorations on the chin and above the main panel on the forehead. [Description from record N.13336.GIJ, PB 20/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri-Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767062.GIJ - P.767066.GIJ are mounted together on paper.\n\nFM:311829\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171138_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144354_P.171138.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171314.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465375", "metadata": {"title": "Untitled", "idno": "P.171314.GIJ", "description": "Mau masquerade character called \u2018Government\u2019 and attendant. The masquerader is a faceless character with a piece of cloth covering his face, dressed in patterned cloth, wearing a Homburg hat with a feather tucked into the side. \u2018Government\u2019 is holding a piece of paper in his hand, symbolising authority. His \u2018attendant\u2019 is kneeling down and placing an ivory tusk and walking stick in front of him. The attendant is covered in cloth and wearing a Homburg hat. He is carrying a large metal gong in his hand. In the background are spectators and thatched houses. [Description from record P.71616.GIJ, PB 01/08/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767238.GIJ is mounted on card.\n\nPublication: Same image in Jones, 1984, p.58, Plate 7 with the caption, \"'Government': Mau masquerade. Amobia villge. Nri/Awka Ibo\"", "raw_text_dump": "IDNO\n\nP.171314.GIJ\n\nDescription\n\nMau masquerade character called \u2018Government\u2019 and attendant. The masquerader is a faceless character with a piece of cloth covering his face, dressed in patterned cloth, wearing a Homburg hat with a feather tucked into the side. \u2018Government\u2019 is holding a piece of paper in his hand, symbolising authority. His \u2018attendant\u2019 is kneeling down and placing an ivory tusk and walking stick in front of him. The attendant is covered in cloth and wearing a Homburg hat. He is carrying a large metal gong in his hand. In the background are spectators and thatched houses. [Description from record P.71616.GIJ, PB 01/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767238.GIJ is mounted on card.\n\nPublication: Same image in Jones, 1984, p.58, Plate 7 with the caption, \"'Government': Mau masquerade. Amobia villge. Nri/Awka Ibo\"\n\nFM:312005\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171314_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144530_P.171314.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.170000.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464019", "metadata": {"title": "Untitled", "idno": "T.170000.GIJ", "description": "An Afikpo mask possibly known as Mba or Mkpere. The mask is rather abstract and consists of a rounded incised face painted white on the inside and outlined in black around the shell of the face, with almond shaped eyes and round circle (nose). The top of the mask is a flat board, rectangular in form, extending vertically, compartmentalised into three sections with triangular designs in the centre with a vertical line running down the centre. The interstitial triangular areas are cut out. The mask is painted white with darker pigments. Around the mask is raffia braid. [Description from record P.71740.GIJ , PB 31/08/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; ?Northern Bende division; Ngusu Ada", "cultural_affliation": "Igbo [historically Ibo]; Ada", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170000.GIJ\n\nDescription\n\nAn Afikpo mask possibly known as Mba or Mkpere. The mask is rather abstract and consists of a rounded incised face painted white on the inside and outlined in black around the shell of the face, with almond shaped eyes and round circle (nose). The top of the mask is a flat board, rectangular in form, extending vertically, compartmentalised into three sections with triangular designs in the centre with a vertical line running down the centre. The interstitial triangular areas are cut out. The mask is painted white with darker pigments. Around the mask is raffia braid. [Description from record P.71740.GIJ , PB 31/08/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; ?Northern Bende division; Ngusu Ada\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ada\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310528\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170000_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128039_T.170000.GIJ_001.png"}, {"file_name": "T_170000_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128040_T.170000.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "T.170093.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464154", "metadata": {"title": "Untitled", "idno": "T.170093.GIJ", "description": "A close up view of an Ikem masquerade female head mask on top of a table . The mask is very naturalistic and shows refined features. It is not painted yet. The hair is in an elaborate coiffure made of twisted or curved \u201chorns\u201d. The hair is fringed by a band with studs above the forehead and temples. The side profile of the face shows eyebrows, inset eyes, nose, and lips. The ears are carved with earrings. The cords to attached to the head of the masquerader hang from the bottom of the mask. Behind the table a person is standing with hands on a chair. In the background are children standing in front of a building. [PB 22/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Umuahia", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170093.GIJ\n\nDescription\n\nA close up view of an Ikem masquerade female head mask on top of a table . The mask is very naturalistic and shows refined features. It is not painted yet. The hair is in an elaborate coiffure made of twisted or curved \u201chorns\u201d. The hair is fringed by a band with studs above the forehead and temples. The side profile of the face shows eyebrows, inset eyes, nose, and lips. The ears are carved with earrings. The cords to attached to the head of the masquerader hang from the bottom of the mask. Behind the table a person is standing with hands on a chair. In the background are children standing in front of a building. [PB 22/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Umuahia\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310621\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170093_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128309_T.170093.GIJ_001.png"}, {"file_name": "T_170093_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128310_T.170093.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13310.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306582", "metadata": {"title": "Untitled", "idno": "N.13310.GIJ", "description": "Close up portrait of a man.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13310.GIJ\n\nDescription\n\nClose up portrait of a man.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147960\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13310_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000573_N.13310.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171284.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465345", "metadata": {"title": "Untitled", "idno": "P.171284.GIJ", "description": "A photograph of two men standing in front of a pyramid. The pyramid is a plain cone, without steps. [PB 18/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Enugu state; Nsude", "cultural_affliation": "Igbo [historically Ibo]; Abaja", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767205.GIJ - P.767208.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171284.GIJ\n\nDescription\n\nA photograph of two men standing in front of a pyramid. The pyramid is a plain cone, without steps. [PB 18/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Enugu state; Nsude\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abaja\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767205.GIJ - P.767208.GIJ are mounted together on card.\n\nFM:311975\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171284_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144500_P.171284.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71832.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365103", "metadata": {"title": "Untitled", "idno": "N.71832.GIJ", "description": "Ajonku or Ajonkwu masquerade. The masquerader is wearing a knitted net costume which covers his face and on top of his head is a tall headdress consisting of a rounded platform with a cloth wrapped around it and on top a humanistic rounded face is attached; it is probably made of animal skin and consists of arched eyebrows, stylistic almond shaped eyes, nose, open mouth and elliptical shaped ears, in the centre of the forehead is a rounded protuberance. The costume is adorned with fronds and feathers. Surrounding the masqueraders are young men holding branches, and in the background are spectators, trees, and building.", "place": "W Africa; Nigeria; Abia State; South Eastern Nigeria; [Cross River; Northern Bende division]", "cultural_affliation": "Igbo [historically Ibo]; Isu Ikuru ato", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 89 of the negative album now numbered C17/.\n\nPublication: Same image found in Jones, 1973, Plate 7, p.61 in which the caption reads, \u201cSkin covered head in Cross River Style from Ekpe (Egbo) maskerade of Ohaffia Tribe\u201d.\n\nContext: Jones discusses the different styles of sculpture in the Cross River area. In reference to the mask in this photograph, he writes. \u201cThe range of Cross River carvings is striking: their only constant features are the techniques of covering the carvings with skin and the netted fiber costumes. One type is a closely fitted coat (as in this photo), the other consists of closely fitted tights worn by a fierce faceless characters called Egbo runnes in in nineteenth century Old Calabar,. In the Umuahia ara, this Cross River style of heads and costumes is associated with the Ekpe (Egbo) secret society whihc has spread to many villages under various names (Ekpe, Akang, Okonko, Mbon) (Jones, 1973, p.61).\n\nContext: In reference to the Abam/Ohaffia area, Jones writes that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin-covered heads in the Cross-River Style, usually called Ajonku. But they also had masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of the Abiriba. All these tribes, but particularly the Abiriba, were great doctors and traders and travelled extensively in the Cross River area and through the Ibibio country to the coastal trading states. Anang (Ibibio) sculpture was greatly admired, but it does not seem to have had much influence on the local styles\u201d (Jones, 1984, p.208)\n\nContext: Cole and Aniakor talk about the skin covered masks and headdresses which were common in the Cross River Area. Through the work of Nicklin, Salmons, Jones and Campbell, some provenances of these masquerades are now being sorted out. It is acknowledged that Ejagham peoples originated the genre, but not often mentioned that Cross River Igbo were also exponents of it, creating some variants that stand as important works of art. Examples are documented from Isu-Item, Bende, Umuahia, Abiribia, Ohafia, Arochukwu, and some north-eastern Igbo peoples, and it is probable that a number of of masks labeled Ekoi are also of Igbo origin. They were danced in the masquerades of men\u2019s societies: Ekpe (Ohuhu-Ngwa), Ikem, Oiyima, Ajonkwu, Ekong, and probably others as well...Jones\u2019 designation of \u201cCross River Style\u201d for these and other skin covered masks is understandable since the peoples of the region carved for one another in several substyles, traded dances and associations, and thus confounded any but the most broad classifications. (Cole and Aniakor, 1984, p.182). [AF 3/12/2007]\n\nBibliographical Reference: A brief history is provided by Emmanuel Eze on the website: History, Culture and Politics in Isuikwuato LGA; Emmanuel Eze reporting from Abia\nSubmitted on 25/07/2005\nIsuikwuato is one of the Local Government Areas in Abia state. The name itself means a union of three main components or kindreds as [ikwu] represents in igbo language. It is bounded in the North by by Uturu, in the east by Alayi, to the suoth by Akoli and Mkpa, and to the west by Otanchara and Otanzu. However, the present political structure of Isuikwuato has Uturu as part of it.\nThe people of Isuikwuato speak Igbo language though with a distinct dialect. The people are quite friendly and hospitable. They are into farming as the area has a large landmass though it is hilly and undulating as per the topography. In addition, they are also businessmen cum women and professionals in different fields. Like all other igbos they are seasoned sojourners and can be found in all parts of Nigeria and beyond.\nOwing to the topography of Isuikwuato, there are many rivers cum streams from were the indigenes get their water, the only difficulty being the long distance .\nIn recent times, the area has come to produce great Academicians and intellectuals one of whom is Dr Chinweizu; Author of Anatomy of Female Power, among others.\nThere are a number of cultural celebrations such as the Ajonkwu in Ovim[ Ovum], Ebo in Umuobiala and the New Yam festival which is a general festival in Igboland. [Source: nigerianmasses.com, AF 3/12/2007]\n\nBibliographical Reference:\nJones, G.I. 1973. \u201cSculpture of the Umuahia Ara of Nigeria\u201d African Arts 6(4):58-63, 96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 3/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71832.GIJ\n\nDescription\n\nAjonku or Ajonkwu masquerade. The masquerader is wearing a knitted net costume which covers his face and on top of his head is a tall headdress consisting of a rounded platform with a cloth wrapped around it and on top a humanistic rounded face is attached; it is probably made of animal skin and consists of arched eyebrows, stylistic almond shaped eyes, nose, open mouth and elliptical shaped ears, in the centre of the forehead is a rounded protuberance. The costume is adorned with fronds and feathers. Surrounding the masqueraders are young men holding branches, and in the background are spectators, trees, and building.\n\nPlace\n\nW Africa; Nigeria; Abia State; South Eastern Nigeria; [Cross River; Northern Bende division]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isu Ikuru ato\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 89 of the negative album now numbered C17/.\n\nPublication: Same image found in Jones, 1973, Plate 7, p.61 in which the caption reads, \u201cSkin covered head in Cross River Style from Ekpe (Egbo) maskerade of Ohaffia Tribe\u201d.\n\nContext: Jones discusses the different styles of sculpture in the Cross River area. In reference to the mask in this photograph, he writes. \u201cThe range of Cross River carvings is striking: their only constant features are the techniques of covering the carvings with skin and the netted fiber costumes. One type is a closely fitted coat (as in this photo), the other consists of closely fitted tights worn by a fierce faceless characters called Egbo runnes in in nineteenth century Old Calabar,. In the Umuahia ara, this Cross River style of heads and costumes is associated with the Ekpe (Egbo) secret society whihc has spread to many villages under various names (Ekpe, Akang, Okonko, Mbon) (Jones, 1973, p.61).\n\nContext: In reference to the Abam/Ohaffia area, Jones writes that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin-covered heads in the Cross-River Style, usually called Ajonku. But they also had masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of the Abiriba. All these tribes, but particularly the Abiriba, were great doctors and traders and travelled extensively in the Cross River area and through the Ibibio country to the coastal trading states. Anang (Ibibio) sculpture was greatly admired, but it does not seem to have had much influence on the local styles\u201d (Jones, 1984, p.208)\n\nContext: Cole and Aniakor talk about the skin covered masks and headdresses which were common in the Cross River Area. Through the work of Nicklin, Salmons, Jones and Campbell, some provenances of these masquerades are now being sorted out. It is acknowledged that Ejagham peoples originated the genre, but not often mentioned that Cross River Igbo were also exponents of it, creating some variants that stand as important works of art. Examples are documented from Isu-Item, Bende, Umuahia, Abiribia, Ohafia, Arochukwu, and some north-eastern Igbo peoples, and it is probable that a number of of masks labeled Ekoi are also of Igbo origin. They were danced in the masquerades of men\u2019s societies: Ekpe (Ohuhu-Ngwa), Ikem, Oiyima, Ajonkwu, Ekong, and probably others as well...Jones\u2019 designation of \u201cCross River Style\u201d for these and other skin covered masks is understandable since the peoples of the region carved for one another in several substyles, traded dances and associations, and thus confounded any but the most broad classifications. (Cole and Aniakor, 1984, p.182). [AF 3/12/2007]\n\nBibliographical Reference: A brief history is provided by Emmanuel Eze on the website: History, Culture and Politics in Isuikwuato LGA; Emmanuel Eze reporting from Abia\nSubmitted on 25/07/2005\nIsuikwuato is one of the Local Government Areas in Abia state. The name itself means a union of three main components or kindreds as [ikwu] represents in igbo language. It is bounded in the North by by Uturu, in the east by Alayi, to the suoth by Akoli and Mkpa, and to the west by Otanchara and Otanzu. However, the present political structure of Isuikwuato has Uturu as part of it.\nThe people of Isuikwuato speak Igbo language though with a distinct dialect. The people are quite friendly and hospitable. They are into farming as the area has a large landmass though it is hilly and undulating as per the topography. In addition, they are also businessmen cum women and professionals in different fields. Like all other igbos they are seasoned sojourners and can be found in all parts of Nigeria and beyond.\nOwing to the topography of Isuikwuato, there are many rivers cum streams from were the indigenes get their water, the only difficulty being the long distance .\nIn recent times, the area has come to produce great Academicians and intellectuals one of whom is Dr Chinweizu; Author of Anatomy of Female Power, among others.\nThere are a number of cultural celebrations such as the Ajonkwu in Ovim[ Ovum], Ebo in Umuobiala and the New Yam festival which is a general festival in Igboland. [Source: nigerianmasses.com, AF 3/12/2007]\n\nBibliographical Reference:\nJones, G.I. 1973. \u201cSculpture of the Umuahia Ara of Nigeria\u201d African Arts 6(4):58-63, 96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 3/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206482\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71832_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656926_N.71832.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "T.169961.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463980", "metadata": {"title": "Untitled", "idno": "T.169961.GIJ", "description": "The interior of an Obu House with the close up view of a large wooden sculpture consisting of two carved figures... The figure on the bottom has a rounded face and also painted with black markings and a rectangular striped hat with a rounded top and point. The head is rounded and the eyebrows are painted black accentuating the eyes, nose and mouth. The ears are protruding as two dark circles. [Description from record N.71853.GIJ, PB 28/07/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; October 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.169961.GIJ\n\nDescription\n\nThe interior of an Obu House with the close up view of a large wooden sculpture consisting of two carved figures... The figure on the bottom has a rounded face and also painted with black markings and a rectangular striped hat with a rounded top and point. The head is rounded and the eyebrows are painted black accentuating the eyes, nose and mouth. The ears are protruding as two dark circles. [Description from record N.71853.GIJ, PB 28/07/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; October 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310489\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_169961_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127961_T.169961.GIJ_001.png"}, {"file_name": "T_169961_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127962_T.169961.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71437.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364708", "metadata": {"title": "Untitled", "idno": "N.71437.GIJ", "description": "An Alose (tutelary deity) figure standing next to some small shrubs. The Alose figure is quite stylised and standing upright holding a stick in one hand and clutching something? else in the other. The head appears to be adorned with a high coiffure, swirled patterns on the head, a white painted face outlining arched eyebrows, eyes, square nose, and thin mouth. The neck is coiled with seven rings or markings. The torso shows a necklace, pointed breasts, scarification markings in the centre, a protruding umbilicus, a wrapper tied around the waist, and white painted markings around the wrists and ankles. Next to the figure is a small pot and wooden staff.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Orsu", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "P.71400.GIJ to P.71498.GIJ were kept in box 5, now numbered C302/.\nP.71424 to P.71438 were found wrapped in paper, now numbered C302/6/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Alusi or Arunsi (shrines)\n3. Alusi With Ikenga and other ritual objects (15th image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d(Jones, 1989, p. 37).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1989, p.54)\n\nContext: In relation to the Alusi figures, Cole and Aniakor write that, \u201cthe dead are conceived as part of the everyday world, and just as clearly, their presence can hold a positive or negative valence for the living; exactly the same is true of the tutelary deities, alusi. These forces, however, are neither personal (chi or ancestors) nor universal (Chineke, Chukwu). Rather, they are in part specific, usually tangible phenomena such as: Earth, the Niger or Imo river, Eke, Afo, Orie/Oye, or Nkwo market, an extraordinary tree, a binding oath at a particular shrine, or the canyon of erosion in Agulu. The preeminence of Ala/Ani does not eclipse the vitality of these other deities, especially those associated with water, or of Amadioha, god of thunder and lightening and, by extension, rain. These anthropomorphic male and female deities have priests and often elaborate cult apparatus, symbolic works of art, and finely decorated compounds. Each has general and specific powers, and although their priesthoods may be held by certain lineages, the more commanding of these cults have constituencies cutting across lines of kinship and stressing communal worship. Such tutelary deities are close to people, fast-acting (for good or ill), and often capricious, thus requiring frequent attention and sacrifice. ...(Cole and Aniakor, 1984, p.16).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1984, p.54)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989, Ibo Art (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/11/2007]", "raw_text_dump": "IDNO\n\nN.71437.GIJ\n\nDescription\n\nAn Alose (tutelary deity) figure standing next to some small shrubs. The Alose figure is quite stylised and standing upright holding a stick in one hand and clutching something? else in the other. The head appears to be adorned with a high coiffure, swirled patterns on the head, a white painted face outlining arched eyebrows, eyes, square nose, and thin mouth. The neck is coiled with seven rings or markings. The torso shows a necklace, pointed breasts, scarification markings in the centre, a protruding umbilicus, a wrapper tied around the waist, and white painted markings around the wrists and ankles. Next to the figure is a small pot and wooden staff.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Orsu\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71400.GIJ to P.71498.GIJ were kept in box 5, now numbered C302/.\nP.71424 to P.71438 were found wrapped in paper, now numbered C302/6/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Alusi or Arunsi (shrines)\n3. Alusi With Ikenga and other ritual objects (15th image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d(Jones, 1989, p. 37).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1989, p.54)\n\nContext: In relation to the Alusi figures, Cole and Aniakor write that, \u201cthe dead are conceived as part of the everyday world, and just as clearly, their presence can hold a positive or negative valence for the living; exactly the same is true of the tutelary deities, alusi. These forces, however, are neither personal (chi or ancestors) nor universal (Chineke, Chukwu). Rather, they are in part specific, usually tangible phenomena such as: Earth, the Niger or Imo river, Eke, Afo, Orie/Oye, or Nkwo market, an extraordinary tree, a binding oath at a particular shrine, or the canyon of erosion in Agulu. The preeminence of Ala/Ani does not eclipse the vitality of these other deities, especially those associated with water, or of Amadioha, god of thunder and lightening and, by extension, rain. These anthropomorphic male and female deities have priests and often elaborate cult apparatus, symbolic works of art, and finely decorated compounds. Each has general and specific powers, and although their priesthoods may be held by certain lineages, the more commanding of these cults have constituencies cutting across lines of kinship and stressing communal worship. Such tutelary deities are close to people, fast-acting (for good or ill), and often capricious, thus requiring frequent attention and sacrifice. ...(Cole and Aniakor, 1984, p.16).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1984, p.54)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989, Ibo Art (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/11/2007]\n\nFM:206087\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71437_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656584_N.71437.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169637.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463614", "metadata": {"title": "Untitled", "idno": "P.169637.GIJ", "description": "A masquerader in an Ikem Play sitting on a chair. The mask consists of a naturalistic female face that depicts inset eyes, arched black eyebrows, nose, open painted mouth and ears. The hairstyle is an elaborate coiffure painted black and consisting of three elongated braids that project upward and outward in bold curves from the top of the head. The face is varnished. Around the upper body is square shaped form that is covered in a light cloth. The masquerader is wearing trousers and several pieces of plaid cloth around the waist and seed anklets. He is holding a decorated stick in one hand. Next to him is an attendant dressed in a white shirt, scarf and plaid wrapper. In the background are spectators and thatch and mud buildings. [Description from record N.71335.GIJ, PB 20/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Umuahia", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ibibio, Ijo and Ogoni\n2. Ibibio\n3. Ikem Masquerade (7th image).\n\nContext: Jones writes about the Cross River Style and the Modern Anang (Ibibio) style . He notes, \u201cThe Cross River masquerade called Ikem spread from Old Calabar to the Ibibio country in the early decades of the twentieth century and Anang carvers were producing by the 1930s, if not well before this, skin-covered heads in this style equal to the best that had been made in Ejagham country and in Old Calabar. There were certain minor differences that distinguished these Anang heads, the most obvious being their drooping upper eyelids. The Ikem masquerade and heads in this modified Cross River diffused into the Umuahia area and as far north as Ozu Item. But the Ikem masquerade seems to have inspired the Akang to produce similar masquerades and their own variant of these heads in what was locally held to be a completely naturalistic style. The hair, eyes and lips were painted in natural colours and in place of the covering of skin the face and neck were painted with clear varnish(as in the photograph). The associated masquerade, which received different names in different areas, was spread widely to their Ibibio and Ibo neighbours. During the colonial period there was an increasing demand for Anang sculpture but primarily for masks, heads and figures in this modern naturalistic style. For it was a very successful compromise between the Traditional Anang (Ibibio) and the \u2018traditional European\u2019 style, meaning by the latter term Victorian naturalism and the classical Greek sculpture which inspired it. Europeans bought this sculpture because it looked sufficiently African but not too African. Nigerians bought it because it looked sufficiently modern and European. In response to this demand Anang carvers developed a minor local industry in the Ikot Ekpene district mass-producing inferior masks, heads, and dolls. The inferiority was due primarily for the buyers\u2019 reluctance to pay for something better (Jones, 1984, pp. 184-185).\u201d\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 16/1/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nP.169637.GIJ\n\nDescription\n\nA masquerader in an Ikem Play sitting on a chair. The mask consists of a naturalistic female face that depicts inset eyes, arched black eyebrows, nose, open painted mouth and ears. The hairstyle is an elaborate coiffure painted black and consisting of three elongated braids that project upward and outward in bold curves from the top of the head. The face is varnished. Around the upper body is square shaped form that is covered in a light cloth. The masquerader is wearing trousers and several pieces of plaid cloth around the waist and seed anklets. He is holding a decorated stick in one hand. Next to him is an attendant dressed in a white shirt, scarf and plaid wrapper. In the background are spectators and thatch and mud buildings. [Description from record N.71335.GIJ, PB 20/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Umuahia\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ibibio, Ijo and Ogoni\n2. Ibibio\n3. Ikem Masquerade (7th image).\n\nContext: Jones writes about the Cross River Style and the Modern Anang (Ibibio) style . He notes, \u201cThe Cross River masquerade called Ikem spread from Old Calabar to the Ibibio country in the early decades of the twentieth century and Anang carvers were producing by the 1930s, if not well before this, skin-covered heads in this style equal to the best that had been made in Ejagham country and in Old Calabar. There were certain minor differences that distinguished these Anang heads, the most obvious being their drooping upper eyelids. The Ikem masquerade and heads in this modified Cross River diffused into the Umuahia area and as far north as Ozu Item. But the Ikem masquerade seems to have inspired the Akang to produce similar masquerades and their own variant of these heads in what was locally held to be a completely naturalistic style. The hair, eyes and lips were painted in natural colours and in place of the covering of skin the face and neck were painted with clear varnish(as in the photograph). The associated masquerade, which received different names in different areas, was spread widely to their Ibibio and Ibo neighbours. During the colonial period there was an increasing demand for Anang sculpture but primarily for masks, heads and figures in this modern naturalistic style. For it was a very successful compromise between the Traditional Anang (Ibibio) and the \u2018traditional European\u2019 style, meaning by the latter term Victorian naturalism and the classical Greek sculpture which inspired it. Europeans bought this sculpture because it looked sufficiently African but not too African. Nigerians bought it because it looked sufficiently modern and European. In response to this demand Anang carvers developed a minor local industry in the Ikot Ekpene district mass-producing inferior masks, heads, and dolls. The inferiority was due primarily for the buyers\u2019 reluctance to pay for something better (Jones, 1984, pp. 184-185).\u201d\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 16/1/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:310124\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169637_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127345_P.169637.GIJ_001.png"}, {"file_name": "P_169637_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127348_P.169637.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71897.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365168", "metadata": {"title": "Untitled", "idno": "N.71897.GIJ", "description": "A documentation photograph of a white face mask with a dark parted coiffure.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo[Ibo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 24 of the negative album now numbered C17/.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/3/2008]", "raw_text_dump": "IDNO\n\nN.71897.GIJ\n\nDescription\n\nA documentation photograph of a white face mask with a dark parted coiffure.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo[Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 24 of the negative album now numbered C17/.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/3/2008]\n\nFM:206547\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71897_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656988_N.71897.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.170273.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464334", "metadata": {"title": "Untitled", "idno": "P.170273.GIJ", "description": "Close up view of two Ekpo face masks, both fringed with plant fibres. The mask on the left of the image is a panel mask with a hair line and band, flat protruding ears, almond shaped eyes, a carinated nose, shallow cheeks, and a closed mouth. The mask on the right of the image has a hair line and diagonal ridges on forehead, flat protruding ears with triangular insets, almond-shaped eyes, carinated nose, and aclosed mouth. The masks are highly polished darkened wood. [PB 03/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Obot Akara village", "cultural_affliation": "Anang; Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.", "raw_text_dump": "IDNO\n\nP.170273.GIJ\n\nDescription\n\nClose up view of two Ekpo face masks, both fringed with plant fibres. The mask on the left of the image is a panel mask with a hair line and band, flat protruding ears, almond shaped eyes, a carinated nose, shallow cheeks, and a closed mouth. The mask on the right of the image has a hair line and diagonal ridges on forehead, flat protruding ears with triangular insets, almond-shaped eyes, carinated nose, and aclosed mouth. The masks are highly polished darkened wood. [PB 03/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Obot Akara village\n\nCultural Affliation\n\nAnang; Ibibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.\n\nFM:310831\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170273_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131712_P.170273.GIJ_001.png"}, {"file_name": "P_170273_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131713_P.170273.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171165.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465226", "metadata": {"title": "Untitled", "idno": "P.171165.GIJ", "description": "A half length portrait in profile of Onye Ocha or Oybio (white man) masquerade character. The mask consists of a white face with black arched brows, slits for eyes, long nose and mouth with a black moustache. On the top is a carved white sun helmet with a black brim. The costume consists of a white drill jacket and trousers; the character is posed with one hand on his hip. [PB 21/06/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767088.GIJ - P.767090.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171165.GIJ\n\nDescription\n\nA half length portrait in profile of Onye Ocha or Oybio (white man) masquerade character. The mask consists of a white face with black arched brows, slits for eyes, long nose and mouth with a black moustache. On the top is a carved white sun helmet with a black brim. The costume consists of a white drill jacket and trousers; the character is posed with one hand on his hip. [PB 21/06/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767088.GIJ - P.767090.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311856\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171165_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144381_P.171165.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71635.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364906", "metadata": {"title": "Untitled", "idno": "N.71635.GIJ", "description": "Two Ghost court messengers standing and holding sticks. They are dressed in dark uniforms which consist of long sleeved dark shirts with square pockets, cropped trousers, and knee socks. Sashes are worn across the chest. Their heads are covered with black knitted face masks with two holes for eyes and a hole for the mouth. The features are accentuated by white markings above and below the eyes and on top is a baseball style or cap. with visor. Behind them are ghost police officers armed with their replica rifles. In the background are spectators, trees and vegetation. [AF 20/11/2007]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 5 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information:\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Ghost Police, Amuobia village (14th image). [Source: www.siu.edu/~anthro/mccall/jones/, AF 20/11/2007]\n\nContext: Jones provides a detailed description of the various characters in this masquerade which he had observed and photographed in the field, \u201cA performance in the Northern Ibo village of Amobia was opened by a hooded character called \u201cGovernment\u201d. He had no face and was crowned with a Homburg hat; an elephant tusk horn, symbol of authority, was laid on the ground in front of him and he read in ghostly gibberish from an important-looking document. He and his acolyte withdrew and were succeeded by a parade of ghostly policemen and court messengers wearing imitations of police and messenger uniforms and with cloth masks over their faces and head. They performed a spirited guard drill before being posted by their commander to their stations to control the crowd. Their followed a supercilious white-faced sun-helmeted figure in white drill jacket and trousers called Oyibo (White Man), who inspected the audience and then took his seat amongst the places reserved for the distinguished visitors who had come to watch the play. After him came a succession of characters, some white-faced, representing female spirits, some black or multi-coloured fierce and masculine creatures with masks that combined animal and human features; others again, mainly harmless or comic or benign, representing antelopes, or other animal spirits or characters drawn from village life. Each had his or her special role to play and having acted it withdrew to the secret enclosure or sat on seats at the ringside waiting to repeat his performance. \u201c Jones also writes that this masquerade was \u201c a large concerted display which included characters contributed by all the local societies.\u201d (Jones, 1984, pp.59-60.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]", "raw_text_dump": "IDNO\n\nN.71635.GIJ\n\nDescription\n\nTwo Ghost court messengers standing and holding sticks. They are dressed in dark uniforms which consist of long sleeved dark shirts with square pockets, cropped trousers, and knee socks. Sashes are worn across the chest. Their heads are covered with black knitted face masks with two holes for eyes and a hole for the mouth. The features are accentuated by white markings above and below the eyes and on top is a baseball style or cap. with visor. Behind them are ghost police officers armed with their replica rifles. In the background are spectators, trees and vegetation. [AF 20/11/2007]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 5 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information:\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Ghost Police, Amuobia village (14th image). [Source: www.siu.edu/~anthro/mccall/jones/, AF 20/11/2007]\n\nContext: Jones provides a detailed description of the various characters in this masquerade which he had observed and photographed in the field, \u201cA performance in the Northern Ibo village of Amobia was opened by a hooded character called \u201cGovernment\u201d. He had no face and was crowned with a Homburg hat; an elephant tusk horn, symbol of authority, was laid on the ground in front of him and he read in ghostly gibberish from an important-looking document. He and his acolyte withdrew and were succeeded by a parade of ghostly policemen and court messengers wearing imitations of police and messenger uniforms and with cloth masks over their faces and head. They performed a spirited guard drill before being posted by their commander to their stations to control the crowd. Their followed a supercilious white-faced sun-helmeted figure in white drill jacket and trousers called Oyibo (White Man), who inspected the audience and then took his seat amongst the places reserved for the distinguished visitors who had come to watch the play. After him came a succession of characters, some white-faced, representing female spirits, some black or multi-coloured fierce and masculine creatures with masks that combined animal and human features; others again, mainly harmless or comic or benign, representing antelopes, or other animal spirits or characters drawn from village life. Each had his or her special role to play and having acted it withdrew to the secret enclosure or sat on seats at the ringside waiting to repeat his performance. \u201c Jones also writes that this masquerade was \u201c a large concerted display which included characters contributed by all the local societies.\u201d (Jones, 1984, pp.59-60.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\nFM:206285\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71635_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656745_N.71635.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169726.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463735", "metadata": {"title": "Untitled", "idno": "P.169726.GIJ", "description": "Head and shoulders portrait of a man in profile. The man has a short moustache and beard. There are parts of two windows in the building behind, with a woman in each window looking out at the photographer as the image is taken. The woman on the left has her hand resting on another person. The woman on the right has her elbow resting on the window edge, next to some sacking material. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169726.GIJ\n\nDescription\n\nHead and shoulders portrait of a man in profile. The man has a short moustache and beard. There are parts of two windows in the building behind, with a woman in each window looking out at the photographer as the image is taken. The woman on the left has her hand resting on another person. The woman on the right has her elbow resting on the window edge, next to some sacking material. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310213\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169726_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127546_P.169726.GIJ_001.png"}, {"file_name": "P_169726_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127547_P.169726.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71798.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365069", "metadata": {"title": "Untitled", "idno": "N.71798.GIJ", "description": "A Lughulu \u2018beautiful\u2019 female mask; the mask is carved in oval shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long trianguar shaped nose, open mouth with teeth painted white, hollowed cheeks, elipitical shaped ears and linear markings in the centre of the forehead and to the sides. On top are two carved arches which meet in the centre.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Alayi", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 10 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Alayi Igbo (Isu-Ikem)\n3. Mask Ugwu Eke village (3rd image).\n\nPublication: Same image is in Jones, 1989, p.16, Figure 8. The caption reads: \u201cLughulu masquerade, Ugwueke Alayi town, Isu-Item Ibo. Mask representing a beautiful female spirit.\u201d\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that it conforms to a stylized mode which converts the salient features to geometrical forms. In the Isu-Item maskerade, the beautiful female masks are carved in either a rounded or naturalistic mode while the fierce or comic male masks are stylized(Jones, 1973, pp. 60-61).\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]", "raw_text_dump": "IDNO\n\nN.71798.GIJ\n\nDescription\n\nA Lughulu \u2018beautiful\u2019 female mask; the mask is carved in oval shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long trianguar shaped nose, open mouth with teeth painted white, hollowed cheeks, elipitical shaped ears and linear markings in the centre of the forehead and to the sides. On top are two carved arches which meet in the centre.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Alayi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 10 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Alayi Igbo (Isu-Ikem)\n3. Mask Ugwu Eke village (3rd image).\n\nPublication: Same image is in Jones, 1989, p.16, Figure 8. The caption reads: \u201cLughulu masquerade, Ugwueke Alayi town, Isu-Item Ibo. Mask representing a beautiful female spirit.\u201d\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that it conforms to a stylized mode which converts the salient features to geometrical forms. In the Isu-Item maskerade, the beautiful female masks are carved in either a rounded or naturalistic mode while the fierce or comic male masks are stylized(Jones, 1973, pp. 60-61).\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]\n\nFM:206448\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71798_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656896_N.71798.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.170276.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464337", "metadata": {"title": "Untitled", "idno": "P.170276.GIJ", "description": "A documentation photograph of two wooden face masks resting on white cloth.\nThe mask at the top of the image is in side profile, lying horizontally. The upper half is pokerwork black with a central crest and ears indicated in white paint. The mask has a sharp pointed nose and ears, representing a ram's head.\nThe mask below is has a human oval shape with a smooth polished surface. The hairline is indicated by a shallow ridge band. Small eyeholes in lined eye recessed. The mouth is shaped as an 'O' with a jagged perforation for teeth. [PB 07/11/23]", "place": "W Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; England; London; British Museum", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.\n\nRelated Object: The masks are in the British Museum collection.\nThe mask at the top of the image is museum number Af1955,18.6.\n\"Height: 31.70 centimetres\nWidth: 15 centimetres\nDepth: 10.40 centimetres\nDescription: Wooden carved mask, natural colour, with black pokerwork and white paint decoration, representing ram's head; used for play. natural colour, with black pokerwork & white paint decoration.\nAyaka mask. Originally from Achi, Awgu division in mm play. Used in Ozuitem in Ayaka play. Represents a ram's head.\"\n\nThe mask at the bottom of the image is museum number Af1971,24.9\n\"Height: 21.20 centimetres\nWidth: 13 centimetres\nDepth: 6.80 centimetres\nDescription: Human face mask made of wood.\" [PB 07/11/23]", "raw_text_dump": "IDNO\n\nP.170276.GIJ\n\nDescription\n\nA documentation photograph of two wooden face masks resting on white cloth.\nThe mask at the top of the image is in side profile, lying horizontally. The upper half is pokerwork black with a central crest and ears indicated in white paint. The mask has a sharp pointed nose and ears, representing a ram's head.\nThe mask below is has a human oval shape with a smooth polished surface. The hairline is indicated by a shallow ridge band. Small eyeholes in lined eye recessed. The mouth is shaped as an 'O' with a jagged perforation for teeth. [PB 07/11/23]\n\nPlace\n\nW Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; England; London; British Museum\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.\n\nRelated Object: The masks are in the British Museum collection.\nThe mask at the top of the image is museum number Af1955,18.6.\n\"Height: 31.70 centimetres\nWidth: 15 centimetres\nDepth: 10.40 centimetres\nDescription: Wooden carved mask, natural colour, with black pokerwork and white paint decoration, representing ram's head; used for play. natural colour, with black pokerwork & white paint decoration.\nAyaka mask. Originally from Achi, Awgu division in mm play. Used in Ozuitem in Ayaka play. Represents a ram's head.\"\n\nThe mask at the bottom of the image is museum number Af1971,24.9\n\"Height: 21.20 centimetres\nWidth: 13 centimetres\nDepth: 6.80 centimetres\nDescription: Human face mask made of wood.\" [PB 07/11/23]\n\nFM:310834\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170276_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131720_P.170276.GIJ_001.png"}, {"file_name": "P_170276_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131721_P.170276.GIJ_002.png"}, {"file_name": "P_170276_GIJ_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131722_P.170276.GIJ_003.png"}], "source_id": "maa_cambridge"}
{"id": "N.71953.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365224", "metadata": {"title": "Untitled", "idno": "N.71953.GIJ", "description": "A Ngbagba Ikoro masquerade with the masquerade character called Otiri the principle dancer in the play with small girls around him and touchng him. Otiri wears a mask on top of his head stuck full of long feathers, his face is shrouded in a raffia bag, and he wears a shirt of raffia sacking and a grass skirt. His right arm and left leg were painted in Nzu (white chalk) and the other arm and leg in Odo (yellow pigment). He is holding large white plumes in his hands and seed anklets. The girls are wearing waist beads. In the background is a crowd of spectators and a thatched pitched roof building.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 39 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Small girls touching Otiri Ngbagba Ikoro, Abiriba. (5th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71953.GIJ\n\nDescription\n\nA Ngbagba Ikoro masquerade with the masquerade character called Otiri the principle dancer in the play with small girls around him and touchng him. Otiri wears a mask on top of his head stuck full of long feathers, his face is shrouded in a raffia bag, and he wears a shirt of raffia sacking and a grass skirt. His right arm and left leg were painted in Nzu (white chalk) and the other arm and leg in Odo (yellow pigment). He is holding large white plumes in his hands and seed anklets. The girls are wearing waist beads. In the background is a crowd of spectators and a thatched pitched roof building.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 39 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Small girls touching Otiri Ngbagba Ikoro, Abiriba. (5th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206603\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71953_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657052_N.71953.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.170291.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464352", "metadata": {"title": "Untitled", "idno": "P.170291.GIJ", "description": "A documentation photograph of an Ugbom headdress. The female figure is standing on a mud wall in front of a mat of woven raffia.\nThe figure is carved of wood; the top of the head depicts a pointed, central protruding coiffure; the face is angular with slit eyes, pointed nose and protruding chin and lips. The upper torso is elongated and consists of scarification marks in the centre of chest and abdomen, pointed breasts, and rounded navel, with a belt band around stomach. The legs have several anklets indicated by ridges. [PB 10/11/23]", "place": "W Africa; Nigeria; South Eastern Nigeria; ?Bende division", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170288.GIJ - P.170277.GIJ were located in a folder, now numbered C759/7.", "raw_text_dump": "IDNO\n\nP.170291.GIJ\n\nDescription\n\nA documentation photograph of an Ugbom headdress. The female figure is standing on a mud wall in front of a mat of woven raffia.\nThe figure is carved of wood; the top of the head depicts a pointed, central protruding coiffure; the face is angular with slit eyes, pointed nose and protruding chin and lips. The upper torso is elongated and consists of scarification marks in the centre of chest and abdomen, pointed breasts, and rounded navel, with a belt band around stomach. The legs have several anklets indicated by ridges. [PB 10/11/23]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170288.GIJ - P.170277.GIJ were located in a folder, now numbered C759/7.\n\nFM:310849\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170291_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1132148_P.170291.GIJ_001.png"}, {"file_name": "P_170291_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1132149_P.170291.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171588.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465649", "metadata": {"title": "Untitled", "idno": "P.171588.GIJ", "description": "A documentation photograph of an old carved wooden juju figure. The figure has a human body, its face has raised circular studs instead of facial features, the arms end (are broken at?) at the elbows, and there is a old cloth wrapped around the waist. The legs end above the knees. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171588.GIJ to P.171590.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171588.GIJ\n\nDescription\n\nA documentation photograph of an old carved wooden juju figure. The figure has a human body, its face has raised circular studs instead of facial features, the arms end (are broken at?) at the elbows, and there is a old cloth wrapped around the waist. The legs end above the knees. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171588.GIJ to P.171590.GIJ are mounted on card.\n\nFM:312308\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171588_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144871_P.171588.GIJ_001.jpg"}, {"file_name": "P_171588_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144872_P.171588.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.170100.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464161", "metadata": {"title": "Untitled", "idno": "T.170100.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting shows a two tiered panels. The bottom panel shows three school girls; the upper panel shows a leopard, with a long tail and collar. [Description from record N.13212.GIJ, PB 22/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170100.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting shows a two tiered panels. The bottom panel shows three school girls; the upper panel shows a leopard, with a long tail and collar. [Description from record N.13212.GIJ, PB 22/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310628\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170100_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128323_T.170100.GIJ_001.png"}, {"file_name": "T_170100_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128324_T.170100.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71931.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365202", "metadata": {"title": "Untitled", "idno": "N.71931.GIJ", "description": "A close up profile and side view of a masquerader wearing a wooden face mask. The mask is comical and it is shows a large face with marks on the forehead, slit eyes, rounded nose, puffy cheeks and a pouting or snout like open mouth. The mask is covered in raffia encircling the base of the mask and around the chin. The masquerader is covered in a printed cloth and one arm is bent. The hands are covered in woolen socks. In the background are vegetation and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 44 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press).\n\nExhibition: Digital reproduction of photograph exhibited in \u2018Afrique, mille vies d\u2019objects / Africa, a thousand lives of objects\u2019 at Mus\u00e9e de Confluences, Lyon, France, from June 2023 \u2013 February 2024. See www.museedesconfluences.fr/en. [JD 25/01/2023]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nN.71931.GIJ\n\nDescription\n\nA close up profile and side view of a masquerader wearing a wooden face mask. The mask is comical and it is shows a large face with marks on the forehead, slit eyes, rounded nose, puffy cheeks and a pouting or snout like open mouth. The mask is covered in raffia encircling the base of the mask and around the chin. The masquerader is covered in a printed cloth and one arm is bent. The hands are covered in woolen socks. In the background are vegetation and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 44 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press).\n\nExhibition: Digital reproduction of photograph exhibited in \u2018Afrique, mille vies d\u2019objects / Africa, a thousand lives of objects\u2019 at Mus\u00e9e de Confluences, Lyon, France, from June 2023 \u2013 February 2024. See www.museedesconfluences.fr/en. [JD 25/01/2023]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nFM:206581\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71931_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657022_N.71931.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.170240.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464301", "metadata": {"title": "Untitled", "idno": "P.170240.GIJ", "description": "A documentation photograph of a wooden face mask. The mask is propped against a mud wall and resting on slatted wood. The mask has a fringe of raffia. The face combines human and animal features, with a long bird's beak, a short pointed nose, wide eyeholes in rimmed eye recesses. There are notched ridges in middle forehead and temples. [PB 02/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Anang; Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170232.GIJ - P.170243.GIJ were located in a brown envelope, now numbered C759/1.\n\nPublication: Image published in Jones G.I. The art of eastern Nigeria. 1984 Cambridge: CUP. Fig 89 p 180, and captioned: \"Mask with bird's beak: Ekpo masquerade (N.M.). Anang (Ibibio).\" [PB 03/11/2023]", "raw_text_dump": "IDNO\n\nP.170240.GIJ\n\nDescription\n\nA documentation photograph of a wooden face mask. The mask is propped against a mud wall and resting on slatted wood. The mask has a fringe of raffia. The face combines human and animal features, with a long bird's beak, a short pointed nose, wide eyeholes in rimmed eye recesses. There are notched ridges in middle forehead and temples. [PB 02/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nAnang; Ibibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170232.GIJ - P.170243.GIJ were located in a brown envelope, now numbered C759/1.\n\nPublication: Image published in Jones G.I. The art of eastern Nigeria. 1984 Cambridge: CUP. Fig 89 p 180, and captioned: \"Mask with bird's beak: Ekpo masquerade (N.M.). Anang (Ibibio).\" [PB 03/11/2023]\n\nFM:310798\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170240_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131580_P.170240.GIJ_001.png"}, {"file_name": "P_170240_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131581_P.170240.GIJ_002.png"}, {"file_name": "P_170240_GIJ_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131582_P.170240.GIJ_003.png"}], "source_id": "maa_cambridge"}
{"id": "P.171187.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465248", "metadata": {"title": "Untitled", "idno": "P.171187.GIJ", "description": "Ghost policemen walking in single file carrying wooden guns; the sergeant or more senior police official is on the left hand side holding a stick. The policemen are wearing dark uniforms which consist of black shirts with rank markings in white, pockets, cropped trousers and socks. Belted around the waist are pouches. Their heads are covered with dark knitted face masks outlining the facial features in white with a cap on top. The \u2018sergeant\u2019 is also wearing a dark uniform but with three v shaped markings on the sleeve to denote his superior rank; the face is covered with a black knitted head mask. In the background are spectators, thatched buildings and trees. [Description from record N.71639.GIJ, PB 02/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767109.GIJ - P.767112.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171187.GIJ\n\nDescription\n\nGhost policemen walking in single file carrying wooden guns; the sergeant or more senior police official is on the left hand side holding a stick. The policemen are wearing dark uniforms which consist of black shirts with rank markings in white, pockets, cropped trousers and socks. Belted around the waist are pouches. Their heads are covered with dark knitted face masks outlining the facial features in white with a cap on top. The \u2018sergeant\u2019 is also wearing a dark uniform but with three v shaped markings on the sleeve to denote his superior rank; the face is covered with a black knitted head mask. In the background are spectators, thatched buildings and trees. [Description from record N.71639.GIJ, PB 02/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767109.GIJ - P.767112.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311878\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171187_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144403_P.171187.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13292.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306564", "metadata": {"title": "Untitled", "idno": "N.13292.GIJ", "description": "Close up portrait of a man wearing a tunic shirt and a knit hat.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13292.GIJ\n\nDescription\n\nClose up portrait of a man wearing a tunic shirt and a knit hat.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147942\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13292_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000555_N.13292.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13319.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306591", "metadata": {"title": "Untitled", "idno": "N.13319.GIJ", "description": "Ogbugulu Mau Mask Series. A side view of an Obugulu Mau helmet mask. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with carved teeth. There are black painted designs around the eyes and on the cheek and forehead. The top of the mask consists of an arched crest with a zig-zag designe, on the sides are incised designs representing uli?. A knitted fabric and pieces of felt are attached to the wooden mask.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka", "cultural_affliation": "Nri-Awka Igbo; Northern Igbo; Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "Prior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nThis is the fifth image in the Ogbugulu Mau Mask series of eight photographs.\n\nPublication: Image reproduced as figure 47 in Jones, 1984. p.141\n\nContext: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The white-faced helmut type was confined to part of the Northern Ibo area and and to some of the Northern Edo. In the majority of examples the crested area, when scene in profile formed a curve which reached from the back of the head to the top of the forehead, while the mask section was flat and set at an angle to it, either coming down vertically over the actor\u2019s face or being extended forward at an angle (Jones, 1984, p.139)\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nContext: Cole and Aniakor provide further in-depth description about the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13319.GIJ\n\nDescription\n\nOgbugulu Mau Mask Series. A side view of an Obugulu Mau helmet mask. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with carved teeth. There are black painted designs around the eyes and on the cheek and forehead. The top of the mask consists of an arched crest with a zig-zag designe, on the sides are incised designs representing uli?. A knitted fabric and pieces of felt are attached to the wooden mask.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka\n\nCultural Affliation\n\nNri-Awka Igbo; Northern Igbo; Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPrior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nThis is the fifth image in the Ogbugulu Mau Mask series of eight photographs.\n\nPublication: Image reproduced as figure 47 in Jones, 1984. p.141\n\nContext: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The white-faced helmut type was confined to part of the Northern Ibo area and and to some of the Northern Edo. In the majority of examples the crested area, when scene in profile formed a curve which reached from the back of the head to the top of the forehead, while the mask section was flat and set at an angle to it, either coming down vertically over the actor\u2019s face or being extended forward at an angle (Jones, 1984, p.139)\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nContext: Cole and Aniakor provide further in-depth description about the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147969\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13319_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000582_N.13319.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169654.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463648", "metadata": {"title": "Untitled", "idno": "P.169654.GIJ", "description": "A shrine of Alose (tutelary deity). The shrine consists of a wooden structure with a thatched roof. The Alose sculpture is inside the shrine. He is wearing a striped hat and his face is painted white and dark pigments accentuating the eyes, nose, mouth and teeth. In front of the shrine are rocks and wooden objects (clubs?). In the background are trees. [Description from record N.13263.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Abaja", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169654.GIJ\n\nDescription\n\nA shrine of Alose (tutelary deity). The shrine consists of a wooden structure with a thatched roof. The Alose sculpture is inside the shrine. He is wearing a striped hat and his face is painted white and dark pigments accentuating the eyes, nose, mouth and teeth. In front of the shrine are rocks and wooden objects (clubs?). In the background are trees. [Description from record N.13263.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abaja\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nFM:310141\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169654_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127407_P.169654.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.169680.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463689", "metadata": {"title": "Untitled", "idno": "P.169680.GIJ", "description": "A group of human remains, including four skulls and four bones. The remains are lying in open ground on the incline of a grassy slope in front of a mud sculpture, in the rough shape of a tree. [PB 24/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169680.GIJ - P.169690.GIJ were located in a brown envelope now numbered C754/3/.", "raw_text_dump": "IDNO\n\nP.169680.GIJ\n\nDescription\n\nA group of human remains, including four skulls and four bones. The remains are lying in open ground on the incline of a grassy slope in front of a mud sculpture, in the rough shape of a tree. [PB 24/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169680.GIJ - P.169690.GIJ were located in a brown envelope now numbered C754/3/.\n\nFM:310167\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169680_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127456_image_not_public.jpg"}, {"file_name": "P_169680_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127457_P.169680.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "T.170024.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464043", "metadata": {"title": "Untitled", "idno": "T.170024.GIJ", "description": "A close up image of an Obugulu Mau helmet mask displayed on a stand. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is closed. There is a cross design on the cheek and a diamond shape on the forehead. The top of the mask depicts an elaborate crested coiffure painted black. Ogbugulu Mau Mask Series. [PB 24/08/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170024.GIJ\n\nDescription\n\nA close up image of an Obugulu Mau helmet mask displayed on a stand. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is closed. There is a cross design on the cheek and a diamond shape on the forehead. The top of the mask depicts an elaborate crested coiffure painted black. Ogbugulu Mau Mask Series. [PB 24/08/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310552\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170024_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128087_T.170024.GIJ_001.png"}, {"file_name": "T_170024_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128088_T.170024.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13202.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306474", "metadata": {"title": "Untitled", "idno": "N.13202.GIJ", "description": "An Ibibio mask that is rectangular in shape but curves at the top of the mask. The face has an ncised arched hairline, two rounded, protruding eyes, pointed beak with etched markings and two protruding, tusk like horns at the bottom of the face.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Abak", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: The Ibibio ekpo characters were said to be spirits from the surrounding area (or water), brought to the village during masquerades by members of the society that ministers to them.\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]", "raw_text_dump": "IDNO\n\nN.13202.GIJ\n\nDescription\n\nAn Ibibio mask that is rectangular in shape but curves at the top of the mask. The face has an ncised arched hairline, two rounded, protruding eyes, pointed beak with etched markings and two protruding, tusk like horns at the bottom of the face.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Abak\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: The Ibibio ekpo characters were said to be spirits from the surrounding area (or water), brought to the village during masquerades by members of the society that ministers to them.\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]\n\n\n\nFM:147852\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13202_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000464_N.13202.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13220.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306492", "metadata": {"title": "Untitled", "idno": "N.13220.GIJ", "description": "View of Ekpe (Egbo) society meeting house in Umuajatta (Olokoro) village. The house had a tall thatched roof, and a wall painted by an Anang artist in the style of Ngwomo ghost houses. Surrounded by trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; Umuajatta village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image in Jones, 1984, p.106, Figure 31 with the caption, \u201cMeeting house\u201d.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13220.GIJ\n\nDescription\n\nView of Ekpe (Egbo) society meeting house in Umuajatta (Olokoro) village. The house had a tall thatched roof, and a wall painted by an Anang artist in the style of Ngwomo ghost houses. Surrounded by trees.\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; Umuajatta village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image in Jones, 1984, p.106, Figure 31 with the caption, \u201cMeeting house\u201d.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147870\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13220_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000482_N.13220.GIJ.png"}, {"file_name": "N_13220_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000483_N.13220.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171552.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465613", "metadata": {"title": "Untitled", "idno": "P.171552.GIJ", "description": "A carved and painted wooden face mask for the character Ozubuka in the Owu masquerade being worn by a young man. The mask has a bulbous forehead, narrow eye slits, a short pointed nose and mouth with bared teeth clenching a pipe. The features of the face are highlighted in different colours. [PB 22/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Ogba; Akabuka", "cultural_affliation": "Igbo [historically Ibo]; Oba", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171550.GIJ to P.171552.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171552.GIJ\n\nDescription\n\nA carved and painted wooden face mask for the character Ozubuka in the Owu masquerade being worn by a young man. The mask has a bulbous forehead, narrow eye slits, a short pointed nose and mouth with bared teeth clenching a pipe. The features of the face are highlighted in different colours. [PB 22/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ogba; Akabuka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oba\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171550.GIJ to P.171552.GIJ are mounted on card.\n\nFM:312272\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171552_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144798_P.171552.GIJ_001.jpg"}, {"file_name": "P_171552_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144799_P.171552.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169888.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463907", "metadata": {"title": "Untitled", "idno": "P.169888.GIJ", "description": "A drawing on a house wall of a \u201cHausa\u201d (zebra style) cow. The drawing is outlined in white and depicts the distinctive hump of the cow, pointed horns, ears, head, three folds of skin on the neck, and long tail. The drawing is on a wall that appears to have a rim around the edge. There is bamboo roofing in a criss-crossed pattern.\n\nThere is another drawing in the room behind of a horned?man holding a cutlass wearing white? raffia clothing around the wrists, ankles and waist (reminiscent of a masquerade?).\n[Description from record N.71501.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Uzuakoli area; near Umuahia", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169888.GIJ\n\nDescription\n\nA drawing on a house wall of a \u201cHausa\u201d (zebra style) cow. The drawing is outlined in white and depicts the distinctive hump of the cow, pointed horns, ears, head, three folds of skin on the neck, and long tail. The drawing is on a wall that appears to have a rim around the edge. There is bamboo roofing in a criss-crossed pattern.\n\nThere is another drawing in the room behind of a horned?man holding a cutlass wearing white? raffia clothing around the wrists, ankles and waist (reminiscent of a masquerade?).\n[Description from record N.71501.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Uzuakoli area; near Umuahia\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310375\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169888_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127856_P.169888.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.13256.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306528", "metadata": {"title": "Untitled", "idno": "N.13256.GIJ", "description": "Obugulu Mau (Ghost) masquerade.\nA masquerader, Nwaogho Ehi, (Heifer) , wearing a helmet mask (painted white and with v-shaped markings above and below the eyes)dressed in a brightly coloured harlequin-like/applique costume. Cloth cloak tied around the neck, over ?woven or ?net cloth which is attached to the mask, wrappers around the waist and ankle-rattles, made of ?seeds. Mud and thatch houses and trees and vegetation in the background.\n\nPhysical Condition: The negative is scratched.", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "Nwabogho Efi; Heifer [names of female mask character]", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Nwabogho Ehi (heifer) Mmau masquerade, Amuda village, Isu Ochi (6th image).\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in wihc the characters were a grandmother, a mother, and a number of daughter masks attired in bright harliquin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984: 143)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 17/10/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13256.GIJ\n\nDescription\n\nObugulu Mau (Ghost) masquerade.\nA masquerader, Nwaogho Ehi, (Heifer) , wearing a helmet mask (painted white and with v-shaped markings above and below the eyes)dressed in a brightly coloured harlequin-like/applique costume. Cloth cloak tied around the neck, over ?woven or ?net cloth which is attached to the mask, wrappers around the waist and ankle-rattles, made of ?seeds. Mud and thatch houses and trees and vegetation in the background.\n\nPhysical Condition: The negative is scratched.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nNwabogho Efi; Heifer [names of female mask character]\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Nwabogho Ehi (heifer) Mmau masquerade, Amuda village, Isu Ochi (6th image).\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in wihc the characters were a grandmother, a mother, and a number of daughter masks attired in bright harliquin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984: 143)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 17/10/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147906\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13256_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000519_N.13256.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171098.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465159", "metadata": {"title": "Untitled", "idno": "P.171098.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\n\u2018Eju Onu\u2019 (\u2018Long Mouth\u2019) ?dancing in centre of image, wearing a carved and painted wooden head mask attached to a woven cloth top, cloth tights and a raffia skirt. The mask is carved with two horns, eyes, nose, ears, and a muzzle with teeth. It is painted with dark pigment, on to which pale spots and lines have been added. In background is \u2018Iro Ekpetu\u2019 (\u2018Merciless\u2019), a character wearing a fierce carved and painted wooden face mask, cloth top and tights, and a raffia skirt. [Description from record P.71538.GIJ, PB 13/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767019.GIJ - P.767028.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"", "raw_text_dump": "IDNO\n\nP.171098.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\n\u2018Eju Onu\u2019 (\u2018Long Mouth\u2019) ?dancing in centre of image, wearing a carved and painted wooden head mask attached to a woven cloth top, cloth tights and a raffia skirt. The mask is carved with two horns, eyes, nose, ears, and a muzzle with teeth. It is painted with dark pigment, on to which pale spots and lines have been added. In background is \u2018Iro Ekpetu\u2019 (\u2018Merciless\u2019), a character wearing a fierce carved and painted wooden face mask, cloth top and tights, and a raffia skirt. [Description from record P.71538.GIJ, PB 13/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767019.GIJ - P.767028.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nFM:311789\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171098_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144314_P.171098.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171173.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465234", "metadata": {"title": "Untitled", "idno": "P.171173.GIJ", "description": "A portrait in profile of a brass-smith sitting cross-legged on a board on top of a folded chair, fitting brass rings on to the legs of a young woman who is sitting on a chair in front of him. The man is just fitting a brass ring to her left leg, her right leg already has rings from her ankle to her thigh. The man is wearing a floppy broad-brimmed hat and a waistcloth. The woman is wearing a patterns head cloth and a wrapped. They are on a pavement in front of a mud brick wall on which is incised (or embossed?) a wheel design. [Description from record T.756152.GIJ, PB 21/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767095.GIJ - P.767099.GIJ are mounted together on paper.", "raw_text_dump": "IDNO\n\nP.171173.GIJ\n\nDescription\n\nA portrait in profile of a brass-smith sitting cross-legged on a board on top of a folded chair, fitting brass rings on to the legs of a young woman who is sitting on a chair in front of him. The man is just fitting a brass ring to her left leg, her right leg already has rings from her ankle to her thigh. The man is wearing a floppy broad-brimmed hat and a waistcloth. The woman is wearing a patterns head cloth and a wrapped. They are on a pavement in front of a mud brick wall on which is incised (or embossed?) a wheel design. [Description from record T.756152.GIJ, PB 21/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767095.GIJ - P.767099.GIJ are mounted together on paper.\n\nFM:311864\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171173_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144389_P.171173.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71851.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365122", "metadata": {"title": "Untitled", "idno": "N.71851.GIJ", "description": "The interior of an Obu House with the close up view of a large wooden sculpture which decorates part of the column. The figure is squatting with knees slightly bent. The face of the figure is very delicate and serene and on top of the head is an elaborate carved linear hairstyle. The torso of the body consists of two pointed breasts, incised etched markings in the centre to the protruding umbilicus,. The figure is holding a small carving, perhaps a baby?. The base is rounded and hollowed out where the figure is perched. Behind the figure is a skull and some raffia fronds. In the background is a walled area with spectators looking towards the sculpture. The roof is made of bamboo and matting.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 48 of the negative album now numbered C19/.\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]", "raw_text_dump": "IDNO\n\nN.71851.GIJ\n\nDescription\n\nThe interior of an Obu House with the close up view of a large wooden sculpture which decorates part of the column. The figure is squatting with knees slightly bent. The face of the figure is very delicate and serene and on top of the head is an elaborate carved linear hairstyle. The torso of the body consists of two pointed breasts, incised etched markings in the centre to the protruding umbilicus,. The figure is holding a small carving, perhaps a baby?. The base is rounded and hollowed out where the figure is perched. Behind the figure is a skull and some raffia fronds. In the background is a walled area with spectators looking towards the sculpture. The roof is made of bamboo and matting.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 48 of the negative album now numbered C19/.\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\nFM:206501\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71851_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656943_N.71851.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13268.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306540", "metadata": {"title": "Untitled", "idno": "N.13268.GIJ", "description": "Close up view of a man carving a wooden stool.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?Amobia village", "cultural_affliation": "Nri-Awka Igbo; Northern Igbo; Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Other Igbo cultural items\n3. Carving a stool Amobia Village, Nri-Awka (16)\n\nContext: The Akwa stool consisted of the usual saucer like seat, which was supported on a narrow pedestal splayed out at the base into four feet. Another Akwa variant resembled in profile is an Ashanti stool, but the top and bottom were oval and pointed and not rectangular like the Ashanti one. These and other stools were part of the regalia of the members of the Ozo title society and their carving was developed into a fine art unmatched anywhere in the region (Jones, 1984, p.117)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/12/2007]th image).", "raw_text_dump": "IDNO\n\nN.13268.GIJ\n\nDescription\n\nClose up view of a man carving a wooden stool.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?Amobia village\n\nCultural Affliation\n\nNri-Awka Igbo; Northern Igbo; Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Other Igbo cultural items\n3. Carving a stool Amobia Village, Nri-Awka (16)\n\nContext: The Akwa stool consisted of the usual saucer like seat, which was supported on a narrow pedestal splayed out at the base into four feet. Another Akwa variant resembled in profile is an Ashanti stool, but the top and bottom were oval and pointed and not rectangular like the Ashanti one. These and other stools were part of the regalia of the members of the Ozo title society and their carving was developed into a fine art unmatched anywhere in the region (Jones, 1984, p.117)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/12/2007]th image).\n\nFM:147918\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13268_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000531_N.13268.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.35314.ACH2", "source_url": "https://collections.maa.cam.ac.uk/photographs/328586", "metadata": {"title": "Untitled", "idno": "N.35314.ACH2", "description": "On Catalogue Card: Women pounding yams, Near Abuton, borders of Efik and Ekoi countries.", "place": "W Africa; Nigeria; south eastern Nigeria; near Abuton", "cultural_affliation": "", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Unmounted Haddon Collection", "source": "", "format": "Film Negative", "primary_documentation": "", "other_information": "The negative was previously stored in an envelope now numbered C106/83/ which was in a wooden box now marked C106/. The envelope (C106/83/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.", "raw_text_dump": "IDNO\n\nN.35314.ACH2\n\nDescription\n\nOn Catalogue Card: Women pounding yams, Near Abuton, borders of Efik and Ekoi countries.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; near Abuton\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nUnmounted Haddon Collection\n\nSource\n\nFormat\n\nFilm Negative\n\nPrimary Documentation\n\nOther Information\n\nThe negative was previously stored in an envelope now numbered C106/83/ which was in a wooden box now marked C106/. The envelope (C106/83/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.\n\nFM:169964\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_35314_ACH2_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/607067_cat.P.7042.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169763.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463772", "metadata": {"title": "Untitled", "idno": "P.169763.GIJ", "description": "Half-length portrait of a man in profile in front of a thatched building. He is wearing a collared shirt. There is a hat perched on the roof of the house. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169763.GIJ\n\nDescription\n\nHalf-length portrait of a man in profile in front of a thatched building. He is wearing a collared shirt. There is a hat perched on the roof of the house. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310250\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169763_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127620_P.169763.GIJ_001.png"}, {"file_name": "P_169763_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127621_P.169763.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171113.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465174", "metadata": {"title": "Untitled", "idno": "P.171113.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nA masquerader, Nwabogho Efi, (Heifer), wearing a helmet mask (painted white and with v-shaped markings above and below the eyes)dressed in a brightly coloured harlequin-like/applique costume. Cloth cloak tied around the neck, over woven? or net? cloth which is attached to the mask, wrappers around the waist and ankle-rattles, made of seeds?. Mud and thatch houses and trees and vegetation in the background. [Description from record, PB 14/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767033.GIJ - P.767038.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\" [PB 13/06/24]\n\nAbout the character Nwabogho Efi (Heifer), G.I. Jones writes in the notes:\"A name given to young and comely, young unmarried woman. This was a typical \"Awka\" helmet mask with a white female face and a crested mud and charcoal hair do. She danced in a similar manner and mimed before the second hand band with the same piping, directing and supporting singing chorus and thern sat on a chair nearby\"", "raw_text_dump": "IDNO\n\nP.171113.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nA masquerader, Nwabogho Efi, (Heifer), wearing a helmet mask (painted white and with v-shaped markings above and below the eyes)dressed in a brightly coloured harlequin-like/applique costume. Cloth cloak tied around the neck, over woven? or net? cloth which is attached to the mask, wrappers around the waist and ankle-rattles, made of seeds?. Mud and thatch houses and trees and vegetation in the background. [Description from record, PB 14/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767033.GIJ - P.767038.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\" [PB 13/06/24]\n\nAbout the character Nwabogho Efi (Heifer), G.I. Jones writes in the notes:\"A name given to young and comely, young unmarried woman. This was a typical \"Awka\" helmet mask with a white female face and a crested mud and charcoal hair do. She danced in a similar manner and mimed before the second hand band with the same piping, directing and supporting singing chorus and thern sat on a chair nearby\"\n\nFM:311804\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171113_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144329_P.171113.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.170064.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464100", "metadata": {"title": "Untitled", "idno": "T.170064.GIJ", "description": "Obugulu mau masquerade depicting four masqueraders, 'daughters', sitting down. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appliqued costumes with pointed breasts; their hands and feet are covered with cloth. [Description from record N.71526.GIJ, PB 14/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Ibo [historically Igbo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170064.GIJ\n\nDescription\n\nObugulu mau masquerade depicting four masqueraders, 'daughters', sitting down. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appliqued costumes with pointed breasts; their hands and feet are covered with cloth. [Description from record N.71526.GIJ, PB 14/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310592\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170064_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128201_T.170064.GIJ_001.png"}, {"file_name": "T_170064_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128204_T.170064.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171541.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465602", "metadata": {"title": "Untitled", "idno": "P.171541.GIJ", "description": "A documentation photograph of a carved wooden face mask. The top of the mask is a dome with a central ridge, In the centre of the hair band there is a face with a blade tail leading down to the top of the nose. A string of three rows of cowrie shells is attached to the hair band. There are traces of white paint on the nose and cheeks. The jaw os the mask is movable. [PB 22/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Ebonyi State; Okposi", "cultural_affliation": "Igbo [historically Ibo]; Oba", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171540.GIJ and P.171541.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171541.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden face mask. The top of the mask is a dome with a central ridge, In the centre of the hair band there is a face with a blade tail leading down to the top of the nose. A string of three rows of cowrie shells is attached to the hair band. There are traces of white paint on the nose and cheeks. The jaw os the mask is movable. [PB 22/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ebonyi State; Okposi\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oba\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171540.GIJ and P.171541.GIJ are mounted on card.\n\nFM:312261\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171541_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144776_P.171541.GIJ_001.jpg"}, {"file_name": "P_171541_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144777_P.171541.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13258.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306530", "metadata": {"title": "Untitled", "idno": "N.13258.GIJ", "description": "A wooden figure of a mother and child. The figure is seated on a round stool and nursing a child. The figure has a crested headdress, oval shaped white face with black scarification marks on the sides, a ringed neck, rectangular body, sagging breasts, hands outstretched, and bent knees. The figure is painted. In the background is a building with a raffia roof.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Ezza", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\nThis object was donated to the Pitt Rivers Museum by G. I. Jones in 1938.\n\nPublication: Same image in Jones, 1988, p. 66, Figure 59 with the caption, \u201cFigure of mother and child, Ezza tribe, North-eastern Ibo.\u201d\n\nContext: In discussing the sculpture of the North-eastern Ibo Jones writes, \u201cIn contrast to the Cross River Ibo, the North-eastern Ibo were in general much less involved in masquerading and sculpture. Most of their craftsmen came from the Ezza tribe, who were the local blacksmiths and had carvers who made bowls, platters, dishes and slit drums (gongs), some of them of considerable refinement. The Ezza and the Izi also carved dolls and other figures. Few masquerades were being performed in this region in the 1930s and the Northe-eastern Ibo seem to have developed no recognisable style of their own, apart from a highly conventionalised head mask called Obodo Enyi; the masquerade in which it performed has been described for the Yako and other Middle Cross River peoples.\u201d (Jones, 1988, p.66)\n\nBibliographical Reference:\nJones, G.I. 1988. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 4/3/2008]", "raw_text_dump": "IDNO\n\nN.13258.GIJ\n\nDescription\n\nA wooden figure of a mother and child. The figure is seated on a round stool and nursing a child. The figure has a crested headdress, oval shaped white face with black scarification marks on the sides, a ringed neck, rectangular body, sagging breasts, hands outstretched, and bent knees. The figure is painted. In the background is a building with a raffia roof.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ezza\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\nThis object was donated to the Pitt Rivers Museum by G. I. Jones in 1938.\n\nPublication: Same image in Jones, 1988, p. 66, Figure 59 with the caption, \u201cFigure of mother and child, Ezza tribe, North-eastern Ibo.\u201d\n\nContext: In discussing the sculpture of the North-eastern Ibo Jones writes, \u201cIn contrast to the Cross River Ibo, the North-eastern Ibo were in general much less involved in masquerading and sculpture. Most of their craftsmen came from the Ezza tribe, who were the local blacksmiths and had carvers who made bowls, platters, dishes and slit drums (gongs), some of them of considerable refinement. The Ezza and the Izi also carved dolls and other figures. Few masquerades were being performed in this region in the 1930s and the Northe-eastern Ibo seem to have developed no recognisable style of their own, apart from a highly conventionalised head mask called Obodo Enyi; the masquerade in which it performed has been described for the Yako and other Middle Cross River peoples.\u201d (Jones, 1988, p.66)\n\nBibliographical Reference:\nJones, G.I. 1988. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 4/3/2008]\n\nFM:147908\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13258_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000521_N.13258.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.35316.ACH2", "source_url": "https://collections.maa.cam.ac.uk/photographs/328588", "metadata": {"title": "Untitled", "idno": "N.35316.ACH2", "description": "On Catalogue Card: Medicine for ? of house, in courtyard of same. Ekoi country.", "place": "W Africa; Nigeria; south eastern Nigeria; near Cross River", "cultural_affliation": "", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Unmounted Haddon Collection", "source": "", "format": "Film Negative", "primary_documentation": "", "other_information": "The negative was previously stored in an envelope now numbered C106/85/ which was in a wooden box now marked C106/. The envelope (C106/85/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.", "raw_text_dump": "IDNO\n\nN.35316.ACH2\n\nDescription\n\nOn Catalogue Card: Medicine for ? of house, in courtyard of same. Ekoi country.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; near Cross River\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nUnmounted Haddon Collection\n\nSource\n\nFormat\n\nFilm Negative\n\nPrimary Documentation\n\nOther Information\n\nThe negative was previously stored in an envelope now numbered C106/85/ which was in a wooden box now marked C106/. The envelope (C106/85/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.\n\nFM:169966\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_35316_ACH2_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/607071_cat.P.7039.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171589.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465650", "metadata": {"title": "Untitled", "idno": "P.171589.GIJ", "description": "A documentation photograph of an old carved wooden juju figure, facing the camera. The figure has a human body, with a high forehead and bun-shaped top incised with parallel diagonal lines. The face has rimmed eyes and mouth, the arms are bent at the elbows with the hands upraised. There is a old cloth wrapped around the waist. The knees are bent. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171588.GIJ to P.171590.GIJ are mounted on card.\n\nP.171589.GIJ and P.171590.GIJ are of the same figure.", "raw_text_dump": "IDNO\n\nP.171589.GIJ\n\nDescription\n\nA documentation photograph of an old carved wooden juju figure, facing the camera. The figure has a human body, with a high forehead and bun-shaped top incised with parallel diagonal lines. The face has rimmed eyes and mouth, the arms are bent at the elbows with the hands upraised. There is a old cloth wrapped around the waist. The knees are bent. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171588.GIJ to P.171590.GIJ are mounted on card.\n\nP.171589.GIJ and P.171590.GIJ are of the same figure.\n\nFM:312309\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171589_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144873_P.171589.GIJ_001.jpg"}, {"file_name": "P_171589_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144874_P.171589.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169850.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463864", "metadata": {"title": "Untitled", "idno": "P.169850.GIJ", "description": "Men and women dancing in single file at a masquerade. [PB 05/01/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo {Ibo]; South Ikwerri", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169850.GIJ\n\nDescription\n\nMen and women dancing in single file at a masquerade. [PB 05/01/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo {Ibo]; South Ikwerri\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310337\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169850_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127794_P.169850.GIJ_001.png"}, {"file_name": "P_169850_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127795_P.169850.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "LS.170389.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464450", "metadata": {"title": "Untitled", "idno": "LS.170389.GIJ", "description": "A portrait of an Ibibio elder. He is sitting in a metal chair outside a single storey thatched building. He is wearing a white tufted cap, spectacles, a pale blue loose-fitting embroidered overshirt, a scarf, loose trousers with a black and white geometric pattern, and white tennis shoes. In his right hand he is holding a long staff with a gold finial and prayer beads, in his left hand he is holding a rolled up scroll of paper. [PB 24/11/23]", "place": "W Africa; Nigeria; South Eastern Nigeria; Abia; Arochukwu", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Lantern Slide Colour", "primary_documentation": "", "other_information": "T.170298.GIJ - ??? were located as loose photos and envelopes in an folder box now numbered C760/.\n\nLS.170389.GIJ - N.170437.GIJ were located in a Ilford glass plate box, now numbered C760/3.", "raw_text_dump": "IDNO\n\nLS.170389.GIJ\n\nDescription\n\nA portrait of an Ibibio elder. He is sitting in a metal chair outside a single storey thatched building. He is wearing a white tufted cap, spectacles, a pale blue loose-fitting embroidered overshirt, a scarf, loose trousers with a black and white geometric pattern, and white tennis shoes. In his right hand he is holding a long staff with a gold finial and prayer beads, in his left hand he is holding a rolled up scroll of paper. [PB 24/11/23]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Abia; Arochukwu\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nLantern Slide Colour\n\nPrimary Documentation\n\nOther Information\n\nT.170298.GIJ - ??? were located as loose photos and envelopes in an folder box now numbered C760/.\n\nLS.170389.GIJ - N.170437.GIJ were located in a Ilford glass plate box, now numbered C760/3.\n\nFM:310965\n\nImages (Click to view full size):"}, "images": [{"file_name": "LS_170389_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1166648_LS.170389.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169819.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463828", "metadata": {"title": "Untitled", "idno": "P.169819.GIJ", "description": "A head and shoulders portrait of a smiling young man facing the camera. He is wearing a collared shirt and a boater hat. There are people in the background who appear to be spectating an event. There is a roof a building and trees in the background. [PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169804.GIJ - P.169819.GIJ were located in an blue Seltona envelope now numbered C754/9/.", "raw_text_dump": "IDNO\n\nP.169819.GIJ\n\nDescription\n\nA head and shoulders portrait of a smiling young man facing the camera. He is wearing a collared shirt and a boater hat. There are people in the background who appear to be spectating an event. There is a roof a building and trees in the background. [PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169804.GIJ - P.169819.GIJ were located in an blue Seltona envelope now numbered C754/9/.\n\nFM:310306\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169819_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127716_P.169819.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171313.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465374", "metadata": {"title": "Untitled", "idno": "P.171313.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nClose up portrait of a masquerade character identified as Egu Agu (\u2018Money Finish\u2019); the masquerader is wearing a helmet mask painted white with black markings to accentuate the eyes, nose, mouth and uli designs. The top of the mask is painted in black and white and with a crescent shape at the top; it is decorated with pieces of cloth and tassel. The masquerader is wearing a brightly coloured harlequin-like costume. A cloth shawl is tied around the neck, over woven cloth which is attached to the mask. In the background are trees. [Description from record N.13255.GIJ, PB 01/08/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767236.GIJ and P.767237.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171313.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nClose up portrait of a masquerade character identified as Egu Agu (\u2018Money Finish\u2019); the masquerader is wearing a helmet mask painted white with black markings to accentuate the eyes, nose, mouth and uli designs. The top of the mask is painted in black and white and with a crescent shape at the top; it is decorated with pieces of cloth and tassel. The masquerader is wearing a brightly coloured harlequin-like costume. A cloth shawl is tied around the neck, over woven cloth which is attached to the mask. In the background are trees. [Description from record N.13255.GIJ, PB 01/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767236.GIJ and P.767237.GIJ are mounted together on card.\n\nFM:312004\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171313_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144529_P.171313.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171162.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465223", "metadata": {"title": "Untitled", "idno": "P.171162.GIJ", "description": "Omuko (very old elder) sitting and flanked by two standing attendants. The masked character is wearing a white cloth covering the entire body and face. Attached to the cloth is a wooden face mask, painted dark with white paint accentuating the eyes, nose, and mouth, attached to the chin is a black beard. On top of the head is a white sun helmet. A dark shawl is draped around the shoulders, and in front of him is a long staff. The attendant on the left is wearing a printed wrapper; the attendant to the right has his arm outstretched in a supportive manner. He is wearing a white shirt and printed cloth. In the background are trees and vegetation. [Description from record P.71624.GIJ, PB 21/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767084.GIJ - P.767087.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171162.GIJ\n\nDescription\n\nOmuko (very old elder) sitting and flanked by two standing attendants. The masked character is wearing a white cloth covering the entire body and face. Attached to the cloth is a wooden face mask, painted dark with white paint accentuating the eyes, nose, and mouth, attached to the chin is a black beard. On top of the head is a white sun helmet. A dark shawl is draped around the shoulders, and in front of him is a long staff. The attendant on the left is wearing a printed wrapper; the attendant to the right has his arm outstretched in a supportive manner. He is wearing a white shirt and printed cloth. In the background are trees and vegetation. [Description from record P.71624.GIJ, PB 21/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767084.GIJ - P.767087.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311853\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171162_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144378_P.171162.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13176.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306448", "metadata": {"title": "Untitled", "idno": "N.13176.GIJ", "description": "An Ekpo panel mask. The panel is rounded with an incised and indented border. The oval face is raised in the centre and is naturalistic and serene in form. The mask consists of a rounded border at the top of the head, high forehead with incisided lines, slit eyes with overhanging eyelids, small nose, mouth, and two rectangular shaped ears. l", "place": "W Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Jones, 1984, p. 129, Plate 40 with the caption, \u201cEkpo mask, naturalistic in style.\n\nContext: \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]", "raw_text_dump": "IDNO\n\nN.13176.GIJ\n\nDescription\n\nAn Ekpo panel mask. The panel is rounded with an incised and indented border. The oval face is raised in the centre and is naturalistic and serene in form. The mask consists of a rounded border at the top of the head, high forehead with incisided lines, slit eyes with overhanging eyelids, small nose, mouth, and two rectangular shaped ears. l\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Jones, 1984, p. 129, Plate 40 with the caption, \u201cEkpo mask, naturalistic in style.\n\nContext: \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]\n\n\nFM:147826\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13176_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000438_N.13176.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71961.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365232", "metadata": {"title": "Untitled", "idno": "N.71961.GIJ", "description": "A Ngbagba Ikoro masquerade with a group of small girls dancing. The young girls are wearing necklaces and waistbeads; their faces are smeared with white chalk. There are yams in the right of the photograph. In the background are spectators.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 35 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Small girl\u2019s parade Ngbagba Ikoro, Abiriba. (8th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71961.GIJ\n\nDescription\n\nA Ngbagba Ikoro masquerade with a group of small girls dancing. The young girls are wearing necklaces and waistbeads; their faces are smeared with white chalk. There are yams in the right of the photograph. In the background are spectators.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 35 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Small girl\u2019s parade Ngbagba Ikoro, Abiriba. (8th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206611\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71961_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657064_N.71961.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171390.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465451", "metadata": {"title": "Untitled", "idno": "P.171390.GIJ", "description": "An Alose or spirit wooden figure standing on the ground. The face of the figure is rounded with incised decorative striation markings along the high forehead, on top of the head is a rounded hat? The torso is painted and is decorated in white and incised markings on the chest, a necklace adorns the neck, a protruding umbilicus, defined knees and round markings around the ankles. The arms are bent and slightly outstretched but the hands appear to be damaged. Behind the figure is a carved wooden circular stool with a round wooden base. In the background is the shrine?, trees, raffia and shrubs. [Description from record P.71647.GIJ, PB 10/09/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Orsa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171349.GIJ - P.171457.GIJ were located in a 'Duplex' folder, now numbered C768/3.\n\n\nP.768050.GIJ is mounted on card.\n\nImage used in Jones G.I. The art of Eastern Nigeria. 1984. Cambridge: CUP. Fig 6 p54. Caption: \"Ibo deity (alose). Isuama Ibo\"", "raw_text_dump": "IDNO\n\nP.171390.GIJ\n\nDescription\n\nAn Alose or spirit wooden figure standing on the ground. The face of the figure is rounded with incised decorative striation markings along the high forehead, on top of the head is a rounded hat? The torso is painted and is decorated in white and incised markings on the chest, a necklace adorns the neck, a protruding umbilicus, defined knees and round markings around the ankles. The arms are bent and slightly outstretched but the hands appear to be damaged. Behind the figure is a carved wooden circular stool with a round wooden base. In the background is the shrine?, trees, raffia and shrubs. [Description from record P.71647.GIJ, PB 10/09/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Orsa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171349.GIJ - P.171457.GIJ were located in a 'Duplex' folder, now numbered C768/3.\n\n\nP.768050.GIJ is mounted on card.\n\nImage used in Jones G.I. The art of Eastern Nigeria. 1984. Cambridge: CUP. Fig 6 p54. Caption: \"Ibo deity (alose). Isuama Ibo\"\n\nFM:312091\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171390_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144606_P.171390.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171574.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465635", "metadata": {"title": "Untitled", "idno": "P.171574.GIJ", "description": "A documentation photograph of two carved wooden juju figures sdtanding at an angle to the camera. The figure on the left is of a squat woman, carrying a water pot on her head, and a staff in her right hand. Her hair is styled in horns with incised grooves. The figure on the right is a tall woman, with an ornate triangular coiffure. She has a cloth wrapper around her waist. She is adorned with a carved necklet, a cross hanging on her waist, and bracelets. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Orogwe", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171574.GIJ to P.171576.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171574.GIJ\n\nDescription\n\nA documentation photograph of two carved wooden juju figures sdtanding at an angle to the camera. The figure on the left is of a squat woman, carrying a water pot on her head, and a staff in her right hand. Her hair is styled in horns with incised grooves. The figure on the right is a tall woman, with an ornate triangular coiffure. She has a cloth wrapper around her waist. She is adorned with a carved necklet, a cross hanging on her waist, and bracelets. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Orogwe\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171574.GIJ to P.171576.GIJ are mounted on card.\n\nFM:312294\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171574_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144843_P.171574.GIJ_001.jpg"}, {"file_name": "P_171574_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144844_P.171574.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71493.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364764", "metadata": {"title": "Untitled", "idno": "N.71493.GIJ", "description": "Boys\u2019 initiation dance in the Nri Akwa area. The male initiates are dancing around a pole held by an elder, and they are wearing layers of short pieces of cloth around their waist and around the knees are bands made of seeds? or metal? which will sound as they dance. The heads are covered with cloth kerchiefs and they are holding feathers. In the background are spectators.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 60 of the negative album now numbered C15/.\n\nContext: Green in her ethnographic study of the Igbo discusses the complexity of initiation rites. She writes, \u201cThe question of initiation rites is not an easy one to deal with. Those of the boys have gone underground to a considerable extent from fear of European disapproval and tend now to be held in connection with the initiation of a dibea. None were held in Umueke while I was living there, though when a dibea was initiated in the neighbouring village-group of Umunuma, we saw boys in initiation dress going to market with him in his public inception as a diviner and they had probably been passing through a period of initiation at the same time as he did his own. I obtained a number of descriptions of the normal boys\u2019 initiation rites, which used to be held every few years and through which most of the boys in the village except the quite young ones had passed. The boys of part of the next door Agbaja village also participated. The chief feature of the rites was described as being the acquiring of aggressive medicine or magic rather than the receiving of instruction. This medicine could only be used against people who had not themselves acquired it, against strangers that is to say, and more particularly against women because the latter never acquired it. The medicine was put into the boys\u2019 eyes and into cuts in the skin over a period of eight days. In so far as they were not supposed to cry it may be said that hardihood was inculcated. \u201c She continues to say that the initiation rites were important for group solidarity and a certain code of morality. (Green, 1947, pp.80-81.)\n\nBibliographical Reference: Jones, G.I. 1962, \u201cIbo Age Organization, with Special Reference to the Cross River and North-eastern Ibo.\u201d The Journal of the Royal Anthropological Institute of Great Britain and Ireland, Vol. 92, No. 2, pp.191-211.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\nGreen, M.M. 1964 (second edition) Igbo Village Affairs (Frank Cass and Co.).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71493.GIJ\n\nDescription\n\nBoys\u2019 initiation dance in the Nri Akwa area. The male initiates are dancing around a pole held by an elder, and they are wearing layers of short pieces of cloth around their waist and around the knees are bands made of seeds? or metal? which will sound as they dance. The heads are covered with cloth kerchiefs and they are holding feathers. In the background are spectators.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 60 of the negative album now numbered C15/.\n\nContext: Green in her ethnographic study of the Igbo discusses the complexity of initiation rites. She writes, \u201cThe question of initiation rites is not an easy one to deal with. Those of the boys have gone underground to a considerable extent from fear of European disapproval and tend now to be held in connection with the initiation of a dibea. None were held in Umueke while I was living there, though when a dibea was initiated in the neighbouring village-group of Umunuma, we saw boys in initiation dress going to market with him in his public inception as a diviner and they had probably been passing through a period of initiation at the same time as he did his own. I obtained a number of descriptions of the normal boys\u2019 initiation rites, which used to be held every few years and through which most of the boys in the village except the quite young ones had passed. The boys of part of the next door Agbaja village also participated. The chief feature of the rites was described as being the acquiring of aggressive medicine or magic rather than the receiving of instruction. This medicine could only be used against people who had not themselves acquired it, against strangers that is to say, and more particularly against women because the latter never acquired it. The medicine was put into the boys\u2019 eyes and into cuts in the skin over a period of eight days. In so far as they were not supposed to cry it may be said that hardihood was inculcated. \u201c She continues to say that the initiation rites were important for group solidarity and a certain code of morality. (Green, 1947, pp.80-81.)\n\nBibliographical Reference: Jones, G.I. 1962, \u201cIbo Age Organization, with Special Reference to the Cross River and North-eastern Ibo.\u201d The Journal of the Royal Anthropological Institute of Great Britain and Ireland, Vol. 92, No. 2, pp.191-211.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\nGreen, M.M. 1964 (second edition) Igbo Village Affairs (Frank Cass and Co.).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206143\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71493_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656621_N.71493.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "T.170131.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464192", "metadata": {"title": "Untitled", "idno": "T.170131.GIJ", "description": "The veranda of an Ekpe (Egbo) society meeting house in Umuajatta (Olokoro) village. The house has a tall thatched roof, and a wall painted by an Anang artist in the style of Ngwomo ghost houses, with paintings of animals and geometric shapes. [PB 29/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; Umuajatta village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; October 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170131.GIJ\n\nDescription\n\nThe veranda of an Ekpe (Egbo) society meeting house in Umuajatta (Olokoro) village. The house has a tall thatched roof, and a wall painted by an Anang artist in the style of Ngwomo ghost houses, with paintings of animals and geometric shapes. [PB 29/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; Umuajatta village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; October 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310659\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170131_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128385_T.170131.GIJ_001.png"}, {"file_name": "T_170131_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128386_T.170131.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13336.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306608", "metadata": {"title": "Untitled", "idno": "N.13336.GIJ", "description": "Object documentation photograph of a face mask.\nA face mask painted white with black paint to accentuate and define the eyes, cheeks, open mouth, markings and \u2018 scalloped\u2019 hairline. They eyes are small slits and the ears are protruding from the sides. It is carved and painted in darker colour(s) in extended triangles from eyes across cheeks, and in a semi-rectangular area above the eyes on the forehead. The darkened area on the forehead is carved with a pattern of diagonal lines (representing itchi marks). There are additonal areas of darkly painted incised decorations on the chin and above the main panel on the forehead.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri-Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "Prior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\n1938.15.5. [Pitt Rivers Museum accession number for mask depicted in photograph];\n\nPublication: Same image in Jones, Plate 7, p. 16. The caption reads, \u201cFace mask, Amobia village. Nri-Akwa Ibo, showing \u2018Itchi\u2019 scaring on the forehead. Part of the insignia of the Nze members of the Ozio title society.\n\nContext: The facial markings represented in this mask are described by Jones as Itchi marks of the Northern Ibo, indicative of membership of the Ozo title societiy, which extended over most of the Northern Ibo and to the Isuama group of Southern Ibo. These marks consisted of diagonal gashes across the entire forehead and upper eyelids. They seem to have a very ancient ancestry for very similar marks were depicted on the heads of figures of the Igbo Uku treasure. (Jones, 1989, p. 17). He goes on to explain that, \u201cAmong the Northern and Isu Ibo the Ozo, another graded wealth society, was the power behind the village council but it had no association with any supernatural beings. Masquerading was the concern of younger men organised in each ward into societies specifically concerned with the maintenance of one or two masked characters (p.36).\n\nContext: In reference to the Ozo society, Jones writes that... \u201cmost Northern Ibo villages preferred a limited number of specialist associations which graded its members into children, adolescent boys or girls, adult men and women, older men and women: an Ozo title society that brought together the political and social elite and wealthy men: an Igbu society of warriors who had proved their capacity by taking the head of an enemy; a secret society (Mau) responsible for public masquerades and for unseen nocturnal ghostly visitations (Ayaka); and various young men\u2019s and women\u2019s associations with their particular plays, dances and displays\u201d (Jones, 1984, p.65)\n\nReferences: Jones, G.I. 1989 Ibo Art (Shire).\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]", "raw_text_dump": "IDNO\n\nN.13336.GIJ\n\nDescription\n\nObject documentation photograph of a face mask.\nA face mask painted white with black paint to accentuate and define the eyes, cheeks, open mouth, markings and \u2018 scalloped\u2019 hairline. They eyes are small slits and the ears are protruding from the sides. It is carved and painted in darker colour(s) in extended triangles from eyes across cheeks, and in a semi-rectangular area above the eyes on the forehead. The darkened area on the forehead is carved with a pattern of diagonal lines (representing itchi marks). There are additonal areas of darkly painted incised decorations on the chin and above the main panel on the forehead.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri-Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPrior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\n1938.15.5. [Pitt Rivers Museum accession number for mask depicted in photograph];\n\nPublication: Same image in Jones, Plate 7, p. 16. The caption reads, \u201cFace mask, Amobia village. Nri-Akwa Ibo, showing \u2018Itchi\u2019 scaring on the forehead. Part of the insignia of the Nze members of the Ozio title society.\n\nContext: The facial markings represented in this mask are described by Jones as Itchi marks of the Northern Ibo, indicative of membership of the Ozo title societiy, which extended over most of the Northern Ibo and to the Isuama group of Southern Ibo. These marks consisted of diagonal gashes across the entire forehead and upper eyelids. They seem to have a very ancient ancestry for very similar marks were depicted on the heads of figures of the Igbo Uku treasure. (Jones, 1989, p. 17). He goes on to explain that, \u201cAmong the Northern and Isu Ibo the Ozo, another graded wealth society, was the power behind the village council but it had no association with any supernatural beings. Masquerading was the concern of younger men organised in each ward into societies specifically concerned with the maintenance of one or two masked characters (p.36).\n\nContext: In reference to the Ozo society, Jones writes that... \u201cmost Northern Ibo villages preferred a limited number of specialist associations which graded its members into children, adolescent boys or girls, adult men and women, older men and women: an Ozo title society that brought together the political and social elite and wealthy men: an Igbu society of warriors who had proved their capacity by taking the head of an enemy; a secret society (Mau) responsible for public masquerades and for unseen nocturnal ghostly visitations (Ayaka); and various young men\u2019s and women\u2019s associations with their particular plays, dances and displays\u201d (Jones, 1984, p.65)\n\nReferences: Jones, G.I. 1989 Ibo Art (Shire).\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]\n\n\n\nFM:147986\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13336_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000599_N.13336.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.170268.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464329", "metadata": {"title": "Untitled", "idno": "P.170268.GIJ", "description": "An Ekpo mask in the \"rounded mode\". The features of the mask consist of slit eyes, nose and mouth with jagged teeth, rectangular keloid markings on the side, an incised border or rim around the forehead, the Okpono ring which ios the insigiona of the Idiong society. The mask is dark with a smooth and polished finish. [Description from record N.13169.GIJ, PB 03/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Ukana", "cultural_affliation": "Anang; Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.\n\nPublication: Image published in Jones G.I. The art of eastern Nigeria. 1984 Cambridge: CUP. Fig 41 p 129 and on dust cover, and captioned: \"Ekpo mask: rounded mode (N.M.). Anang (Ibibio).\" [PB 03/11/2023]", "raw_text_dump": "IDNO\n\nP.170268.GIJ\n\nDescription\n\nAn Ekpo mask in the \"rounded mode\". The features of the mask consist of slit eyes, nose and mouth with jagged teeth, rectangular keloid markings on the side, an incised border or rim around the forehead, the Okpono ring which ios the insigiona of the Idiong society. The mask is dark with a smooth and polished finish. [Description from record N.13169.GIJ, PB 03/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Ukana\n\nCultural Affliation\n\nAnang; Ibibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.\n\nPublication: Image published in Jones G.I. The art of eastern Nigeria. 1984 Cambridge: CUP. Fig 41 p 129 and on dust cover, and captioned: \"Ekpo mask: rounded mode (N.M.). Anang (Ibibio).\" [PB 03/11/2023]\n\nFM:310826\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170268_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131701_P.170268.GIJ_001.png"}, {"file_name": "P_170268_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131702_P.170268.GIJ_002.png"}, {"file_name": "P_170268_GIJ_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131703_P.170268.GIJ_003.png"}], "source_id": "maa_cambridge"}
{"id": "P.170244.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464305", "metadata": {"title": "Untitled", "idno": "P.170244.GIJ", "description": "Obugulu Mau daughter masks. Three masqueraders wearing white \"daughter\" masks sitting down. The masks consist of white face with black markings and etched markings on the cheeks and forehead. The top of the mask culminates into a rounded superstructure decorated in colourful felt and cloth attached to the back of the mask are strips of cloth and felt. The masqueraders are wearing harlequin-like costumes and white gloves. There are spectators in the background. [Description from record N.71516.GIJ;, PB 02/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170244.GIJ - P.170247.GIJ were located in a brown envelope, now numbered C759/2.", "raw_text_dump": "IDNO\n\nP.170244.GIJ\n\nDescription\n\nObugulu Mau daughter masks. Three masqueraders wearing white \"daughter\" masks sitting down. The masks consist of white face with black markings and etched markings on the cheeks and forehead. The top of the mask culminates into a rounded superstructure decorated in colourful felt and cloth attached to the back of the mask are strips of cloth and felt. The masqueraders are wearing harlequin-like costumes and white gloves. There are spectators in the background. [Description from record N.71516.GIJ;, PB 02/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170244.GIJ - P.170247.GIJ were located in a brown envelope, now numbered C759/2.\n\nFM:310802\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170244_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131592_P.170244.GIJ_001.png"}, {"file_name": "P_170244_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131593_P.170244.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71629.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364900", "metadata": {"title": "Untitled", "idno": "N.71629.GIJ", "description": "Omuko (very old elder) standing, holding a staff surrounded by three attendants.The masked character is wearing a white cloth covering the entire body and face. ( a hole is visible in the cloth). Attached to the cloth is a wooden face mask with slit eyes and mouth, painted dark with white paint accentuating the eyes, nose, and ears, attached to the chin is a black beard. On top of the head is a white sun helmet. A dark shawl is draped around the shoulders, and he is holding a long staff with a u shaped point. The attendant to the left is playing a metal gong and he is wearing a plaid wrapper and felt hat. Another attendant is behind the masked character and he is wearing a felt hat. The third attendant is seated and he is wearing a white shirt, wrapper and felt hat. In the background are trees and vegetation.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 21 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Omuko (very old elder) Amuobia village (11th image).\n\nContext: Jones provides a detailed description of the various characters in this masquerade in Amobia Village which he had observed and photographed in the field, \u201cA performance in the Northern Ibo village of Amobia was opened by a hooded character called \u201cGovernment\u201d. He had no face and was crowned with a Homburg hat; an elephant tusk horn, symbol of authority, was laid on the ground in front of him and he read in ghostly gibberish from an important-looking document. He and his acolyte withdrew and were succeeded by a parade of ghostly policemen and court messengers wearing imitations of police and messenger uniforms and with cloth masks over their faces and head. They performed a spirited guard drill before being posted by their commander to their stations to control the crowd. Their followed a supercilious white-faced sun-helmeted figure in white drill jacket and trousers called Oyibo (White Man), who inspected the audience and then took his seat amongst the places reserved for the distinguished visitors who had come to watch the play. After him came a succession of characters, some white-faced, representing female spirits, some black or multi-coloured fierce and masculine creatures with masks that combined animal and human features; others again, mainly harmless or comic or benign, representing antelopes, or other animal spirits or characters drawn from village life. Each had his or her special role to play and having acted it withdrew to the secret enclosure or sat on seats at the ringside waiting to repeat his performance. \u201c Jones also writes that this masquerade was \u201c a large concerted display which included characters contributed by all the local societies.\u201d (Jones, 1984, pp.59-60.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71629.GIJ\n\nDescription\n\nOmuko (very old elder) standing, holding a staff surrounded by three attendants.The masked character is wearing a white cloth covering the entire body and face. ( a hole is visible in the cloth). Attached to the cloth is a wooden face mask with slit eyes and mouth, painted dark with white paint accentuating the eyes, nose, and ears, attached to the chin is a black beard. On top of the head is a white sun helmet. A dark shawl is draped around the shoulders, and he is holding a long staff with a u shaped point. The attendant to the left is playing a metal gong and he is wearing a plaid wrapper and felt hat. Another attendant is behind the masked character and he is wearing a felt hat. The third attendant is seated and he is wearing a white shirt, wrapper and felt hat. In the background are trees and vegetation.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 21 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Omuko (very old elder) Amuobia village (11th image).\n\nContext: Jones provides a detailed description of the various characters in this masquerade in Amobia Village which he had observed and photographed in the field, \u201cA performance in the Northern Ibo village of Amobia was opened by a hooded character called \u201cGovernment\u201d. He had no face and was crowned with a Homburg hat; an elephant tusk horn, symbol of authority, was laid on the ground in front of him and he read in ghostly gibberish from an important-looking document. He and his acolyte withdrew and were succeeded by a parade of ghostly policemen and court messengers wearing imitations of police and messenger uniforms and with cloth masks over their faces and head. They performed a spirited guard drill before being posted by their commander to their stations to control the crowd. Their followed a supercilious white-faced sun-helmeted figure in white drill jacket and trousers called Oyibo (White Man), who inspected the audience and then took his seat amongst the places reserved for the distinguished visitors who had come to watch the play. After him came a succession of characters, some white-faced, representing female spirits, some black or multi-coloured fierce and masculine creatures with masks that combined animal and human features; others again, mainly harmless or comic or benign, representing antelopes, or other animal spirits or characters drawn from village life. Each had his or her special role to play and having acted it withdrew to the secret enclosure or sat on seats at the ringside waiting to repeat his performance. \u201c Jones also writes that this masquerade was \u201c a large concerted display which included characters contributed by all the local societies.\u201d (Jones, 1984, pp.59-60.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206279\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71629_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656739_N.71629.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171307.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465368", "metadata": {"title": "Untitled", "idno": "P.171307.GIJ", "description": "Onu Kamma (Mouth stronger than sword) masquerade showing a close up view of three masqueraders wearing large conical shaped faceless masks made of layers of fibre and with a cloth panel in the front. The masqueraders are wearing tie-dyed/batik? tops and striped woven cloth trousers adorned with fibre skirts around the waist (cowrie shells are seen on the masquerader in the far right.) One of the masqueraders (left) is holding a metal gong and hitting it with a stick, the middle figure is also holding a gong. Behind the masqueraders is a large audience of bystanders in the background.[Description from record T.170058.GIJ, PB 30/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767231.GIJ and P.767234.GIJ are mounted together on paper.", "raw_text_dump": "IDNO\n\nP.171307.GIJ\n\nDescription\n\nOnu Kamma (Mouth stronger than sword) masquerade showing a close up view of three masqueraders wearing large conical shaped faceless masks made of layers of fibre and with a cloth panel in the front. The masqueraders are wearing tie-dyed/batik? tops and striped woven cloth trousers adorned with fibre skirts around the waist (cowrie shells are seen on the masquerader in the far right.) One of the masqueraders (left) is holding a metal gong and hitting it with a stick, the middle figure is also holding a gong. Behind the masqueraders is a large audience of bystanders in the background.[Description from record T.170058.GIJ, PB 30/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767231.GIJ and P.767234.GIJ are mounted together on paper.\n\nFM:311998\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171307_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144523_P.171307.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171208.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465269", "metadata": {"title": "Untitled", "idno": "P.171208.GIJ", "description": "An object documentation image of three Mau face masks on display in a museum, resting on a dais. All the masks have white painted faces with hair and features marked out in black. The mask on the left is of an animal character, with two inward curving horns and a large open mouth with jagged teeth. The mask in the centre is on a stand. It has two long upright ears painted white. The neck covering of cloth is attached. The mask on the right is resting on its back. It has wide open eyes, lips painted red and ichi marks on cheeks and temples. [PB 04/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Colour Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767129.GIJ - P.767132.GIJ are mounted together on paper.\n\nThese masks are in the Simon Ottenberg collection.", "raw_text_dump": "IDNO\n\nP.171208.GIJ\n\nDescription\n\nAn object documentation image of three Mau face masks on display in a museum, resting on a dais. All the masks have white painted faces with hair and features marked out in black. The mask on the left is of an animal character, with two inward curving horns and a large open mouth with jagged teeth. The mask in the centre is on a stand. It has two long upright ears painted white. The neck covering of cloth is attached. The mask on the right is resting on its back. It has wide open eyes, lips painted red and ichi marks on cheeks and temples. [PB 04/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Colour Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767129.GIJ - P.767132.GIJ are mounted together on paper.\n\nThese masks are in the Simon Ottenberg collection.\n\nFM:311899\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171208_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144424_P.171208.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13203.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306475", "metadata": {"title": "Untitled", "idno": "N.13203.GIJ", "description": "An Ekpo panel mask. The panel is rounded at the top with a flat bottom, the oval face is raised in the centre and is naturalistic and serene in form. The mask consists of a rounded border at the top of the head, high forehead, slit eyes with overhanging eyelids, squarish nose, and diamond shaped open mouth, elliptical shaped ears, and keloid markings on the side.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nIPublication: Jones, 1984, p. 129, Plate 40 with the caption, \u201cEkpo mask, naturalistic in style.\n\nContext: \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/2/2008]", "raw_text_dump": "IDNO\n\nN.13203.GIJ\n\nDescription\n\nAn Ekpo panel mask. The panel is rounded at the top with a flat bottom, the oval face is raised in the centre and is naturalistic and serene in form. The mask consists of a rounded border at the top of the head, high forehead, slit eyes with overhanging eyelids, squarish nose, and diamond shaped open mouth, elliptical shaped ears, and keloid markings on the side.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nIPublication: Jones, 1984, p. 129, Plate 40 with the caption, \u201cEkpo mask, naturalistic in style.\n\nContext: \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/2/2008]\n\n\nFM:147853\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13203_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000465_N.13203.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13260.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306532", "metadata": {"title": "Untitled", "idno": "N.13260.GIJ", "description": "Young adult males performing in an age set dance, surrounded by crowds. The dancers are leaping into the air. They are wearing waist ornaments and bands, some of which have bells attached to them, knee-rattles, and head-gear (which appears to be a wig with pale round ornaments sewn onto it).", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha province; near Awka", "cultural_affliation": "Nri-Awka Igbo; Northern Igbo; Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: This image has been reproduced as a postcard by the University of Cambridge Museum of Archaeology and Anthropology, captioned as follows:\n\u201cNigerian Art\nIbo Masquerades\nNo. 1: Northern Ibo. Age Set Dance.\u201d [JD 11/6/2010]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13260.GIJ\n\nDescription\n\nYoung adult males performing in an age set dance, surrounded by crowds. The dancers are leaping into the air. They are wearing waist ornaments and bands, some of which have bells attached to them, knee-rattles, and head-gear (which appears to be a wig with pale round ornaments sewn onto it).\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha province; near Awka\n\nCultural Affliation\n\nNri-Awka Igbo; Northern Igbo; Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: This image has been reproduced as a postcard by the University of Cambridge Museum of Archaeology and Anthropology, captioned as follows:\n\u201cNigerian Art\nIbo Masquerades\nNo. 1: Northern Ibo. Age Set Dance.\u201d [JD 11/6/2010]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147910\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13260_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000523_N.13260.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169660.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463659", "metadata": {"title": "Untitled", "idno": "P.169660.GIJ", "description": "Obugulu mau masquerade depicting four masqueraders sitting down. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appliqued costumes with pointed breasts; their hands and feet are covered with cloth. [Description from record P.71525.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka; Amobia village", "cultural_affliation": "Ibo [historically Igbo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169660.GIJ\n\nDescription\n\nObugulu mau masquerade depicting four masqueraders sitting down. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appliqued costumes with pointed breasts; their hands and feet are covered with cloth. [Description from record P.71525.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nFM:310147\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169660_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127423_P.169660.GIJ_001.png"}, {"file_name": "P_169660_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127425_P.169660.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169729.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463738", "metadata": {"title": "Untitled", "idno": "P.169729.GIJ", "description": "Half-length portrait of a man sitting on a chair wearing a white tunic and with a piece of cloth thrown over one shoulder. [Description from record N.13298.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169729.GIJ\n\nDescription\n\nHalf-length portrait of a man sitting on a chair wearing a white tunic and with a piece of cloth thrown over one shoulder. [Description from record N.13298.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310216\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169729_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127552_P.169729.GIJ_001.png"}, {"file_name": "P_169729_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127553_P.169729.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71526.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364797", "metadata": {"title": "Untitled", "idno": "N.71526.GIJ", "description": "Obugulu mau masquerade depicting four masqueraders sitting down. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appiqued costumes with pointed breasts; their hands and feet are covered with cloth.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Ibo [historically Igbo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 19 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Obugula Mmau Amuobia village (8th image).\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe\nFame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71526.GIJ\n\nDescription\n\nObugulu mau masquerade depicting four masqueraders sitting down. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appiqued costumes with pointed breasts; their hands and feet are covered with cloth.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 19 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Obugula Mmau Amuobia village (8th image).\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe\nFame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206176\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71526_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656656_N.71526.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169824.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463833", "metadata": {"title": "Untitled", "idno": "P.169824.GIJ", "description": "Close up of a man crouching down, cutting a piece of meat (possibly a heart or liver?) in a rimmed bowl with a short knife. The bowl is sitting on a low platform wooden planks. It has a pattern of squares around its rim. There are pieces of grass in the bowl around the meat. [PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169822.GIJ - P.169904.GIJ were located in an brown envelope now numbered C754/11/.", "raw_text_dump": "IDNO\n\nP.169824.GIJ\n\nDescription\n\nClose up of a man crouching down, cutting a piece of meat (possibly a heart or liver?) in a rimmed bowl with a short knife. The bowl is sitting on a low platform wooden planks. It has a pattern of squares around its rim. There are pieces of grass in the bowl around the meat. [PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169822.GIJ - P.169904.GIJ were located in an brown envelope now numbered C754/11/.\n\nFM:310311\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169824_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127727_P.169824.GIJ_001.png"}, {"file_name": "P_169824_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127728_P.169824.GIJ_002.png"}, {"file_name": "P_169824_GIJ_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127729_P.169824.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171555.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465616", "metadata": {"title": "Untitled", "idno": "P.171555.GIJ", "description": "A masquerader in the Owu masquerade, wearing a helmet mask for the character Adupe. The base of the mask and the head and shoulders of the masquerader are covered in patterned cloth. The mask has a white painted face with long pointed nose, arched eyebrows and narrowed eyes. The top of the mask has carved horns and blades, and is adorned with long bird feathres. [PB 22/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Edoha", "cultural_affliation": "Igbo [historically Ibo]; Ekpeya", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171553.GIJ to P.171555.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171555.GIJ\n\nDescription\n\nA masquerader in the Owu masquerade, wearing a helmet mask for the character Adupe. The base of the mask and the head and shoulders of the masquerader are covered in patterned cloth. The mask has a white painted face with long pointed nose, arched eyebrows and narrowed eyes. The top of the mask has carved horns and blades, and is adorned with long bird feathres. [PB 22/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Edoha\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ekpeya\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171553.GIJ to P.171555.GIJ are mounted on card.\n\nFM:312275\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171555_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144804_P.171555.GIJ_001.jpg"}, {"file_name": "P_171555_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144805_P.171555.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.170114.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464175", "metadata": {"title": "Untitled", "idno": "T.170114.GIJ", "description": "A documentation photograph of an image of Ekpo wooden face mask. An Ekpo mask with a stylised rounded face. Incised markings on the forehead, large round eyes, small nose, and incised markings to indicate mouth and rounded teeth. [Description from record N.13172.GIJ, PB 26/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; ?near Abak; ?near Ikot Ekpene", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nPublication: Image published in Jones, G.I. 1984. The Art of Eastern Nigeria. (Cambridge: CUP), fig. 43, p. 130, and captioned as \"Ekpo mask. stylised mode.\" [PB 26/09/2023]", "raw_text_dump": "IDNO\n\nT.170114.GIJ\n\nDescription\n\nA documentation photograph of an image of Ekpo wooden face mask. An Ekpo mask with a stylised rounded face. Incised markings on the forehead, large round eyes, small nose, and incised markings to indicate mouth and rounded teeth. [Description from record N.13172.GIJ, PB 26/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?near Abak; ?near Ikot Ekpene\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nPublication: Image published in Jones, G.I. 1984. The Art of Eastern Nigeria. (Cambridge: CUP), fig. 43, p. 130, and captioned as \"Ekpo mask. stylised mode.\" [PB 26/09/2023]\n\nFM:310642\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170114_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128351_T.170114.GIJ_001.png"}, {"file_name": "T_170114_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128352_T.170114.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.170232.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464293", "metadata": {"title": "Untitled", "idno": "P.170232.GIJ", "description": "A documentation photograph of a painted wooden face mask combining human and animal features. The mask has horns curving inwards and forwards over a ringed headband, goat-like ears, large eyes and a wide open mouth with even teeth, and a protruding tongue. [PB 02/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170232.GIJ - P.170243.GIJ were located in a brown envelope, now numbered C759/1.\n\nPublication: Image published in Jones G.I. The art of eastern Nigeria. 1984 (Cambridge: CUP). fig. 94 p.186, and captioned: \"Polychrome mask: carved byb Akpan Chuku of Utu Etim Ekpo (photograoh, K.C. Murray). Anang (Ibibio).\" [PB 03/11/2023]", "raw_text_dump": "IDNO\n\nP.170232.GIJ\n\nDescription\n\nA documentation photograph of a painted wooden face mask combining human and animal features. The mask has horns curving inwards and forwards over a ringed headband, goat-like ears, large eyes and a wide open mouth with even teeth, and a protruding tongue. [PB 02/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170232.GIJ - P.170243.GIJ were located in a brown envelope, now numbered C759/1.\n\nPublication: Image published in Jones G.I. The art of eastern Nigeria. 1984 (Cambridge: CUP). fig. 94 p.186, and captioned: \"Polychrome mask: carved byb Akpan Chuku of Utu Etim Ekpo (photograoh, K.C. Murray). Anang (Ibibio).\" [PB 03/11/2023]\n\nFM:310790\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170232_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131564_P.170232.GIJ_001.png"}, {"file_name": "P_170232_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131565_P.170232.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "T.170069.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464110", "metadata": {"title": "Untitled", "idno": "T.170069.GIJ", "description": "Obugulu Mau (Ghost) masquerade. A gathering of characters in front of thatched buildings.\n\nOn the left of the image stands masquerader, Nwabogho Ehi, (Heifer), wearing a helmet mask (painted white and with v-shaped markings above and below the eyes)dressed in a brightly coloured harlequin-like/appliqu\u00e9 costume. Cloth cloak tied around the neck, over ?woven or ?net cloth which is attached to the mask, wrappers around the waist and ankle-rattles, made of ?seeds. Mud and thatch houses and trees and vegetation in the background.[Description from record P.71536.GIJ, PB 15/09/2023].\n\nTo the right various other characters including two Iro Ekpetu (Merciless) masqueraders. These masqueraders are wearing a fierce mask, black with fang-like teeth, and a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia. He is carrying a wand or a stick with which to threaten the crowd. Thatched buildings are in the background. [Description from record P.71541.GIJ, PB 15/09/2023]\n\nIn the centre of the image stands Udo Ezuo is standing in the foreground, wearing a white (painted in white clay or gypsum?) head-mask to the top of the head attached to a geometric patterned cloth top, striped leggings, raffia skirt, and ankle-rattles. The mask appears to be similar to a female helmet mask, though the face is above the head of the wearer. [Description from record P.71541.GIJ, PB 15/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170069.GIJ\n\nDescription\n\nObugulu Mau (Ghost) masquerade. A gathering of characters in front of thatched buildings.\n\nOn the left of the image stands masquerader, Nwabogho Ehi, (Heifer), wearing a helmet mask (painted white and with v-shaped markings above and below the eyes)dressed in a brightly coloured harlequin-like/appliqu\u00e9 costume. Cloth cloak tied around the neck, over ?woven or ?net cloth which is attached to the mask, wrappers around the waist and ankle-rattles, made of ?seeds. Mud and thatch houses and trees and vegetation in the background.[Description from record P.71536.GIJ, PB 15/09/2023].\n\nTo the right various other characters including two Iro Ekpetu (Merciless) masqueraders. These masqueraders are wearing a fierce mask, black with fang-like teeth, and a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia. He is carrying a wand or a stick with which to threaten the crowd. Thatched buildings are in the background. [Description from record P.71541.GIJ, PB 15/09/2023]\n\nIn the centre of the image stands Udo Ezuo is standing in the foreground, wearing a white (painted in white clay or gypsum?) head-mask to the top of the head attached to a geometric patterned cloth top, striped leggings, raffia skirt, and ankle-rattles. The mask appears to be similar to a female helmet mask, though the face is above the head of the wearer. [Description from record P.71541.GIJ, PB 15/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310597\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170069_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128221_T.170069.GIJ_001.png"}, {"file_name": "T_170069_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128224_T.170069.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.170264.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464325", "metadata": {"title": "Untitled", "idno": "P.170264.GIJ", "description": "Two carved wooden Ekpo face masks, with sacking attached to cover the wearer's head. The face of the mask on the left of the image has a ringed coiled on top of the head, a protruding forehead, almond shaped holes for eyes, nose, open mouth with teeth, ears with ridge along inner edge. The face of the mask on the right of the image has twisted bulbous nose, mouth, and cheeks. Theis mask is fringed with raffia and fibre. The masks are propped against a mud wall. [PB 03/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Ukana", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.", "raw_text_dump": "IDNO\n\nP.170264.GIJ\n\nDescription\n\nTwo carved wooden Ekpo face masks, with sacking attached to cover the wearer's head. The face of the mask on the left of the image has a ringed coiled on top of the head, a protruding forehead, almond shaped holes for eyes, nose, open mouth with teeth, ears with ridge along inner edge. The face of the mask on the right of the image has twisted bulbous nose, mouth, and cheeks. Theis mask is fringed with raffia and fibre. The masks are propped against a mud wall. [PB 03/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Ukana\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.\n\nFM:310822\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170264_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131693_P.170264.GIJ_001.png"}, {"file_name": "P_170264_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131694_P.170264.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13298.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306570", "metadata": {"title": "Untitled", "idno": "N.13298.GIJ", "description": "Close up portrait of a man sitting on a chair wearing a white tunic and with a piece of cloth thrown over one shoulder.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13298.GIJ\n\nDescription\n\nClose up portrait of a man sitting on a chair wearing a white tunic and with a piece of cloth thrown over one shoulder.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147948\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13298_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000561_N.13298.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171211.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465272", "metadata": {"title": "Untitled", "idno": "P.171211.GIJ", "description": "Three wooden Ikenga figures; the central figure is the largest of the three. The male figure is seated on a stool and is holding a head in one hand and a cutlass in the other. The face of the\nIkenga is long with a high forehead with incised striations and adorned with the characteristic two horns which are curled at the top; one of the horns has twine wrapped around it. A side view of the other two figures is shown; the one on the left is seated on a stool with a large horn and drinking palm wine through a straw; the figure on the right is standing with knees slightly bent, the face has incised striations on the forehead and two horns. In front of the Ikenga is a wooden object. Behind the objects is a building. [Description from record P.71450.GIJ, PB 04/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767134.GIJ - P.767139.GIJ are mounted together on paper.\n\nPublication: Same photograph published in Jones, 1989, Plate 36, p. 42 with the caption: \u201cIkenga figures, Nimo Town, Nri-Akwa Ibo. The one in the centre has a cutlass and a human head; the one on the left is drinking palm wine through a straw. In addition, the figure of the central Ikenga sculpture is also published in Jones, 1984, Plate 51. p.143.", "raw_text_dump": "IDNO\n\nP.171211.GIJ\n\nDescription\n\nThree wooden Ikenga figures; the central figure is the largest of the three. The male figure is seated on a stool and is holding a head in one hand and a cutlass in the other. The face of the\nIkenga is long with a high forehead with incised striations and adorned with the characteristic two horns which are curled at the top; one of the horns has twine wrapped around it. A side view of the other two figures is shown; the one on the left is seated on a stool with a large horn and drinking palm wine through a straw; the figure on the right is standing with knees slightly bent, the face has incised striations on the forehead and two horns. In front of the Ikenga is a wooden object. Behind the objects is a building. [Description from record P.71450.GIJ, PB 04/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767134.GIJ - P.767139.GIJ are mounted together on paper.\n\nPublication: Same photograph published in Jones, 1989, Plate 36, p. 42 with the caption: \u201cIkenga figures, Nimo Town, Nri-Akwa Ibo. The one in the centre has a cutlass and a human head; the one on the left is drinking palm wine through a straw. In addition, the figure of the central Ikenga sculpture is also published in Jones, 1984, Plate 51. p.143.\n\nFM:311902\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171211_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144427_P.171211.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71780.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365051", "metadata": {"title": "Untitled", "idno": "N.71780.GIJ", "description": "Two Lughulu face masks; one female and beautiful, the other male and comic. On the left is the comic male mask painted white and carved of wood. The forehead is high and rounded, the eyes are open slits, the nose protruding and an open mouth. The cheeks are swollen and puffy. Attached to the side of the mask is a piece of raffia. The mask on the right is the beautiful female face mask. It is long and elegant. The face consists of two holes a long nose, small open mouth, pointed chin and protruding elliptical shaped ears and a large coiffure or headdress which is designed with a line in the centre and horizontal incisions on either side; it culminates in two projections at the top.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Item", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 79 of the negative album now numbered C17/.\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]", "raw_text_dump": "IDNO\n\nN.71780.GIJ\n\nDescription\n\nTwo Lughulu face masks; one female and beautiful, the other male and comic. On the left is the comic male mask painted white and carved of wood. The forehead is high and rounded, the eyes are open slits, the nose protruding and an open mouth. The cheeks are swollen and puffy. Attached to the side of the mask is a piece of raffia. The mask on the right is the beautiful female face mask. It is long and elegant. The face consists of two holes a long nose, small open mouth, pointed chin and protruding elliptical shaped ears and a large coiffure or headdress which is designed with a line in the centre and horizontal incisions on either side; it culminates in two projections at the top.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nItem\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 79 of the negative album now numbered C17/.\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nFM:206430\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71780_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656882_N.71780.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169801.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463810", "metadata": {"title": "Untitled", "idno": "P.169801.GIJ", "description": "A head and shoulders portrait of a man, wearing a collarless shirt, and facing the camera. In the background there is open country with scattered bushes and trees. [PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169791.GIJ - P.169803.GIJ were located in an brown envelope now numbered C754/8/.", "raw_text_dump": "IDNO\n\nP.169801.GIJ\n\nDescription\n\nA head and shoulders portrait of a man, wearing a collarless shirt, and facing the camera. In the background there is open country with scattered bushes and trees. [PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169791.GIJ - P.169803.GIJ were located in an brown envelope now numbered C754/8/.\n\nFM:310288\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169801_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127695_P.169801.GIJ_001.png"}, {"file_name": "P_169801_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127696_P.169801.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171183.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465244", "metadata": {"title": "Untitled", "idno": "P.171183.GIJ", "description": "Onyema Ogadi, a boy\u2019s mask on a masquerader. The mask is painted white with black markings to accentuate the eyebrows, nose, and mouth. There are small black circles dotted underneath the eyes, nose and chin. The forehead is painted black with incised striations denoting hair. On top of the mask is long raffia \u201chair\u201d. The masquerader is wearing a striped, woven costume with a white cloth tied around the neck; the arms are stretched out. In the background are spectators, a building and trees.[Description from record P.71575.GIJ, PB 02/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767106.GIJ - P.767108.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171183.GIJ\n\nDescription\n\nOnyema Ogadi, a boy\u2019s mask on a masquerader. The mask is painted white with black markings to accentuate the eyebrows, nose, and mouth. There are small black circles dotted underneath the eyes, nose and chin. The forehead is painted black with incised striations denoting hair. On top of the mask is long raffia \u201chair\u201d. The masquerader is wearing a striped, woven costume with a white cloth tied around the neck; the arms are stretched out. In the background are spectators, a building and trees.[Description from record P.71575.GIJ, PB 02/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767106.GIJ - P.767108.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311874\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171183_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144399_P.171183.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169861.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463880", "metadata": {"title": "Untitled", "idno": "P.169861.GIJ", "description": "A close-up portrait of a masquerade character in the ogbukere masquerade. The character called Oki. The Oki mask is placed on top of the wearer\u2019s head and consists of a large horizontal wooden structure with coloured fringe around the base of the mask and in the centre of the mask are carved, painted designs and three large pointed fins. The masquerader is wearing different pieces of coloured cloth with long strands of palm fronds around the neck. In the background are attendants who are wearing printed wrappers around the waist and some are holding metal staffs and sticks. [PB 12/01/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Ekpeya", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169861.GIJ\n\nDescription\n\nA close-up portrait of a masquerade character in the ogbukere masquerade. The character called Oki. The Oki mask is placed on top of the wearer\u2019s head and consists of a large horizontal wooden structure with coloured fringe around the base of the mask and in the centre of the mask are carved, painted designs and three large pointed fins. The masquerader is wearing different pieces of coloured cloth with long strands of palm fronds around the neck. In the background are attendants who are wearing printed wrappers around the waist and some are holding metal staffs and sticks. [PB 12/01/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ekpeya\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310348\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169861_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127822_P.169861.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.170283.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464344", "metadata": {"title": "Untitled", "idno": "P.170283.GIJ", "description": "A documentation photograph of two wooden face masks.\nThe upper mask is oval in shape, with keloid marks in the centre of the forehead, almond-shaoped eyeholes in eye recesses, an open mouth with teeth, single ichi marks on cheeks, and small ears.\nThe lower mask is in side profile lying horizontally. The hair is in ridges painted black with eyes nose and other facial features fine lined in black against a white background. [PB 07/1123]", "place": "W Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; Orashi; Ahoada; England; London; British Museum", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.\n\nRelated Object: These masks are in the British Museum collection. The upper mask is reference Af1971,24.10, the lower Af1954,23.595.\nAf1971,24.10\n\"Height: 24.30 centimetres\nWidth: 21.40 centimetres\nDepth: 16 centimetres\nDescription: Man's face mask made of wood.\"\nAf1954,23.595\nRelated Object: Height: 23.90 centimetres\nWidth: 10 centimetres\nDepth: 7 centimetres\nDescription: Woman's face mask made of wood.\" [PB 07/1123]", "raw_text_dump": "IDNO\n\nP.170283.GIJ\n\nDescription\n\nA documentation photograph of two wooden face masks.\nThe upper mask is oval in shape, with keloid marks in the centre of the forehead, almond-shaoped eyeholes in eye recesses, an open mouth with teeth, single ichi marks on cheeks, and small ears.\nThe lower mask is in side profile lying horizontally. The hair is in ridges painted black with eyes nose and other facial features fine lined in black against a white background. [PB 07/1123]\n\nPlace\n\nW Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; Orashi; Ahoada; England; London; British Museum\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.\n\nRelated Object: These masks are in the British Museum collection. The upper mask is reference Af1971,24.10, the lower Af1954,23.595.\nAf1971,24.10\n\"Height: 24.30 centimetres\nWidth: 21.40 centimetres\nDepth: 16 centimetres\nDescription: Man's face mask made of wood.\"\nAf1954,23.595\nRelated Object: Height: 23.90 centimetres\nWidth: 10 centimetres\nDepth: 7 centimetres\nDescription: Woman's face mask made of wood.\" [PB 07/1123]\n\nFM:310841\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170283_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131741_P.170283.GIJ_001.png"}, {"file_name": "P_170283_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131742_P.170283.GIJ_002.png"}, {"file_name": "P_170283_GIJ_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131743_P.170283.GIJ_003.png"}], "source_id": "maa_cambridge"}
{"id": "P.7052.ACH1", "source_url": "https://collections.maa.cam.ac.uk/photographs/300324", "metadata": {"title": "Untitled", "idno": "P.7052.ACH1", "description": "On Catalogue Card: Ekoi people. No. 21 side face from a village farther N. than the others. He is in a yam stack.", "place": "W Africa; Nigeria; south eastern Nigeria", "cultural_affliation": "Ekoi", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Mounted Haddon Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "", "raw_text_dump": "IDNO\n\nP.7052.ACH1\n\nDescription\n\nOn Catalogue Card: Ekoi people. No. 21 side face from a village farther N. than the others. He is in a yam stack.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria\n\nCultural Affliation\n\nEkoi\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nMounted Haddon Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nFM:141702\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_7052_ACH1_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/866775_P.7052.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "LS.170390.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464451", "metadata": {"title": "Untitled", "idno": "LS.170390.GIJ", "description": "A documentary photograph of Ajonku, an Ekpe (Egbo) wooden face mask. The mask is made of dark polished wood and has white and red tassels attached to the top of the head. The brow, nose lips, ear are prominent and sharply defined, with deep eye recesses. The mask has a deep cushioned collar attached to its neck. [PB 24/11/23]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Arochuku", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Lantern Slide Coloured", "primary_documentation": "", "other_information": "T.170298.GIJ - ??? were located as loose photos and envelopes in an folder box now numbered C760/.\n\nLS.170389.GIJ - N.170437.GIJ were located in a Ilford glass plate box, now numbered C760/3.\n\nPublication: This mask is featured in in Jones G.I., 1984. The Art of Eastern Nigeria. (Cambridge: CUP), Fig. 102 p. 195, and captioned \"Ajonku: Ekpe (Egbo) type masquerade. Aorchuku tribe. Cross River Ibo.\" [PB 24/11/23]", "raw_text_dump": "IDNO\n\nLS.170390.GIJ\n\nDescription\n\nA documentary photograph of Ajonku, an Ekpe (Egbo) wooden face mask. The mask is made of dark polished wood and has white and red tassels attached to the top of the head. The brow, nose lips, ear are prominent and sharply defined, with deep eye recesses. The mask has a deep cushioned collar attached to its neck. [PB 24/11/23]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Arochuku\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nLantern Slide Coloured\n\nPrimary Documentation\n\nOther Information\n\nT.170298.GIJ - ??? were located as loose photos and envelopes in an folder box now numbered C760/.\n\nLS.170389.GIJ - N.170437.GIJ were located in a Ilford glass plate box, now numbered C760/3.\n\nPublication: This mask is featured in in Jones G.I., 1984. The Art of Eastern Nigeria. (Cambridge: CUP), Fig. 102 p. 195, and captioned \"Ajonku: Ekpe (Egbo) type masquerade. Aorchuku tribe. Cross River Ibo.\" [PB 24/11/23]\n\nFM:310966\n\nImages (Click to view full size):"}, "images": [{"file_name": "LS_170390_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1166649_LS.170390.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13314.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306586", "metadata": {"title": "Untitled", "idno": "N.13314.GIJ", "description": "Close up portrait of a male elder wearing a jacket and woolen hat holding a stick. To his side is another person.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nThis is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13314.GIJ\n\nDescription\n\nClose up portrait of a male elder wearing a jacket and woolen hat holding a stick. To his side is another person.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nThis is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147964\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13314_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000577_N.13314.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171615.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465676", "metadata": {"title": "Untitled", "idno": "P.171615.GIJ", "description": "A documentation photograph of a carved face mask in dark wood, placed on woven grass matting. The mask has ridged eyebrows, cheeks, lips and ears. The top of the mask is flat with a disk-shaped top, edged with regularly spaced drops, shaped with a triangle above a ball. Two outward curcvng horns project up from the top of the mask. [PB 05/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Umuguma", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171615.GIJ and P.171616.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171615.GIJ\n\nDescription\n\nA documentation photograph of a carved face mask in dark wood, placed on woven grass matting. The mask has ridged eyebrows, cheeks, lips and ears. The top of the mask is flat with a disk-shaped top, edged with regularly spaced drops, shaped with a triangle above a ball. Two outward curcvng horns project up from the top of the mask. [PB 05/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Umuguma\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171615.GIJ and P.171616.GIJ are mounted on card.\n\nFM:312335\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171615_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144925_P.171615.GIJ_001.jpg"}, {"file_name": "P_171615_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144926_P.171615.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71955.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365226", "metadata": {"title": "Untitled", "idno": "N.71955.GIJ", "description": "A Ngbagba Ikoro masquerade with the chorus and band of the masquerade. Some of the members are wearing small masks on top of their heads which do not cover their faces. The masks vary but most are dark with the addition of white paint. The band and chorus are sitting under the sloped roof of a building; the roof is made of raffia.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 38 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71955.GIJ\n\nDescription\n\nA Ngbagba Ikoro masquerade with the chorus and band of the masquerade. Some of the members are wearing small masks on top of their heads which do not cover their faces. The masks vary but most are dark with the addition of white paint. The band and chorus are sitting under the sloped roof of a building; the roof is made of raffia.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 38 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206605\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71955_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657056_N.71955.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171092.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465153", "metadata": {"title": "Untitled", "idno": "P.171092.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\n\u2018Eju Onu\u2019 (\u2018Long Mouth\u2019) ?dancing in centre of image, wearing a carved and painted wooden head mask attached to a woven cloth top, cloth tights and a raffia skirt. The mask is carved with two horns, eyes, nose, ears, and a muzzle with teeth. It is painted with dark pigment, on to which pale spots and lines have been added. In background is \u2018Iro Ekpetu\u2019 (\u2018Merciless\u2019), a character wearing a fierce carved and painted wooden face mask, cloth top and tights, and a raffia skirt. [Description from record P.71538.GIJ, PB 13/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767013.GIJ - P.767018.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Eju Onu (long mouth), G.I. Jones writes in the notes: \"There were two of these both typical \"Awka\" type antelope masks worn on top of the actor head, facing upward and wearing a loose gown of blue and white patterned \"Yoruba\" cloth with sleeves and trouser-legs of the same type of cloth but white with narrow blue stripes. In most Northern Ibo masquerades the role of Eju Onu is a comic and stupid oaf-like one. On this play they carried wands and behaved like the fierce characters (only less fiercely) and thgey wore the same raffia aprons.\"", "raw_text_dump": "IDNO\n\nP.171092.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\n\u2018Eju Onu\u2019 (\u2018Long Mouth\u2019) ?dancing in centre of image, wearing a carved and painted wooden head mask attached to a woven cloth top, cloth tights and a raffia skirt. The mask is carved with two horns, eyes, nose, ears, and a muzzle with teeth. It is painted with dark pigment, on to which pale spots and lines have been added. In background is \u2018Iro Ekpetu\u2019 (\u2018Merciless\u2019), a character wearing a fierce carved and painted wooden face mask, cloth top and tights, and a raffia skirt. [Description from record P.71538.GIJ, PB 13/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767013.GIJ - P.767018.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Eju Onu (long mouth), G.I. Jones writes in the notes: \"There were two of these both typical \"Awka\" type antelope masks worn on top of the actor head, facing upward and wearing a loose gown of blue and white patterned \"Yoruba\" cloth with sleeves and trouser-legs of the same type of cloth but white with narrow blue stripes. In most Northern Ibo masquerades the role of Eju Onu is a comic and stupid oaf-like one. On this play they carried wands and behaved like the fierce characters (only less fiercely) and thgey wore the same raffia aprons.\"\n\nFM:311783\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171092_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144308_P.171092.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171525.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465586", "metadata": {"title": "Untitled", "idno": "P.171525.GIJ", "description": "A documentation photograph in profile of a pair of carved wooden helmet masks. The masks portray characters with human and animal features. Each mask has an elongated neck, the face is painted white. The hair is painted black with peak. The centre of the forehead has a black vertical line from peak to eyebrow and then diagonally to each side of the jaw. Eyebrows, eyes, nose and mouth are highlighted with black paint. Two upward curving tusks project forweards from the mouth. One each side of the head there is a thick horn curled around to the back of the head, and in the centre of the head a single horn curving backwards. The cord to the attach the mask to the masquerader's head and costume are shown. [PB 17/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171525.GIJ - P.171532.GIJ were located in a green folder, now numbered C769/1.\n\nP.171524.GIJ to P.171526.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171525.GIJ\n\nDescription\n\nA documentation photograph in profile of a pair of carved wooden helmet masks. The masks portray characters with human and animal features. Each mask has an elongated neck, the face is painted white. The hair is painted black with peak. The centre of the forehead has a black vertical line from peak to eyebrow and then diagonally to each side of the jaw. Eyebrows, eyes, nose and mouth are highlighted with black paint. Two upward curving tusks project forweards from the mouth. One each side of the head there is a thick horn curled around to the back of the head, and in the centre of the head a single horn curving backwards. The cord to the attach the mask to the masquerader's head and costume are shown. [PB 17/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171525.GIJ - P.171532.GIJ were located in a green folder, now numbered C769/1.\n\nP.171524.GIJ to P.171526.GIJ are mounted on card.\n\nFM:312245\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171525_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144744_P.171525.GIJ_001.jpg"}, {"file_name": "P_171525_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144745_P.171525.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13288.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306560", "metadata": {"title": "Untitled", "idno": "N.13288.GIJ", "description": "Two masquerade characters called Onyenachumiri (raindriver) and the other is ? Dibia performing in the Okwanku masquerade. The dibia is reviving the raindriver.\n\nThe raindriver is lying on the ground with his legs stretched out, wearing wellies (gumboots) and holding a broom in one hand. The raindriver is wearing a wooden face mask with long raffia hair attached, a hat and a printed cloth. The dibia is leaning beside him with one hand stretched out on to the raindriver\u2019s stomach. The face mask of the dibia is wooden with long raffia hair attached. In the background is another masquerade character called Obaji who is standing behind and holding a broom. He wearing a wooden face mask with long raffia hair, a hat, and a printed cloth around his waist. In the background is a crowd of spectators and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village", "cultural_affliation": "Igbo [historically Ibo]; Ohffia", "named_person": "Onyechumiri; Rain Driver; Dibia; Doctor [names of mask characters]", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image is reproduced in Jones, 1989, Figure 50 p. 58, with the caption \u201cOkwanku masquerade. Akanu town. Ohaffia tribe, Cross River Ibo. Dibia (doctor) with his bag of medicines. Onyechumirir (Rain Driver) with gum boots and broom to drive the rain away and, in begrimed straw hat, Obaji (Chin Beard). Dibia, having poisoned Onyechumiri, is now trying to revive him.\u201d\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ohafia/Abam Igbo\n2. Okwanko masquerade, Akanu Ohafia\n3. The dibia Obia revives another other dibia after their battle of medicine (5th image).\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in whihc the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13288.GIJ\n\nDescription\n\nTwo masquerade characters called Onyenachumiri (raindriver) and the other is ? Dibia performing in the Okwanku masquerade. The dibia is reviving the raindriver.\n\nThe raindriver is lying on the ground with his legs stretched out, wearing wellies (gumboots) and holding a broom in one hand. The raindriver is wearing a wooden face mask with long raffia hair attached, a hat and a printed cloth. The dibia is leaning beside him with one hand stretched out on to the raindriver\u2019s stomach. The face mask of the dibia is wooden with long raffia hair attached. In the background is another masquerade character called Obaji who is standing behind and holding a broom. He wearing a wooden face mask with long raffia hair, a hat, and a printed cloth around his waist. In the background is a crowd of spectators and trees.\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ohffia\n\nNamed Person\n\nOnyechumiri; Rain Driver; Dibia; Doctor [names of mask characters]\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image is reproduced in Jones, 1989, Figure 50 p. 58, with the caption \u201cOkwanku masquerade. Akanu town. Ohaffia tribe, Cross River Ibo. Dibia (doctor) with his bag of medicines. Onyechumirir (Rain Driver) with gum boots and broom to drive the rain away and, in begrimed straw hat, Obaji (Chin Beard). Dibia, having poisoned Onyechumiri, is now trying to revive him.\u201d\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ohafia/Abam Igbo\n2. Okwanko masquerade, Akanu Ohafia\n3. The dibia Obia revives another other dibia after their battle of medicine (5th image).\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in whihc the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147938\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13288_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000551_N.13288.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169864.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463883", "metadata": {"title": "Untitled", "idno": "P.169864.GIJ", "description": "A masquerade character called Ebule Uke (water ram, mythical beast) performing in a Rumuji Owu play. The character is wearing a raffia costume and holding a machete in one hand. The face is also covered with raffia. In the background are two spectators and trees.\n[Description from record N.13023.GIJ,PB 12/01/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; South Ikwerri", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169864.GIJ\n\nDescription\n\nA masquerade character called Ebule Uke (water ram, mythical beast) performing in a Rumuji Owu play. The character is wearing a raffia costume and holding a machete in one hand. The face is also covered with raffia. In the background are two spectators and trees.\n[Description from record N.13023.GIJ,PB 12/01/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; South Ikwerri\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310351\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169864_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127825_P.169864.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171544.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465605", "metadata": {"title": "Untitled", "idno": "P.171544.GIJ", "description": "A documentation photograph of a carved wooden helmet mask for the Owu masquerade. The mask portrays an animal character, Aroma, with plain straight long horns. The eyebrows, eyes and cheeks are detailed wth incised lines. The nose and mouth are goat-like. [PB 22/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Ebonyi State; Okposi", "cultural_affliation": "Igbo [historically Ibo]; Oba", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171542.GIJ to P.171544.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171544.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden helmet mask for the Owu masquerade. The mask portrays an animal character, Aroma, with plain straight long horns. The eyebrows, eyes and cheeks are detailed wth incised lines. The nose and mouth are goat-like. [PB 22/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ebonyi State; Okposi\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oba\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171542.GIJ to P.171544.GIJ are mounted on card.\n\nFM:312264\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171544_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144782_P.171544.GIJ_001.jpg"}, {"file_name": "P_171544_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144783_P.171544.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.35334.ACH2", "source_url": "https://collections.maa.cam.ac.uk/photographs/328606", "metadata": {"title": "Untitled", "idno": "N.35334.ACH2", "description": "On Catalogue Card: Native of Ekong.", "place": "W Africa; Nigeria; south eastern Nigeria; Ekong", "cultural_affliation": "", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Unmounted Haddon Collection", "source": "", "format": "Film Negative", "primary_documentation": "", "other_information": "The negative was previously stored in an envelope now numbered C106/103/ which was in a wooden box now marked C106/. The envelope (C106/103/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.", "raw_text_dump": "IDNO\n\nN.35334.ACH2\n\nDescription\n\nOn Catalogue Card: Native of Ekong.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; Ekong\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nUnmounted Haddon Collection\n\nSource\n\nFormat\n\nFilm Negative\n\nPrimary Documentation\n\nOther Information\n\nThe negative was previously stored in an envelope now numbered C106/103/ which was in a wooden box now marked C106/. The envelope (C106/103/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.\n\nFM:169984\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_35334_ACH2_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/607093_cat.P.7047.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.170128.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464189", "metadata": {"title": "Untitled", "idno": "T.170128.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts a canoe with five figures. The scene is framed with linear and chevron designs around them. [PB 29/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River Area", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170128.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts a canoe with five figures. The scene is framed with linear and chevron designs around them. [PB 29/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River Area\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310656\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170128_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128379_T.170128.GIJ_001.png"}, {"file_name": "T_170128_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128380_T.170128.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71602.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364873", "metadata": {"title": "Untitled", "idno": "N.71602.GIJ", "description": "A close up view of a masquerade character called Ogaranya or (Big Man). The masquerader is seated. He is wearing a white face mask painted with black markings. The eyes, nose, and lips are bordered in black and there is a large rectangular area on the forehead that is incised with geometric striations and painted black, a around his neck is a beaded necklace. Carved on the top of the mask is a white sun helmet with a black border and a feather tucked in. The costume is made of a loose woven tunic dyed in batik tunic, baggy woven trousers and additional plaid cloth. In the background are spectators.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 41 of the negative album now numbered C15/.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) (Jones, 1984).\n\nContext: The wide variety of masks in the Nri Akwa area is discussed further. Antelopes, goats, and similar animal spirits were given head masks and those with long muzzles were called Oji Onu (long mouth) or Ulaga. Some animals (for example, Tortoise) were carved as a complete figure which was worn on the actor\u2019s head. There was a range of masks in various shapes, sizes, styles and materials representing comic, stupid, and other human and animal types. There was also faceless characters where the actor\u2019s own face was concealed under a cloth or raffia hood. Some of these were said to be very old and senior, other were abstractions like the spirit called Government or three raffia-covered characters who sang together in thirds and were called Onukamma (the tongue is stronger than the sword). Some of the masks used in Nri-Akwa masquerades were borrowed from elsewhere, mainly from the Ibibio. (Jones, 1989, pp.46-47.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71602.GIJ\n\nDescription\n\nA close up view of a masquerade character called Ogaranya or (Big Man). The masquerader is seated. He is wearing a white face mask painted with black markings. The eyes, nose, and lips are bordered in black and there is a large rectangular area on the forehead that is incised with geometric striations and painted black, a around his neck is a beaded necklace. Carved on the top of the mask is a white sun helmet with a black border and a feather tucked in. The costume is made of a loose woven tunic dyed in batik tunic, baggy woven trousers and additional plaid cloth. In the background are spectators.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 41 of the negative album now numbered C15/.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) (Jones, 1984).\n\nContext: The wide variety of masks in the Nri Akwa area is discussed further. Antelopes, goats, and similar animal spirits were given head masks and those with long muzzles were called Oji Onu (long mouth) or Ulaga. Some animals (for example, Tortoise) were carved as a complete figure which was worn on the actor\u2019s head. There was a range of masks in various shapes, sizes, styles and materials representing comic, stupid, and other human and animal types. There was also faceless characters where the actor\u2019s own face was concealed under a cloth or raffia hood. Some of these were said to be very old and senior, other were abstractions like the spirit called Government or three raffia-covered characters who sang together in thirds and were called Onukamma (the tongue is stronger than the sword). Some of the masks used in Nri-Akwa masquerades were borrowed from elsewhere, mainly from the Ibibio. (Jones, 1989, pp.46-47.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206252\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71602_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656712_N.71602.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169884.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463903", "metadata": {"title": "Untitled", "idno": "P.169884.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts a figure (policeman?)perched on a ladder with his hand and leg raised. He is dressed in European style clothing which consists of white trousers, shirt and a hat. Geometric designs surround the figure. [Description from record N.13207.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River Area; Umuajatta village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169884.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts a figure (policeman?)perched on a ladder with his hand and leg raised. He is dressed in European style clothing which consists of white trousers, shirt and a hat. Geometric designs surround the figure. [Description from record N.13207.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River Area; Umuajatta village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310371\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169884_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127852_P.169884.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.170918.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464979", "metadata": {"title": "Untitled", "idno": "P.170918.GIJ", "description": "Close up view of an Ekpo face mask with an oval face with rimmed head, high forehead with two round keloid markings, almond shaped eyes, nose, protruding cheeks, open mouth with incised teeth, whiskers on either side of the mouth, and large rounded ears. Plant fibres surround the mask. The mask is highly polished darkened wood. [PB 05/04/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene; ?Ikot Abia village", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.170860.GIJ - P.170920.GIJ were located in a Derri Boots box, now numbered C765/.", "raw_text_dump": "IDNO\n\nP.170918.GIJ\n\nDescription\n\nClose up view of an Ekpo face mask with an oval face with rimmed head, high forehead with two round keloid markings, almond shaped eyes, nose, protruding cheeks, open mouth with incised teeth, whiskers on either side of the mouth, and large rounded ears. Plant fibres surround the mask. The mask is highly polished darkened wood. [PB 05/04/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene; ?Ikot Abia village\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.170860.GIJ - P.170920.GIJ were located in a Derri Boots box, now numbered C765/.\n\nFM:311576\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170918_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1143986_P.170918.GIJ_001.jpg"}, {"file_name": "P_170918_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1143987_P.170918.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.71948.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365219", "metadata": {"title": "Untitled", "idno": "P.71948.GIJ", "description": "The Ngbangbo Ikoro masquerade with the crowd dispersing. The crowd consists of masqueraders, women, men and children. One character is wearing a wooden mask which is dark and painted white with horns and attached to a piece of woven sack cloth; a young boy is touching the character. Another mask is shown upside down and shows a rounded face with white bulbous eyes. The audience wears a mixture of printed cloths and clothing. In the background is thatched building.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71946.GIJ to P.71968.GIJ were found wrapped in paper, now numbered C298/9/.\n\nOn the GI Jones website, www.siu.edu/~anthro/mccall/jones/, under,\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Two masks Ngbagba Ikoro, Abiriba. (1st image).\nThis negative was found in pocket 32 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nP.71948.GIJ\n\nDescription\n\nThe Ngbangbo Ikoro masquerade with the crowd dispersing. The crowd consists of masqueraders, women, men and children. One character is wearing a wooden mask which is dark and painted white with horns and attached to a piece of woven sack cloth; a young boy is touching the character. Another mask is shown upside down and shows a rounded face with white bulbous eyes. The audience wears a mixture of printed cloths and clothing. In the background is thatched building.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71946.GIJ to P.71968.GIJ were found wrapped in paper, now numbered C298/9/.\n\nOn the GI Jones website, www.siu.edu/~anthro/mccall/jones/, under,\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Two masks Ngbagba Ikoro, Abiriba. (1st image).\nThis negative was found in pocket 32 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nFM:206598\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_71948_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657043_N.71949.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.7044.ACH1", "source_url": "https://collections.maa.cam.ac.uk/photographs/300316", "metadata": {"title": "Untitled", "idno": "P.7044.ACH1", "description": "On Catalogue Card: Hunters. Ekoi country.", "place": "W Africa; Nigeria; south eastern Nigeria; Ekoi country", "cultural_affliation": "", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Mounted Haddon Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "", "raw_text_dump": "IDNO\n\nP.7044.ACH1\n\nDescription\n\nOn Catalogue Card: Hunters. Ekoi country.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; Ekoi country\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nMounted Haddon Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nFM:141694\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_7044_ACH1_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/866767_P.7044.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169664.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463667", "metadata": {"title": "Untitled", "idno": "P.169664.GIJ", "description": "Agu Necheni (lion-elephant) or Mbdekike masquerade in which the masquerader is dressed in a bulky fibrous quill studded costume with a large, wooden mask standing in front of a barrier?/fence? The mask is comprised of large, curved horns and in between the horns is a carved figure also adorned with horns. The \u2018face\u2019 of the mark shows bulging eyes encircled in white? paint, long triangular nose , and oversized mouth with large teeth. In the background are bystanders, huts, and trees. [Description from record P.71563.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Ibo [historically Igbo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169664.GIJ\n\nDescription\n\nAgu Necheni (lion-elephant) or Mbdekike masquerade in which the masquerader is dressed in a bulky fibrous quill studded costume with a large, wooden mask standing in front of a barrier?/fence? The mask is comprised of large, curved horns and in between the horns is a carved figure also adorned with horns. The \u2018face\u2019 of the mark shows bulging eyes encircled in white? paint, long triangular nose , and oversized mouth with large teeth. In the background are bystanders, huts, and trees. [Description from record P.71563.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\n\n\nFM:310151\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169664_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127433_P.169664.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171333.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465394", "metadata": {"title": "Untitled", "idno": "P.171333.GIJ", "description": "Ogbugulu Mau Mask Series. An Ogbugulu Mau helmet mask. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with carved teeth. There are black cross designs on the cheek and forehead. The top of the mask consists of an arched crest incised with striations, and with a circular or swirled designs (uli?). A knitted, striped fabric and pieces of felt are attached to the wooden mask. [Description from record N.13323.GIJ, PB 02/08/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767257.GIJ is mounted on card.", "raw_text_dump": "IDNO\n\nP.171333.GIJ\n\nDescription\n\nOgbugulu Mau Mask Series. An Ogbugulu Mau helmet mask. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with carved teeth. There are black cross designs on the cheek and forehead. The top of the mask consists of an arched crest incised with striations, and with a circular or swirled designs (uli?). A knitted, striped fabric and pieces of felt are attached to the wooden mask. [Description from record N.13323.GIJ, PB 02/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767257.GIJ is mounted on card.\n\n\n\nFM:312024\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171333_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144549_P.171333.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171602.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465663", "metadata": {"title": "Untitled", "idno": "P.171602.GIJ", "description": "A documentation photograph of a carved wooden ancestral figure, wearing a waist wrapper. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171601.GIJ to P.171603.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171602.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden ancestral figure, wearing a waist wrapper. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171601.GIJ to P.171603.GIJ are mounted on card.\n\nFM:312322\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171602_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144899_P.171602.GIJ_001.jpg"}, {"file_name": "P_171602_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144900_P.171602.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13255.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306527", "metadata": {"title": "Untitled", "idno": "N.13255.GIJ", "description": "Obugulu Mau (Ghost) masquerade.\n\nClose up portrait of a masquerade character identified as Egu Agu (\u2018Money Finish\u2019); the masquerader is wearing a helmet mask painted white with black markings to accentuate the eyes, nose, mouth and uli designs. The top of the mask is painted in black and white and with a crescent shape at the top; it is decorated with pieces of cloth and tasse. The masquerader is wearing a brightly coloured harlequin-like costume. A cloth shawl is tied around the neck, over woven cloth which is attached to the mask. In the background are trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "Egu Agu; Money Finish [names of mask character]", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublications: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe\nFame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13255.GIJ\n\nDescription\n\nObugulu Mau (Ghost) masquerade.\n\nClose up portrait of a masquerade character identified as Egu Agu (\u2018Money Finish\u2019); the masquerader is wearing a helmet mask painted white with black markings to accentuate the eyes, nose, mouth and uli designs. The top of the mask is painted in black and white and with a crescent shape at the top; it is decorated with pieces of cloth and tasse. The masquerader is wearing a brightly coloured harlequin-like costume. A cloth shawl is tied around the neck, over woven cloth which is attached to the mask. In the background are trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nEgu Agu; Money Finish [names of mask character]\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublications: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe\nFame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147905\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13255_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000518_N.13255.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.71584.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364855", "metadata": {"title": "Untitled", "idno": "N.71584.GIJ", "description": "Oji Onu (long mouth) masquerade character. The wooden mask consists of a long pointed projection, high carinated nose, incised striation markings painted black, white circular ears, and two pointed horns painted white. The masquerader is wearing woven light cloth trousers, tie-dyed or batik top and scarf with a raffia skirt around the waist. He is holding a circular wooden fan? or paddle? in one hand. In the background are spectators and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 50 of the negative album now numbered C15/.\n\nPublication: Similar phogtograph of Oji Onu (Long Mouth) is found in Jones, 1984, p.142, Plate 48; and in Jones, 1989, p.33, Plate 25. The caption reads, \u201c Mau masquerade, Nri-Awka Ibo. Mask for character called Oji Onu (long mouth) or Ulaga, repesenting a foolish antelope spirit.\n\nContext: Jones describes the head mask for the character called Ulaga or Oji Onu (Long Mouth) among the Northern Ibo. It belonged to the benign or comic animal category. The front part of his head mask projected forward as a muzzle or pair of jaws, the middle section carried a high human forehead and a high-carinated nose, occasionally flanked by bulbous eyes; the rear part was finished off with horns or animal ears or more abstract projections. Whatever its origin, whether in the Lower Niger or Delta area, this type of mask seems to have ranged from the Central Delta to the confluence of the Niger and the Benue River and as far up the latter as the Jukun and Chamba territory.\n\nContext: Jones discusses this type of mask as a \u201ctrue mask\u201d defined as \u201cRepresentations of a human or animal face, worn either vertically over the actor\u2019s face, when it can be called a face mask, or, if representing a water spirit, antelope or goat, horizonatally on top of the actor\u2019s head, when it can be called a head mask (Jones, 1989, p. 31).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Meek, C. 1931. A Sudanese Kingdom, (London)\nJones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71584.GIJ\n\nDescription\n\nOji Onu (long mouth) masquerade character. The wooden mask consists of a long pointed projection, high carinated nose, incised striation markings painted black, white circular ears, and two pointed horns painted white. The masquerader is wearing woven light cloth trousers, tie-dyed or batik top and scarf with a raffia skirt around the waist. He is holding a circular wooden fan? or paddle? in one hand. In the background are spectators and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 50 of the negative album now numbered C15/.\n\nPublication: Similar phogtograph of Oji Onu (Long Mouth) is found in Jones, 1984, p.142, Plate 48; and in Jones, 1989, p.33, Plate 25. The caption reads, \u201c Mau masquerade, Nri-Awka Ibo. Mask for character called Oji Onu (long mouth) or Ulaga, repesenting a foolish antelope spirit.\n\nContext: Jones describes the head mask for the character called Ulaga or Oji Onu (Long Mouth) among the Northern Ibo. It belonged to the benign or comic animal category. The front part of his head mask projected forward as a muzzle or pair of jaws, the middle section carried a high human forehead and a high-carinated nose, occasionally flanked by bulbous eyes; the rear part was finished off with horns or animal ears or more abstract projections. Whatever its origin, whether in the Lower Niger or Delta area, this type of mask seems to have ranged from the Central Delta to the confluence of the Niger and the Benue River and as far up the latter as the Jukun and Chamba territory.\n\nContext: Jones discusses this type of mask as a \u201ctrue mask\u201d defined as \u201cRepresentations of a human or animal face, worn either vertically over the actor\u2019s face, when it can be called a face mask, or, if representing a water spirit, antelope or goat, horizonatally on top of the actor\u2019s head, when it can be called a head mask (Jones, 1989, p. 31).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Meek, C. 1931. A Sudanese Kingdom, (London)\nJones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206234\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71584_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656687_N.71584.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71439.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364710", "metadata": {"title": "Untitled", "idno": "N.71439.GIJ", "description": "An Alose (tutelary deity) figure standing in front of a water pot next to some vegetation. The Alose figure is quite stylised and standing upright. The head appears to be adorned with a hat with white painted markings, lines across the forehead, arched eyebrows, nose and mouth with white painted teeth. The neck is adorned with a necklace, the torso has white markings near the chest, paintings and scarfification marks above the abdomen, his arms are close to the sides of the body (the hands are missing). The figure is undressed and shows his genitalia, and his knees are emphasised with square markings, and his feet are square -shaped with incised markings indicating toes.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Orsu", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "P.71400.GIJ to P.71498.GIJ were kept in box 5, now numbered C302/.\nP.71424 to P.71438 were found wrapped in paper, now numbered C302/6/.\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d(Jones, 1989, p. 37).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked lik\n\nContext: In relation to the Alusi figures, Cole and Aniakor write that, \u201cthe dead are conceived as part of the everyday world, and just as clearly, their presence can hold a positive or negative valence for the living; exactly the same is true of the tutelary deities, alusi. These forces, however, are neither personal (chi or ancestors) nor universal (Chineke, Chukwu). Rather, they are in part specific, usually tangible phenomena such as: Earth, the Niger or Imo river, Eke, Afo, Orie/Oye, or Nkwo market, an extraordinary tree, a binding oath at a particular shrine, or the canyon of erosion in Agulu. The preeminence of Ala/Ani does not eclipse the vitality of these other deities, especially those associated with water, or of Amadioha, god of thunder and lightening and, by extension, rain. These anthropomorphic male and female deities have priests and often elaborate cult apparatus, symbolic works of art, and finely decorated compounds. Each has general and specific powers, and although their priesthoods may be held by certain lineages, the more commanding of these cults have constituencies cutting across lines of kinship and stressing communal worship. Such tutelary deities are close to people, fast-acting (for good or ill), and often capricious, thus requiring frequent attention and sacrifice. ...(Cole and Aniakor, 1984, p.16).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1984, p.54)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989, Ibo Art (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/11/2007]", "raw_text_dump": "IDNO\n\nN.71439.GIJ\n\nDescription\n\nAn Alose (tutelary deity) figure standing in front of a water pot next to some vegetation. The Alose figure is quite stylised and standing upright. The head appears to be adorned with a hat with white painted markings, lines across the forehead, arched eyebrows, nose and mouth with white painted teeth. The neck is adorned with a necklace, the torso has white markings near the chest, paintings and scarfification marks above the abdomen, his arms are close to the sides of the body (the hands are missing). The figure is undressed and shows his genitalia, and his knees are emphasised with square markings, and his feet are square -shaped with incised markings indicating toes.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Orsu\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71400.GIJ to P.71498.GIJ were kept in box 5, now numbered C302/.\nP.71424 to P.71438 were found wrapped in paper, now numbered C302/6/.\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d(Jones, 1989, p. 37).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked lik\n\nContext: In relation to the Alusi figures, Cole and Aniakor write that, \u201cthe dead are conceived as part of the everyday world, and just as clearly, their presence can hold a positive or negative valence for the living; exactly the same is true of the tutelary deities, alusi. These forces, however, are neither personal (chi or ancestors) nor universal (Chineke, Chukwu). Rather, they are in part specific, usually tangible phenomena such as: Earth, the Niger or Imo river, Eke, Afo, Orie/Oye, or Nkwo market, an extraordinary tree, a binding oath at a particular shrine, or the canyon of erosion in Agulu. The preeminence of Ala/Ani does not eclipse the vitality of these other deities, especially those associated with water, or of Amadioha, god of thunder and lightening and, by extension, rain. These anthropomorphic male and female deities have priests and often elaborate cult apparatus, symbolic works of art, and finely decorated compounds. Each has general and specific powers, and although their priesthoods may be held by certain lineages, the more commanding of these cults have constituencies cutting across lines of kinship and stressing communal worship. Such tutelary deities are close to people, fast-acting (for good or ill), and often capricious, thus requiring frequent attention and sacrifice. ...(Cole and Aniakor, 1984, p.16).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1984, p.54)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989, Ibo Art (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/11/2007]\n\nFM:206089\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71439_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656585_N.71439.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71814.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365085", "metadata": {"title": "Untitled", "idno": "N.71814.GIJ", "description": "A Lughulu \u2018beautiful\u2019 female mask; the mask is carved in oval shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long triangular shaped nose, open mouth with teeth painted white, elliptical shaped ears, etched scarification markings (five squares in a line) in the centre of the forehead. The top of the mask is made up of a curved arched design. The mask is painted white with black paint which defines the hairline, eyes, mouth and top of the mask; the top of the mask is painted black with white triangular patterns.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Alayi", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 4 of the negative album now numbered C17/.\n\nP.71728.GIJ to P.71831.GIJ were kept in box 14, now numbered C300/.\nP.71789.GIJ to P.71815.GIJ were found wrapped in paper, now numbered C300/3/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Alayi Igbo (Isu-Ikem)\n3. Mask (top missing) Ugwu Eke village (2nd image)..\n\nPublication: Similar images are found in Jones, 1989, p.16, Figure 8. The caption reads: \u201cLughulu masquerade, Ugwueke Alayi town, Isu-Item Ibo. Mask representing a beautiful female spirit.\u201d and in Jones, 1973, Figure 3, p.59.\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that it conforms to a stylized mode which converts the salient features to geometrical forms. In the Isu-Item maskerade, the beautiful female masks are carved in either a rounded or naturalistic mode while the fierce or comic male masks are stylized(Jones, 1973, pp. 60-61).\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]", "raw_text_dump": "IDNO\n\nN.71814.GIJ\n\nDescription\n\nA Lughulu \u2018beautiful\u2019 female mask; the mask is carved in oval shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long triangular shaped nose, open mouth with teeth painted white, elliptical shaped ears, etched scarification markings (five squares in a line) in the centre of the forehead. The top of the mask is made up of a curved arched design. The mask is painted white with black paint which defines the hairline, eyes, mouth and top of the mask; the top of the mask is painted black with white triangular patterns.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Alayi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 4 of the negative album now numbered C17/.\n\nP.71728.GIJ to P.71831.GIJ were kept in box 14, now numbered C300/.\nP.71789.GIJ to P.71815.GIJ were found wrapped in paper, now numbered C300/3/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Alayi Igbo (Isu-Ikem)\n3. Mask (top missing) Ugwu Eke village (2nd image)..\n\nPublication: Similar images are found in Jones, 1989, p.16, Figure 8. The caption reads: \u201cLughulu masquerade, Ugwueke Alayi town, Isu-Item Ibo. Mask representing a beautiful female spirit.\u201d and in Jones, 1973, Figure 3, p.59.\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that it conforms to a stylized mode which converts the salient features to geometrical forms. In the Isu-Item maskerade, the beautiful female masks are carved in either a rounded or naturalistic mode while the fierce or comic male masks are stylized(Jones, 1973, pp. 60-61).\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]\n\nFM:206464\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71814_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656911_N.71814.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169800.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463809", "metadata": {"title": "Untitled", "idno": "P.169800.GIJ", "description": "A head and shoulders portrait of a man, wearing a collarless shirt, and facing the camera. In the background there is open country with scattered bushes and trees. [PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169791.GIJ - P.169803.GIJ were located in an brown envelope now numbered C754/8/.", "raw_text_dump": "IDNO\n\nP.169800.GIJ\n\nDescription\n\nA head and shoulders portrait of a man, wearing a collarless shirt, and facing the camera. In the background there is open country with scattered bushes and trees. [PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169791.GIJ - P.169803.GIJ were located in an brown envelope now numbered C754/8/.\n\nFM:310287\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169800_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127693_P.169800.GIJ_001.png"}, {"file_name": "P_169800_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127694_P.169800.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.170269.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464330", "metadata": {"title": "Untitled", "idno": "P.170269.GIJ", "description": "Close up view of Ekpo face mask in side profile. Face with rimmed head, high forehead with almond shaped eyes, pointed nose, shallow cheeks, open mouth with protruding lips. Plant fibres surround the mask. The mask is highly polished darkened wood. [PB 03/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Ikot Abia village", "cultural_affliation": "Anang; Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.", "raw_text_dump": "IDNO\n\nP.170269.GIJ\n\nDescription\n\nClose up view of Ekpo face mask in side profile. Face with rimmed head, high forehead with almond shaped eyes, pointed nose, shallow cheeks, open mouth with protruding lips. Plant fibres surround the mask. The mask is highly polished darkened wood. [PB 03/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Ikot Abia village\n\nCultural Affliation\n\nAnang; Ibibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.\n\nFM:310827\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170269_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131704_P.170269.GIJ_001.png"}, {"file_name": "P_170269_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131705_P.170269.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171135.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465196", "metadata": {"title": "Untitled", "idno": "P.171135.GIJ", "description": "Agu Necheanyi (lion waits for elephant) mask. The mask is unfinished and is being \u201cmodelled\u2019 by a seated man. The mask is unpainted and consists of a carved face with large rounded eyes, pointed nose and large muzzle with pointed teeth, jutting out from the side of the jaw are two curved horns and on the forehead is a small head and emanating from that are two pointed horns making up the front part of the \u201csuperstructure\u201d with four other projections behind, perched on top is a carved animal perhaps a dog? with a curled tail. In the background are wooden chairs, thatched huts and trees. [Description from record N.13341.GIJ, PB 20/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767058.GIJ - P.767060.GIJ are mounted together on card.\n\nNote: This image is a cut out of the mask from the original image.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171135.GIJ\n\nDescription\n\nAgu Necheanyi (lion waits for elephant) mask. The mask is unfinished and is being \u201cmodelled\u2019 by a seated man. The mask is unpainted and consists of a carved face with large rounded eyes, pointed nose and large muzzle with pointed teeth, jutting out from the side of the jaw are two curved horns and on the forehead is a small head and emanating from that are two pointed horns making up the front part of the \u201csuperstructure\u201d with four other projections behind, perched on top is a carved animal perhaps a dog? with a curled tail. In the background are wooden chairs, thatched huts and trees. [Description from record N.13341.GIJ, PB 20/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767058.GIJ - P.767060.GIJ are mounted together on card.\n\nNote: This image is a cut out of the mask from the original image.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311826\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171135_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144351_P.171135.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171291.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465352", "metadata": {"title": "Untitled", "idno": "P.171291.GIJ", "description": "A painted wooden door, with geometric grooved patterns, including chevrons and circles. A group of children are standing next to the door. [Description from record P.767100.GIJ, PB 30/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767214.GIJ and P.767215.GIJ are mounted together on card.\n\nImage used in Jones G.I. Ibo Art. 1989. Princes Risborough: Shire. Fig 19 p25. Caption: \"Carved wooden door, Nri-Awka Ibo, forming gateway into walled compound.\"", "raw_text_dump": "IDNO\n\nP.171291.GIJ\n\nDescription\n\nA painted wooden door, with geometric grooved patterns, including chevrons and circles. A group of children are standing next to the door. [Description from record P.767100.GIJ, PB 30/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767214.GIJ and P.767215.GIJ are mounted together on card.\n\nImage used in Jones G.I. Ibo Art. 1989. Princes Risborough: Shire. Fig 19 p25. Caption: \"Carved wooden door, Nri-Awka Ibo, forming gateway into walled compound.\"\n\nFM:311982\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171291_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144507_P.171291.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.71960.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365231", "metadata": {"title": "Untitled", "idno": "P.71960.GIJ", "description": "A Ngbagba Ikoro masquerade with a group of small girls dancing. The young girls are wearing necklaces and waistbeads; their faces are smeared with white chalk. There are yams in the right of the photograph. In the background are spectators.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71946.GIJ to P.71968.GIJ were found wrapped in paper, now numbered C298/9/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Small girl\u2019s parade Ngbagba Ikoro, Abiriba. (8th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nP.71960.GIJ\n\nDescription\n\nA Ngbagba Ikoro masquerade with a group of small girls dancing. The young girls are wearing necklaces and waistbeads; their faces are smeared with white chalk. There are yams in the right of the photograph. In the background are spectators.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71946.GIJ to P.71968.GIJ were found wrapped in paper, now numbered C298/9/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Small girl\u2019s parade Ngbagba Ikoro, Abiriba. (8th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nFM:206610\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_71960_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657063_N.71961.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171142.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465203", "metadata": {"title": "Untitled", "idno": "P.171142.GIJ", "description": "A Mau helmet mask. The face of the mask is painted white with darker paint / pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open and outlined in black. On the temple are two circular etched and raised markings (resembling keloids?) and an etched marking in the centre of the forehead. The arched crest is striated with diagonal incisions and there are round white markings adorning the side of the crest and in the centre. The side of the mask consists of swirled, incised designs representing uli and two etched combs are attached to the \u201chair\u201d. [Description from record N.13331.GIJ, PB 20/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767062.GIJ - P.767066.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171142.GIJ\n\nDescription\n\nA Mau helmet mask. The face of the mask is painted white with darker paint / pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open and outlined in black. On the temple are two circular etched and raised markings (resembling keloids?) and an etched marking in the centre of the forehead. The arched crest is striated with diagonal incisions and there are round white markings adorning the side of the crest and in the centre. The side of the mask consists of swirled, incised designs representing uli and two etched combs are attached to the \u201chair\u201d. [Description from record N.13331.GIJ, PB 20/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767062.GIJ - P.767066.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311833\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171142_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144358_P.171142.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71824.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365095", "metadata": {"title": "Untitled", "idno": "N.71824.GIJ", "description": "Ajonku? masquerade - a parade of masks in Ovim Village, Isu Ikwa Ato. The photograph shows a crowd surrounding a masquerader who is in the centre of the \u2018ring\u2019and is wearing striped netted costume, a raffia skirt, head covered, with a dark mask with humanistic characteristics and a protruding mark in the centre of the forehead. The masquerader is holding brances or twigs in his hands. The men surrounding him are holding sticks and there are spectators in the background and trees and thatched huts.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Isu Ikuru Ato", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 85 of the negative album now numbered C17/.\n\nContext: In reference to the Abam/Ohaffia area, Jones writes that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin-covered heads in the Cross-River Style, usually called Ajonku. But they also had masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of the Abiriba. All these tribes, but particularly the Abiriba, were great doctors and traders and travelled extensively in the Cross River area and through the Ibibio country to the coastal trading states. Anang (Ibibio) sculpture was greatly admired, but it does not seem to have had much influence on the local styles\u201d (Jones, 1984, p.208)\n\nContext: Cole and Aniakor talk about the skin covered masks and headdresses which were common in the Cross River Area. Through the work of Nicklin, Salmons, Jones and Campbell, some provenances of these masquerades are now being sorted out. It is acknowledged that Ejagham peoples originated the genre, but not often mentioned that Cross River Igbo were also exponents of it, creating some variants that stand as important works of art. Examples are documented from Isu-Item, Bende, Umuahia, Abiribia, Ohafia, Arochukwu, and some north-eastern Igbo peoples, and it is probable that a number of of masks labeled Ekoi are also of Igbo origin. They were danced in the masquerades of men\u2019s societies: Ekpe (Ohuhu-Ngwa), Ikem, Oiyima, Ajonkwu, Ekong, and probably others as well...Jones\u2019 designation of \u201cCross River Style\u201d for these and other skin covered masks is understandable since the peoples of the region carved for one another in several substyles, traded dances and associations, and any but the most broad classifications. (Cole and Aniakor, 1984, p.182). [AF 3/12/2007]\n\nBibliographical Reference: A brief history is provided by Emmanuel Eze on the website: History, Culture and Politics in Isuikwuato LGA; Emmanuel Eze reporting from Abia\nSubmitted on 25/07/2005\nIsuikwuato is one of the Local Government Areas in Abia state. The name itself means a union of three main components or kindreds as [ikwu] represents in igbo language. It is bounded in the North by by Uturu, in the east by Alayi, to the suoth by Akoli and Mkpa, and to the west by Otanchara and Otanzu. However, the present political structure of Isuikwuato has Uturu as part of it.\nThe people of Isuikwuato speak Igbo language though with a distinct dialect. The people are quite friendly and hospitable. They are into farming as the area has a large landmass though it is hilly and undulating as per the topography. In addition, they are also businessmen cum women and professionals in different fields. Like all other igbos they are seasoned sojourners and can be found in all parts of Nigeria and beyond.\nOwing to the topography of Isuikwuato, there are many rivers cum streams from were the indigenes get their water, the only difficulty being the long distance .\nIn recent times, the area has come to produce great Academicians and intellectuals one of whom is Dr Chinweizu; Author of Anatomy of Female Power, among others.\nThere are a number of cultural celebrations such as the Ajonkwu in Ovim[ Ovum], Ebo in Umuobiala and the New Yam festival which is a general festival in Igboland. [Source: nigerianmasses.com, AF 3/12/2007]\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 3/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71824.GIJ\n\nDescription\n\nAjonku? masquerade - a parade of masks in Ovim Village, Isu Ikwa Ato. The photograph shows a crowd surrounding a masquerader who is in the centre of the \u2018ring\u2019and is wearing striped netted costume, a raffia skirt, head covered, with a dark mask with humanistic characteristics and a protruding mark in the centre of the forehead. The masquerader is holding brances or twigs in his hands. The men surrounding him are holding sticks and there are spectators in the background and trees and thatched huts.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isu Ikuru Ato\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 85 of the negative album now numbered C17/.\n\nContext: In reference to the Abam/Ohaffia area, Jones writes that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin-covered heads in the Cross-River Style, usually called Ajonku. But they also had masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of the Abiriba. All these tribes, but particularly the Abiriba, were great doctors and traders and travelled extensively in the Cross River area and through the Ibibio country to the coastal trading states. Anang (Ibibio) sculpture was greatly admired, but it does not seem to have had much influence on the local styles\u201d (Jones, 1984, p.208)\n\nContext: Cole and Aniakor talk about the skin covered masks and headdresses which were common in the Cross River Area. Through the work of Nicklin, Salmons, Jones and Campbell, some provenances of these masquerades are now being sorted out. It is acknowledged that Ejagham peoples originated the genre, but not often mentioned that Cross River Igbo were also exponents of it, creating some variants that stand as important works of art. Examples are documented from Isu-Item, Bende, Umuahia, Abiribia, Ohafia, Arochukwu, and some north-eastern Igbo peoples, and it is probable that a number of of masks labeled Ekoi are also of Igbo origin. They were danced in the masquerades of men\u2019s societies: Ekpe (Ohuhu-Ngwa), Ikem, Oiyima, Ajonkwu, Ekong, and probably others as well...Jones\u2019 designation of \u201cCross River Style\u201d for these and other skin covered masks is understandable since the peoples of the region carved for one another in several substyles, traded dances and associations, and any but the most broad classifications. (Cole and Aniakor, 1984, p.182). [AF 3/12/2007]\n\nBibliographical Reference: A brief history is provided by Emmanuel Eze on the website: History, Culture and Politics in Isuikwuato LGA; Emmanuel Eze reporting from Abia\nSubmitted on 25/07/2005\nIsuikwuato is one of the Local Government Areas in Abia state. The name itself means a union of three main components or kindreds as [ikwu] represents in igbo language. It is bounded in the North by by Uturu, in the east by Alayi, to the suoth by Akoli and Mkpa, and to the west by Otanchara and Otanzu. However, the present political structure of Isuikwuato has Uturu as part of it.\nThe people of Isuikwuato speak Igbo language though with a distinct dialect. The people are quite friendly and hospitable. They are into farming as the area has a large landmass though it is hilly and undulating as per the topography. In addition, they are also businessmen cum women and professionals in different fields. Like all other igbos they are seasoned sojourners and can be found in all parts of Nigeria and beyond.\nOwing to the topography of Isuikwuato, there are many rivers cum streams from were the indigenes get their water, the only difficulty being the long distance .\nIn recent times, the area has come to produce great Academicians and intellectuals one of whom is Dr Chinweizu; Author of Anatomy of Female Power, among others.\nThere are a number of cultural celebrations such as the Ajonkwu in Ovim[ Ovum], Ebo in Umuobiala and the New Yam festival which is a general festival in Igboland. [Source: nigerianmasses.com, AF 3/12/2007]\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 3/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206474\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71824_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656921_N.71824.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171557.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465618", "metadata": {"title": "Untitled", "idno": "P.171557.GIJ", "description": "A documentation photograph of the face mask of a fierce character Alibowu in the Owu masquerade. The mask has three phallic shapes attached to centre and sides of the forehead, a twisted jaw with a tuft of black hair, narrow eye slits, a stud on each check, and incised eyebrows. [PB 22/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Ogba; Akabuka", "cultural_affliation": "Igbo [historically Ibo]; Oba", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171556.GIJ to P.171558.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171557.GIJ\n\nDescription\n\nA documentation photograph of the face mask of a fierce character Alibowu in the Owu masquerade. The mask has three phallic shapes attached to centre and sides of the forehead, a twisted jaw with a tuft of black hair, narrow eye slits, a stud on each check, and incised eyebrows. [PB 22/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ogba; Akabuka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oba\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171556.GIJ to P.171558.GIJ are mounted on card.\n\nFM:312277\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171557_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144808_P.171557.GIJ_001.jpg"}, {"file_name": "P_171557_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144809_P.171557.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71895.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365166", "metadata": {"title": "Untitled", "idno": "N.71895.GIJ", "description": "A carved wooden food bowl consisting of a rectangular base with cut out designs and two round food bowls. A young boy is sitting next to the bowl. He is wearing a printed wrapper and he is leaning against the wall of a house wth a wooden door.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 48 of the negative album now numbered C27/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nN.71895.GIJ\n\nDescription\n\nA carved wooden food bowl consisting of a rectangular base with cut out designs and two round food bowls. A young boy is sitting next to the bowl. He is wearing a printed wrapper and he is leaning against the wall of a house wth a wooden door.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 48 of the negative album now numbered C27/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nFM:206545\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71895_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656987_N.71895.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13307.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306579", "metadata": {"title": "Untitled", "idno": "N.13307.GIJ", "description": "Close up portrait of an elder man wearing a jacket and a knitted wool hat.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13307.GIJ\n\nDescription\n\nClose up portrait of an elder man wearing a jacket and a knitted wool hat.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147957\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13307_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000570_N.13307.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13316.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306588", "metadata": {"title": "Untitled", "idno": "N.13316.GIJ", "description": "Head and shoulders profile portrait of an Igbo man with itchi facial markings on his upper cheek, forehead and eyelid, and wearing a collared shirt.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image reproduced in Jones, 1984, Figure 5, p.37 with the caption \u201cItchi facial markings\u201d\n\nContext: Jones writes that, \u201cThe most elaborate and unique form of facial markings were the itchi marks of the Northern Ibo. These were the exclusive prerogative of members of the Ozo title society and consisted of an unbroken series of diagonal gashes which covered the upper part of the face like a mask. In most communities these gashes came down as far as and including the upper eyelid; in the Abaja tribe they continued further and included the upper part of the cheeks. Statuettes and masks which carried these scars represented spirits who were members of this society or of its spirit-world counterpart. The Ozo title society was locally believed to have originated in the tribal community of Umunri and to have been disseminated from this centre. The itichi fashion of decorating the face with diagonal scars goes back a long way in the Umunri area, being found on the small human heads and figures amongst the Igbo-Ukwu bronzes of the ninth century. There were, however. significant differences in the scarification pattern. Modern, that is nineteenth- and twentieth- century marks, covered the forehead, temples, cheek bones and upper eyelids with between 20 and 30 diagonal lines. The rest of the jaw and lower part of the cheeks was left unscarred\u201d. He goes on to note that,\n\u201cContemporary itchi marks were only made on males who were Ozo title holders\u201d ( ones, 1984: 36-38).\n\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13316.GIJ\n\nDescription\n\nHead and shoulders profile portrait of an Igbo man with itchi facial markings on his upper cheek, forehead and eyelid, and wearing a collared shirt.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image reproduced in Jones, 1984, Figure 5, p.37 with the caption \u201cItchi facial markings\u201d\n\nContext: Jones writes that, \u201cThe most elaborate and unique form of facial markings were the itchi marks of the Northern Ibo. These were the exclusive prerogative of members of the Ozo title society and consisted of an unbroken series of diagonal gashes which covered the upper part of the face like a mask. In most communities these gashes came down as far as and including the upper eyelid; in the Abaja tribe they continued further and included the upper part of the cheeks. Statuettes and masks which carried these scars represented spirits who were members of this society or of its spirit-world counterpart. The Ozo title society was locally believed to have originated in the tribal community of Umunri and to have been disseminated from this centre. The itichi fashion of decorating the face with diagonal scars goes back a long way in the Umunri area, being found on the small human heads and figures amongst the Igbo-Ukwu bronzes of the ninth century. There were, however. significant differences in the scarification pattern. Modern, that is nineteenth- and twentieth- century marks, covered the forehead, temples, cheek bones and upper eyelids with between 20 and 30 diagonal lines. The rest of the jaw and lower part of the cheeks was left unscarred\u201d. He goes on to note that,\n\u201cContemporary itchi marks were only made on males who were Ozo title holders\u201d ( ones, 1984: 36-38).\n\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\n\nFM:147966\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13316_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000579_N.13316.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.7045.ACH1", "source_url": "https://collections.maa.cam.ac.uk/photographs/300317", "metadata": {"title": "Untitled", "idno": "P.7045.ACH1", "description": "On Catalogue Card: Native of Ekong.", "place": "W Africa; Nigeria; south eastern Nigeria; Ekong", "cultural_affliation": "", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Mounted Haddon Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "", "raw_text_dump": "IDNO\n\nP.7045.ACH1\n\nDescription\n\nOn Catalogue Card: Native of Ekong.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; Ekong\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nMounted Haddon Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nFM:141695\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_7045_ACH1_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/866768_P.7045.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71592.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364863", "metadata": {"title": "Untitled", "idno": "N.71592.GIJ", "description": "Anumbii (horned beast) masquerader standing and holding a stick or machete. The mask consists of a white painted face with slit eyes, long pointed nose, mouth, pointed ears and black incised striations along the forehead and black painted facial decorations below the eye. The top of the mask consists of two curved horns in the front and an animal on the back. The costume consists of dark woven cloth adorned with the shells of seeds, strips of cloth around the waist, and ankle rattles. In the background are \u2018attendants\u2019 , spectators and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 26 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Anumbii (Horned Beast) Amuobia village (19th image).\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) (Jones, 1984).\n\nContext: The wide variety of masks in the Nri Akwa area is discussed further. Antelopes, goats, and similar animal spirits were given head masks and those with long muzzles were called Oji Onu (long mouth) or Ulaga. Some animals (for example, Tortoise) were carved as a complete figure which was worn on the actor\u2019s head. There was a range of masks in various shapes, sizes, styles and materials representing comic, stupid, and other human and animal types. There was also faceless characters where the actor\u2019s own face was concealed under a cloth or raffia hood. Some of these were said to be very old and senior, other were abstractions like the spirit called Government or three raffia-covered characters who sang together in thirds and were called Onukamma (the tongue is stronger than the sword). Some of the masks used in Nri-Akwa masquerades were borrowed from elsewhere, mainly from the Ibibio. (Jones, 1989, pp.46-47.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71592.GIJ\n\nDescription\n\nAnumbii (horned beast) masquerader standing and holding a stick or machete. The mask consists of a white painted face with slit eyes, long pointed nose, mouth, pointed ears and black incised striations along the forehead and black painted facial decorations below the eye. The top of the mask consists of two curved horns in the front and an animal on the back. The costume consists of dark woven cloth adorned with the shells of seeds, strips of cloth around the waist, and ankle rattles. In the background are \u2018attendants\u2019 , spectators and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 26 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Anumbii (Horned Beast) Amuobia village (19th image).\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) (Jones, 1984).\n\nContext: The wide variety of masks in the Nri Akwa area is discussed further. Antelopes, goats, and similar animal spirits were given head masks and those with long muzzles were called Oji Onu (long mouth) or Ulaga. Some animals (for example, Tortoise) were carved as a complete figure which was worn on the actor\u2019s head. There was a range of masks in various shapes, sizes, styles and materials representing comic, stupid, and other human and animal types. There was also faceless characters where the actor\u2019s own face was concealed under a cloth or raffia hood. Some of these were said to be very old and senior, other were abstractions like the spirit called Government or three raffia-covered characters who sang together in thirds and were called Onukamma (the tongue is stronger than the sword). Some of the masks used in Nri-Akwa masquerades were borrowed from elsewhere, mainly from the Ibibio. (Jones, 1989, pp.46-47.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206242\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71592_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656695_N.71592.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13326.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306598", "metadata": {"title": "Untitled", "idno": "N.13326.GIJ", "description": "A wooden face mask with two horns protruding from the top of the head. The face is painted white with arched black brow, slite eyes, nose, and open mouth with a few teeth outlined in black. There are itchi (scarification) marks in the centre of the forehead and a balck scalloped design around the head. The two horns are pointed and painted in black with white tips.\n\nObject documentation photograph of a face mask combining human and animal features.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?Onitsha province", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1937 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "Prior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nThe mask depicted in this photograph was collected by G. I. Jones in 1937 and donated to the Pitt Rivers Museum, University of Oxford in 1938, (Pitt Rivers Museum accession number 1938.15.19).\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost). A characteristic of the Nri/Akwa style was the use on these white-faced masks of diagonal lines running across the cheeks from below the eyeholes to the corner of the jaw. These were balanced in many cases by similar diagonals on the forehead. (Jones, 1984, p.143)\n\nContext: In reference to this photograph Jones describes the markings as representations of these facial scars can easily be confused with the circles, crosses and other simple figures that were painted on peple and reproduced on their carvings. The most striking of these are the curved triangles stretched diagonally across the cheeks and foreheads of many of the Nri Akwa Ibo white faced masks (Jones, 1989, p.18)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]", "raw_text_dump": "IDNO\n\nN.13326.GIJ\n\nDescription\n\nA wooden face mask with two horns protruding from the top of the head. The face is painted white with arched black brow, slite eyes, nose, and open mouth with a few teeth outlined in black. There are itchi (scarification) marks in the centre of the forehead and a balck scalloped design around the head. The two horns are pointed and painted in black with white tips.\n\nObject documentation photograph of a face mask combining human and animal features.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?Onitsha province\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1937 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPrior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nThe mask depicted in this photograph was collected by G. I. Jones in 1937 and donated to the Pitt Rivers Museum, University of Oxford in 1938, (Pitt Rivers Museum accession number 1938.15.19).\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost). A characteristic of the Nri/Akwa style was the use on these white-faced masks of diagonal lines running across the cheeks from below the eyeholes to the corner of the jaw. These were balanced in many cases by similar diagonals on the forehead. (Jones, 1984, p.143)\n\nContext: In reference to this photograph Jones describes the markings as representations of these facial scars can easily be confused with the circles, crosses and other simple figures that were painted on peple and reproduced on their carvings. The most striking of these are the curved triangles stretched diagonally across the cheeks and foreheads of many of the Nri Akwa Ibo white faced masks (Jones, 1989, p.18)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]\n\n\nFM:147976\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13326_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000589_N.13326.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13267.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306539", "metadata": {"title": "Untitled", "idno": "N.13267.GIJ", "description": "Close up view of a male carver making a lidded bowl. He is seated and is holding a metal tool in one hand and an adze in the other. The bowl is hollowed out and rounded and the lid is also rounded.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication:\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Other Igbo cultural items\n3. Wood carver Amobia Village, Nri-Awka (18th image)\n\nContext: In relation to the style of carving in the Nri Awka area, Jones writes, \u201c The area that has produced most of the carvings in the Lower Niger style was the Nri/Awka Ibo area of the Onitsha province. Not only masks an figures, but decorative carvings of all sorts were produced here and in considerable quantity: for example, stools, doors, panels, lidded boxes, hand mirrors, bowls and other utensils, sometimes plain but more usually ornamented in an angular geometric style. The number and variety of masks and masquerades was considerable; they were referred to generically as Mau (Ghost) (Jones, 1984, p.142-143).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/12/2007]", "raw_text_dump": "IDNO\n\nN.13267.GIJ\n\nDescription\n\nClose up view of a male carver making a lidded bowl. He is seated and is holding a metal tool in one hand and an adze in the other. The bowl is hollowed out and rounded and the lid is also rounded.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication:\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Other Igbo cultural items\n3. Wood carver Amobia Village, Nri-Awka (18th image)\n\nContext: In relation to the style of carving in the Nri Awka area, Jones writes, \u201c The area that has produced most of the carvings in the Lower Niger style was the Nri/Awka Ibo area of the Onitsha province. Not only masks an figures, but decorative carvings of all sorts were produced here and in considerable quantity: for example, stools, doors, panels, lidded boxes, hand mirrors, bowls and other utensils, sometimes plain but more usually ornamented in an angular geometric style. The number and variety of masks and masquerades was considerable; they were referred to generically as Mau (Ghost) (Jones, 1984, p.142-143).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/12/2007]\n\nFM:147917\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13267_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000530_N.13267.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71947.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365218", "metadata": {"title": "Untitled", "idno": "N.71947.GIJ", "description": "The Ngbangbo Ikoro masquerade. A close up view of two masquerade characters performing in the masquerade. Only a partial view of the mask on the left is visible. The mask is on the head is dark with white paint and the character is draped in a woven cloth. The masquerader on the right is wearing a dark wooden mask with large white bulbous eyes and puffy cheeks, attached to the mask and covering the upper torso is a sack cloth material. The masquerader is holding a long stick in one hand and touching his \u201cforehead\u201d with the other. Spectators and a thatched building are in the background.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 42 of the negative album now numbered C17/.\n\nOn the GI Jones website, www.siu.edu/~anthro/mccall/jones/, under,\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Two masks NgbagbaPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012] Ikoro, Abiriba. (1st image).\nThis negative was found in pocket 32 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nN.71947.GIJ\n\nDescription\n\nThe Ngbangbo Ikoro masquerade. A close up view of two masquerade characters performing in the masquerade. Only a partial view of the mask on the left is visible. The mask is on the head is dark with white paint and the character is draped in a woven cloth. The masquerader on the right is wearing a dark wooden mask with large white bulbous eyes and puffy cheeks, attached to the mask and covering the upper torso is a sack cloth material. The masquerader is holding a long stick in one hand and touching his \u201cforehead\u201d with the other. Spectators and a thatched building are in the background.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 42 of the negative album now numbered C17/.\n\nOn the GI Jones website, www.siu.edu/~anthro/mccall/jones/, under,\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Two masks NgbagbaPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012] Ikoro, Abiriba. (1st image).\nThis negative was found in pocket 32 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nFM:206597\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71947_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657041_N.71947.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171198.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465259", "metadata": {"title": "Untitled", "idno": "P.171198.GIJ", "description": "An abaja xylophone band depicting an xylophone, made of wood, with two players holding sticks on either side, three small drums, one hidden behind player, and a pair of basket rattles. Three of the band members are sitting on the earth ground, other band members are standing and children are watching. Behind the band, is a thatched house? and trees and vegetation. [Description from record N.13262.GIJ, PB 02/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171198.GIJ\n\nDescription\n\nAn abaja xylophone band depicting an xylophone, made of wood, with two players holding sticks on either side, three small drums, one hidden behind player, and a pair of basket rattles. Three of the band members are sitting on the earth ground, other band members are standing and children are watching. Behind the band, is a thatched house? and trees and vegetation. [Description from record N.13262.GIJ, PB 02/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311889\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171198_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144414_P.171198.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.61180.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/354451", "metadata": {"title": "Untitled", "idno": "P.61180.GIJ", "description": "A ceremonial stool at a road side shrine in Benin. The stool is placed inside the shrine, and consists of a rounded saucer like top, entwined base with decorative designs. Behind the shrine is an altar that is decorated with cowerie shells. On the raised platform are ceremonial objects consisting of pots and other items. In the background is a window with raffia fronds in the front.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?Benin City", "cultural_affliation": "Ibibio; Edo [historically Bini]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.61128.GIJ to P.61278.GIJ were kept in box 13, now numbered C294/.\n\nContext:\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 11/3/2008]", "raw_text_dump": "IDNO\n\nP.61180.GIJ\n\nDescription\n\nA ceremonial stool at a road side shrine in Benin. The stool is placed inside the shrine, and consists of a rounded saucer like top, entwined base with decorative designs. Behind the shrine is an altar that is decorated with cowerie shells. On the raised platform are ceremonial objects consisting of pots and other items. In the background is a window with raffia fronds in the front.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?Benin City\n\nCultural Affliation\n\nIbibio; Edo [historically Bini]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.61128.GIJ to P.61278.GIJ were kept in box 13, now numbered C294/.\n\nContext:\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 11/3/2008]\n\nFM:195830\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_61180_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1028537_P.61180.GIJ_001.png"}, {"file_name": "P_61180_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1028538_P.61180.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13317.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306589", "metadata": {"title": "Untitled", "idno": "N.13317.GIJ", "description": "A side view of an Obugulu Mau helmet mask displayed on a prop. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open depicting teeth. There is a cross design on the cheek and a hole on the side. The top of the mask depicts an elaborate crested coiffure painted black with white circles. The curls are incised to represent hair. The shape of the mask is extended forward at an angle. One can see the holes that were used to sew fabric to the mask.Ogbugulu Mau Mask Series.\n\nPhysical Condition: Negative damaged.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "Prior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nThis is the first image in the Ogbugulu Mau Mask series of eight photographs.\n\nPublications: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The white-faced helmut type was confined to part of the Northern Ibo area and and to some of the Northern Edo. In the majority of examples the crested area, when scene in profile formed a curve which reached from the back of the head to the top of the forehead, while the mask section was flat and set at an angle to it, either coming down vertically over the actor\u2019s face or being extended forward at an angle (Jones, 1984, p.139)\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nContext: Cole and Aniakor provide further in-depth description about the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]", "raw_text_dump": "IDNO\n\nN.13317.GIJ\n\nDescription\n\nA side view of an Obugulu Mau helmet mask displayed on a prop. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open depicting teeth. There is a cross design on the cheek and a hole on the side. The top of the mask depicts an elaborate crested coiffure painted black with white circles. The curls are incised to represent hair. The shape of the mask is extended forward at an angle. One can see the holes that were used to sew fabric to the mask.Ogbugulu Mau Mask Series.\n\nPhysical Condition: Negative damaged.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPrior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nThis is the first image in the Ogbugulu Mau Mask series of eight photographs.\n\nPublications: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The white-faced helmut type was confined to part of the Northern Ibo area and and to some of the Northern Edo. In the majority of examples the crested area, when scene in profile formed a curve which reached from the back of the head to the top of the forehead, while the mask section was flat and set at an angle to it, either coming down vertically over the actor\u2019s face or being extended forward at an angle (Jones, 1984, p.139)\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nContext: Cole and Aniakor provide further in-depth description about the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]\n\n\n\nFM:147967\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13317_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000580_N.13317.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13186.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306458", "metadata": {"title": "Untitled", "idno": "N.13186.GIJ", "description": "A documention photograph of a wooden head mask consisting of two white and two black faces surmounted by a circular stool made of a calabash, with four seated figures with tusk horns sitting on the top. The base of the neck is expanded and hollowed out to fit on to the wearers head.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Ohuhu", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]", "raw_text_dump": "IDNO\n\nN.13186.GIJ\n\nDescription\n\nA documention photograph of a wooden head mask consisting of two white and two black faces surmounted by a circular stool made of a calabash, with four seated figures with tusk horns sitting on the top. The base of the neck is expanded and hollowed out to fit on to the wearers head.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ohuhu\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]\n\nFM:147836\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13186_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000448_N.13186.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13286.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306558", "metadata": {"title": "Untitled", "idno": "N.13286.GIJ", "description": "A masquerade character performing in the Okwanku masquerade wearing a wooden face mask with long raffia hair and a raffia skirt and playing a horn. In the background are spectators.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village", "cultural_affliation": "Igbo [historically Ibo]; Ohaffia", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13286.GIJ\n\nDescription\n\nA masquerade character performing in the Okwanku masquerade wearing a wooden face mask with long raffia hair and a raffia skirt and playing a horn. In the background are spectators.\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ohaffia\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147936\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13286_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000549_N.13286.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171176.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465237", "metadata": {"title": "Untitled", "idno": "P.171176.GIJ", "description": "A painted wooden door, with geometric grooved patterns, including chevrons and circles. A group of children are standing next to the door. [PB 21/06/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767100.GIJ - P.767105.GIJ are mounted together on paper.\n\nImage used in Jones G.I. Ibo Art. 1989. Princes Risborough: Shire. Fig 19 p25. Caption: \"Carved wooden door, Nri-Awka Ibo, forming gateway into walled compound.\"", "raw_text_dump": "IDNO\n\nP.171176.GIJ\n\nDescription\n\nA painted wooden door, with geometric grooved patterns, including chevrons and circles. A group of children are standing next to the door. [PB 21/06/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767100.GIJ - P.767105.GIJ are mounted together on paper.\n\nImage used in Jones G.I. Ibo Art. 1989. Princes Risborough: Shire. Fig 19 p25. Caption: \"Carved wooden door, Nri-Awka Ibo, forming gateway into walled compound.\"\n\nFM:311867\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171176_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144392_P.171176.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169653.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463645", "metadata": {"title": "Untitled", "idno": "P.169653.GIJ", "description": "Oganochi, a mgbedike masquerader standing, with legs apart and arms to the side, at an angle to the camera. In the background are spectators seated and standing, a thatched hut and trees. There is an attendant beating a side drum.\n\nThe masquerader is wearing a full length cloth costume with light and dark striped ruffles on body and his upper arms and legs, with porcupine quills hanging from the edges of the ruffles. The masquerader is wearing a dark wooden helmet mask, with white paint accentuating the mouth, teeth and eyes. It is similar to an 'lion elephant mask'. There are two feathers held in the front of the band at the bottom of the horns. On the top of the mask are four carved horns curling inwards, with a carved animal finial joining the tips of the horns. [PB 24/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo (town)", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169653.GIJ\n\nDescription\n\nOganochi, a mgbedike masquerader standing, with legs apart and arms to the side, at an angle to the camera. In the background are spectators seated and standing, a thatched hut and trees. There is an attendant beating a side drum.\n\nThe masquerader is wearing a full length cloth costume with light and dark striped ruffles on body and his upper arms and legs, with porcupine quills hanging from the edges of the ruffles. The masquerader is wearing a dark wooden helmet mask, with white paint accentuating the mouth, teeth and eyes. It is similar to an 'lion elephant mask'. There are two feathers held in the front of the band at the bottom of the horns. On the top of the mask are four carved horns curling inwards, with a carved animal finial joining the tips of the horns. [PB 24/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo (town)\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\n\nFM:310140\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169653_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127406_P.169653.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.169666.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463672", "metadata": {"title": "Untitled", "idno": "P.169666.GIJ", "description": "Omuko (very old elder) sitting with an attendant standing behind him. The masked character is wearing a white cloth covering the entire body and face. Attached to the cloth is a wooden face mask with slit eyes and mouth, painted dark with white paint accentuating the eyes, nose, and ears, attached to the chin is a black beard. On top of the head is a white sun helmet. A dark shawl is draped around the shoulders, and in front of him is a long staff. In the background are spectators, trees and vegetation. [Description from record P.71626.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169666.GIJ\n\nDescription\n\nOmuko (very old elder) sitting with an attendant standing behind him. The masked character is wearing a white cloth covering the entire body and face. Attached to the cloth is a wooden face mask with slit eyes and mouth, painted dark with white paint accentuating the eyes, nose, and ears, attached to the chin is a black beard. On top of the head is a white sun helmet. A dark shawl is draped around the shoulders, and in front of him is a long staff. In the background are spectators, trees and vegetation. [Description from record P.71626.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nFM:310153\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169666_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127438_P.169666.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171171.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465232", "metadata": {"title": "Untitled", "idno": "P.171171.GIJ", "description": "A wood carver carving an Ikenga figure. The figure is placed on its front and there is a piece of wood to balance it. The base of the figure is circular. The carver is sitting on the ground with a metal tool (knife?) which he is using to carve the figure. Around him are wood shavings, an adze, and other pieces of wood. The carver is wearing a cotton loin cloth. There are steps in the background and an animal skin. [Description from record N.71663.GIJ, PB 21/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767095.GIJ - P.767099.GIJ are mounted together on paper.", "raw_text_dump": "IDNO\n\nP.171171.GIJ\n\nDescription\n\nA wood carver carving an Ikenga figure. The figure is placed on its front and there is a piece of wood to balance it. The base of the figure is circular. The carver is sitting on the ground with a metal tool (knife?) which he is using to carve the figure. Around him are wood shavings, an adze, and other pieces of wood. The carver is wearing a cotton loin cloth. There are steps in the background and an animal skin. [Description from record N.71663.GIJ, PB 21/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767095.GIJ - P.767099.GIJ are mounted together on paper.\n\nFM:311862\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171171_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144387_P.171171.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171219.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465280", "metadata": {"title": "Untitled", "idno": "P.171219.GIJ", "description": "A documentation image of two ikenga figures. [PB 04/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Colour Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767141.GIJ - P.7670143.GIJ are mounted together on paper.\n\nThis figure is in the Simon Ottenberg collection.", "raw_text_dump": "IDNO\n\nP.171219.GIJ\n\nDescription\n\nA documentation image of two ikenga figures. [PB 04/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Colour Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767141.GIJ - P.7670143.GIJ are mounted together on paper.\n\nThis figure is in the Simon Ottenberg collection.\n\nFM:311910\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171219_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144435_P.171219.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71837.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365108", "metadata": {"title": "Untitled", "idno": "N.71837.GIJ", "description": "A carved wooden canoe with figures. The sculpture consists of a long cylindrical base and six figures. The figures from left to right: the first figure appears to be carrying a pot on her head, the second figure is holding a paddle, the next two figures are seated and are wearing hats; the fourth is holding a bottle in one hand and a glass in the other, the fifth figure is holding a stick in one hand and musical instrument in the other. The figures are stylised with elongated necks, rounded shoulders and elongated torsos. Next to the canoe and figures, a man is sitting with his hands clasped and wearing a chequered wrapper around his waist and a jacket. In the background is cracked mud wall and a man in the far right corner.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 85 of the negative album now numbered C21/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abiriba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). (Jones, 1988, pp.61-62)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nN.71837.GIJ\n\nDescription\n\nA carved wooden canoe with figures. The sculpture consists of a long cylindrical base and six figures. The figures from left to right: the first figure appears to be carrying a pot on her head, the second figure is holding a paddle, the next two figures are seated and are wearing hats; the fourth is holding a bottle in one hand and a glass in the other, the fifth figure is holding a stick in one hand and musical instrument in the other. The figures are stylised with elongated necks, rounded shoulders and elongated torsos. Next to the canoe and figures, a man is sitting with his hands clasped and wearing a chequered wrapper around his waist and a jacket. In the background is cracked mud wall and a man in the far right corner.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 85 of the negative album now numbered C21/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abiriba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). (Jones, 1988, pp.61-62)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nFM:206487\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71837_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656928_N.71837.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171106.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465167", "metadata": {"title": "Untitled", "idno": "P.171106.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade. A group of masqueraders standing in line.\nIn the foreground a masquerader performing in a female masquerade, wearing a helmet mask, and brightly coloured harlequin-like costume covering the whole body. There is a cloth scarf tied round the shoulders, and another cloth around the waist, and ankle-rattles. The names of female mask characters include Nwabogho Efi (Heifer).\nThe other characters standing include \u2018Iro Ekpetu\u2019 or \u2018Merciless\u2019, with a fierce darkened face mask, with eyes and teeth painted white, cloth tights and top, and a raffia skirt. [Description from record P.767001.GIJ, PB 14/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767029.GIJ - P.767032.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"", "raw_text_dump": "IDNO\n\nP.171106.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade. A group of masqueraders standing in line.\nIn the foreground a masquerader performing in a female masquerade, wearing a helmet mask, and brightly coloured harlequin-like costume covering the whole body. There is a cloth scarf tied round the shoulders, and another cloth around the waist, and ankle-rattles. The names of female mask characters include Nwabogho Efi (Heifer).\nThe other characters standing include \u2018Iro Ekpetu\u2019 or \u2018Merciless\u2019, with a fierce darkened face mask, with eyes and teeth painted white, cloth tights and top, and a raffia skirt. [Description from record P.767001.GIJ, PB 14/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767029.GIJ - P.767032.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nFM:311797\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171106_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144322_P.171106.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71433.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364704", "metadata": {"title": "Untitled", "idno": "N.71433.GIJ", "description": "An Alose (tutelary deity) house with the Alose figure leaning inside. The \u201chouse\u201d is made of mud with wooden poles, rafters, purlins, and a thatched roof. Inside the house is the Alose figure, She is quite stylised and standing upright. Her head has a curved crescent on the top, her hair is incised with swirling patterns, the eyes are painted white, square nose, and small mouth. There are painted designs (uli?) on her cheeks. The neck is coiled and adorned with a necklace made of leopard\u2019s teeth. Her torso is fairly square with two pointed breasts and a protruding umbilicus. Her wrists are painted white and her hands are flush against her sides with incised markings indicating her fingers. She has a cloth tied around the waist. In front of the Alose are two wooden carved Ikenga figures. A water pot is outside in left of the phtograph. There is vegetation and trees in the background.", "place": "W Africa; Nigeria; South Eastern Nigeria; Western Isuama", "cultural_affliation": "Igbo [historically Ibo]; Orsu", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "Publication: Similar image, but different photograph of the Alose figure published in Jones, 1989, plate 31, p. 39. The caption under the photograph reads, \u201c Village tutelary deity, Orsu tribe. Isuama Ibo, standing in front of her shrine with her two Ikenga and a water pot used in rituals associated with her. Note her necklace made of leopard\u2019s teeth.\u201d\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d(Jones, 1989, p. 37).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1989, p.54)\n\nContext: In relation to the Alusi figures, Cole and Aniakor write that, \u201cthe dead are conceived as part of the everyday world, and just as clearly, their presence can hold a positive or negative valence for the living; exactly the same is true of the tutelary deities, alusi. These forces, however, are neither personal (chi or ancestors) nor universal (Chineke, Chukwu). Rather, they are in part specific, usually tangible phenomena such as: Earth, the Niger or Imo river, Eke, Afo, Orie/Oye, or Nkwo market, an extraordinary tree, a binding oath at a particular shrine, or the canyon of erosion in Agulu. The preeminence of Ala/Ani does not eclipse the vitality of these other deities, especially those associated with water, or of Amadioha, god of thunder and lightening and, by extension, rain. These anthropomorphic male and female deities have priests and often elaborate cult apparatus, symbolic works of art, and finely decorated compounds. Each has general and specific powers, and although their priesthoods may be held by certain lineages, the more commanding of these cults have constituencies cutting across lines of kinship and stressing communal worship. Such tutelary deities are close to people, fast-acting (for good or ill), and often capricious, thus requiring frequent attention and sacrifice. ...(Cole and Aniakor, 1984, p.16).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1984, p.54)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989, Ibo Art (Shire)\n\nRelated Image: The Alose figure in the house is the same figure in Photos: P.71428.GIJ; P.71430.GIJ.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/11/2007]", "raw_text_dump": "IDNO\n\nN.71433.GIJ\n\nDescription\n\nAn Alose (tutelary deity) house with the Alose figure leaning inside. The \u201chouse\u201d is made of mud with wooden poles, rafters, purlins, and a thatched roof. Inside the house is the Alose figure, She is quite stylised and standing upright. Her head has a curved crescent on the top, her hair is incised with swirling patterns, the eyes are painted white, square nose, and small mouth. There are painted designs (uli?) on her cheeks. The neck is coiled and adorned with a necklace made of leopard\u2019s teeth. Her torso is fairly square with two pointed breasts and a protruding umbilicus. Her wrists are painted white and her hands are flush against her sides with incised markings indicating her fingers. She has a cloth tied around the waist. In front of the Alose are two wooden carved Ikenga figures. A water pot is outside in left of the phtograph. There is vegetation and trees in the background.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Western Isuama\n\nCultural Affliation\n\nIgbo [historically Ibo]; Orsu\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPublication: Similar image, but different photograph of the Alose figure published in Jones, 1989, plate 31, p. 39. The caption under the photograph reads, \u201c Village tutelary deity, Orsu tribe. Isuama Ibo, standing in front of her shrine with her two Ikenga and a water pot used in rituals associated with her. Note her necklace made of leopard\u2019s teeth.\u201d\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d(Jones, 1989, p. 37).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1989, p.54)\n\nContext: In relation to the Alusi figures, Cole and Aniakor write that, \u201cthe dead are conceived as part of the everyday world, and just as clearly, their presence can hold a positive or negative valence for the living; exactly the same is true of the tutelary deities, alusi. These forces, however, are neither personal (chi or ancestors) nor universal (Chineke, Chukwu). Rather, they are in part specific, usually tangible phenomena such as: Earth, the Niger or Imo river, Eke, Afo, Orie/Oye, or Nkwo market, an extraordinary tree, a binding oath at a particular shrine, or the canyon of erosion in Agulu. The preeminence of Ala/Ani does not eclipse the vitality of these other deities, especially those associated with water, or of Amadioha, god of thunder and lightening and, by extension, rain. These anthropomorphic male and female deities have priests and often elaborate cult apparatus, symbolic works of art, and finely decorated compounds. Each has general and specific powers, and although their priesthoods may be held by certain lineages, the more commanding of these cults have constituencies cutting across lines of kinship and stressing communal worship. Such tutelary deities are close to people, fast-acting (for good or ill), and often capricious, thus requiring frequent attention and sacrifice. ...(Cole and Aniakor, 1984, p.16).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1984, p.54)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989, Ibo Art (Shire)\n\nRelated Image: The Alose figure in the house is the same figure in Photos: P.71428.GIJ; P.71430.GIJ.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/11/2007]\n\nFM:206083\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71433_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656581_N.71433.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169678.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463687", "metadata": {"title": "Untitled", "idno": "P.169678.GIJ", "description": "Obugulu Mau (Ghost) masquerade.\n\nClose up portrait of a masquerader, Egu Agu, (\u2018Money Finish\u2019) , wearing a helmet mask with a superstructure decorated with cloth and tassels, and brightly coloured harlequin-like costume. Cloth cloak tied around the neck, over ?woven or ?net cloth which is attached to the mask. Male onlookers to the right. Description from record P.71535.GIJ, PB 27/10/2022]\n\nClose up portrait of a masquerade character identified as Egu Agu (\u2018Money Finish\u2019); the masquerader is wearing a helmet mask painted white with black markings to accentuate the eyes, nose, mouth and uli designs. The top of the mask is painted in black and white and with a crescent shape at the top; it is decorated with pieces of cloth and tassel. The masquerader is wearing a brightly coloured harlequin-like costume. A cloth shawl is tied around the neck, over woven cloth which is attached to the mask. In the background are trees. [Description from record N.13255.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nAssociated images: P.71504.GIJ; N.13239.GIJ; N.13240.GIJ; N.13241.GIJ; N.13242.GIJ; N.13243.GIJ; N.13244.GIJ; N.13245.GIJ; N.13246.GIJ; N.13247.GIJ; N.13248.GIJ; N.13249.GIJ; N.13251.GIJ; N.13252.GIJ; N.13253.GIJ; N.13254.GIJ; N.13250.GIJ; N.13256.GIJ; N.13257.GIJ [all images depicting the Obugulu Mau masquerade in Amuda village]", "raw_text_dump": "IDNO\n\nP.169678.GIJ\n\nDescription\n\nObugulu Mau (Ghost) masquerade.\n\nClose up portrait of a masquerader, Egu Agu, (\u2018Money Finish\u2019) , wearing a helmet mask with a superstructure decorated with cloth and tassels, and brightly coloured harlequin-like costume. Cloth cloak tied around the neck, over ?woven or ?net cloth which is attached to the mask. Male onlookers to the right. Description from record P.71535.GIJ, PB 27/10/2022]\n\nClose up portrait of a masquerade character identified as Egu Agu (\u2018Money Finish\u2019); the masquerader is wearing a helmet mask painted white with black markings to accentuate the eyes, nose, mouth and uli designs. The top of the mask is painted in black and white and with a crescent shape at the top; it is decorated with pieces of cloth and tassel. The masquerader is wearing a brightly coloured harlequin-like costume. A cloth shawl is tied around the neck, over woven cloth which is attached to the mask. In the background are trees. [Description from record N.13255.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nAssociated images: P.71504.GIJ; N.13239.GIJ; N.13240.GIJ; N.13241.GIJ; N.13242.GIJ; N.13243.GIJ; N.13244.GIJ; N.13245.GIJ; N.13246.GIJ; N.13247.GIJ; N.13248.GIJ; N.13249.GIJ; N.13251.GIJ; N.13252.GIJ; N.13253.GIJ; N.13254.GIJ; N.13250.GIJ; N.13256.GIJ; N.13257.GIJ [all images depicting the Obugulu Mau masquerade in Amuda village]\n\nFM:310165\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169678_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127454_P.169678.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171172.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465233", "metadata": {"title": "Untitled", "idno": "P.171172.GIJ", "description": "A documentation image of a carved wooden 'guest' dish. The dish is resting on piece of sackcloth. The carving on the top of the dish has two faces opposite each other at ends of a central raised block with notched pillars. [PB 21/06/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province", "cultural_affliation": "Igbo [historically Ibo]; Abaja", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767095.GIJ - P.767099.GIJ are mounted together on paper.", "raw_text_dump": "IDNO\n\nP.171172.GIJ\n\nDescription\n\nA documentation image of a carved wooden 'guest' dish. The dish is resting on piece of sackcloth. The carving on the top of the dish has two faces opposite each other at ends of a central raised block with notched pillars. [PB 21/06/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abaja\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767095.GIJ - P.767099.GIJ are mounted together on paper.\n\nFM:311863\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171172_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144388_P.171172.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171266.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465327", "metadata": {"title": "Untitled", "idno": "P.171266.GIJ", "description": "An object documentation photograph of a wooden face mask and sackcloth head and body covering of the animal character Awuja. The mask is resting on a mud wall step. It is has a short peg at the top of the head, a deep brow, with grooved lines, above roughly carved eyes, ears and a blunt nose over a small mouth in which there are three teeth. [PB 12/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767188.GIJ - P.767190.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171266.GIJ\n\nDescription\n\nAn object documentation photograph of a wooden face mask and sackcloth head and body covering of the animal character Awuja. The mask is resting on a mud wall step. It is has a short peg at the top of the head, a deep brow, with grooved lines, above roughly carved eyes, ears and a blunt nose over a small mouth in which there are three teeth. [PB 12/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767188.GIJ - P.767190.GIJ are mounted together on card.\n\nFM:311957\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171266_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144482_P.171266.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13266.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306538", "metadata": {"title": "Untitled", "idno": "N.13266.GIJ", "description": "Close up view of a male carver making a lidded bowl. He is seated and is holding a metal tool in one hand and an adze in the other. The bowl is hollowed out and rounded and the lid is also rounded.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: In relation to the style of carving in the Nri Awka area, Jones writes, \u201c The area that has produced most of the carvings in the Lower Niger style was the Nri/Awka Ibo area of the Onitsha province. Not only masks an figures, but decorative carvings of all sorts were produced here and in considerable quantity: for example, stools, doors, panels, lidded boxes, hand mirrors, bowls and other utensils, sometimes plain but more usually ornamented in an angular geometric style. The number and variety of masks and masquerades was considerable; they were referred to generically as Mau (Ghost) (Jones, 1984, p.142-143).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]", "raw_text_dump": "IDNO\n\nN.13266.GIJ\n\nDescription\n\nClose up view of a male carver making a lidded bowl. He is seated and is holding a metal tool in one hand and an adze in the other. The bowl is hollowed out and rounded and the lid is also rounded.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: In relation to the style of carving in the Nri Awka area, Jones writes, \u201c The area that has produced most of the carvings in the Lower Niger style was the Nri/Awka Ibo area of the Onitsha province. Not only masks an figures, but decorative carvings of all sorts were produced here and in considerable quantity: for example, stools, doors, panels, lidded boxes, hand mirrors, bowls and other utensils, sometimes plain but more usually ornamented in an angular geometric style. The number and variety of masks and masquerades was considerable; they were referred to generically as Mau (Ghost) (Jones, 1984, p.142-143).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]\n\nFM:147916\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13266_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000529_N.13266.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71919.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365190", "metadata": {"title": "Untitled", "idno": "N.71919.GIJ", "description": "A wooden mask oval in shape with a projection at the top. The face is humanistic and shows a dark scalloped hairline, slit eyes with dark brows, nose, mouth, kidney shaped ears, and hollowed cheekbones. A rectangular shaped protrusion is at the top of the head.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abariba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 26 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nN.71919.GIJ\n\nDescription\n\nA wooden mask oval in shape with a projection at the top. The face is humanistic and shows a dark scalloped hairline, slit eyes with dark brows, nose, mouth, kidney shaped ears, and hollowed cheekbones. A rectangular shaped protrusion is at the top of the head.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abariba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 26 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nFM:206569\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71919_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657016_N.71919.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.170229.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464290", "metadata": {"title": "Untitled", "idno": "P.170229.GIJ", "description": "Agu Necheanyi (lion waits for elephant) mask. The mask is unfinished and is being \u201cmodelled\u2019 by a seated man. The mask is unpainted and consists of a carved face with large rounded eyes, pointed nose and large muzzle with pointed teeth, jutting out from the side of the jaw are two curved horns and on the forehead is a small head and emanating from that are two pointed horns making up the front part of the \u201csuperstructure\u201d with four other projections behind, perched on top is a carved animal, perhaps a dog? with a curled tail. In the background are wooden chairs, thatched huts and trees. [Description from record P.71593.GIJ, PB 20/10/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.758001.GIJ - P.758022.GIJ were located together in a green \"Guildhall\" folder, now numbered C758/.", "raw_text_dump": "IDNO\n\nP.170229.GIJ\n\nDescription\n\nAgu Necheanyi (lion waits for elephant) mask. The mask is unfinished and is being \u201cmodelled\u2019 by a seated man. The mask is unpainted and consists of a carved face with large rounded eyes, pointed nose and large muzzle with pointed teeth, jutting out from the side of the jaw are two curved horns and on the forehead is a small head and emanating from that are two pointed horns making up the front part of the \u201csuperstructure\u201d with four other projections behind, perched on top is a carved animal, perhaps a dog? with a curled tail. In the background are wooden chairs, thatched huts and trees. [Description from record P.71593.GIJ, PB 20/10/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.758001.GIJ - P.758022.GIJ were located together in a green \"Guildhall\" folder, now numbered C758/.\n\nFM:310784\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170229_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131558_P.170229.GIJ_001.png"}, {"file_name": "P_170229_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131559_P.170229.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171346.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465407", "metadata": {"title": "Untitled", "idno": "P.171346.GIJ", "description": "A documentation photograph in profile of a carved wooden figure. The figure is sitting on a stool, with elbows bent and hands by waist. Six anklets are carved on the ankles. The neck is elongated, and has a cord attached dangling behind the figure, with a loop at its end. A peg juts out of the base of the head at its rear. the hair is carved into an elaborate crest of feather like hair horns with a disc at the side of a head band. [PB 08/08/2024]", "place": "W Africa; Nigeria; South Ibo; South Eastern Nigeria; Akwa Ibom state; Ikot Abia town", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171342.GIJ - P.171348.GIJ were located in a 'Gateway' folder, now numbered C768/1.\n\nP.768005.GIJ to P.768008.GIJ are mounted together on card.\n\nImages P.171342.GIJ and P.768005.GIJ to P.768008.GIJ are of the same figure", "raw_text_dump": "IDNO\n\nP.171346.GIJ\n\nDescription\n\nA documentation photograph in profile of a carved wooden figure. The figure is sitting on a stool, with elbows bent and hands by waist. Six anklets are carved on the ankles. The neck is elongated, and has a cord attached dangling behind the figure, with a loop at its end. A peg juts out of the base of the head at its rear. the hair is carved into an elaborate crest of feather like hair horns with a disc at the side of a head band. [PB 08/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Ibo; South Eastern Nigeria; Akwa Ibom state; Ikot Abia town\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171342.GIJ - P.171348.GIJ were located in a 'Gateway' folder, now numbered C768/1.\n\nP.768005.GIJ to P.768008.GIJ are mounted together on card.\n\nImages P.171342.GIJ and P.768005.GIJ to P.768008.GIJ are of the same figure\n\n\nFM:312047\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171346_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144562_P.171346.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171564.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465625", "metadata": {"title": "Untitled", "idno": "P.171564.GIJ", "description": "A documentation photograph of two ekpu (ancestor) figures, representing the deceased head of a family lineage. [Description from record T.170123.GIJ , PB 24/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Oron; Ebughu", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171564.GIJ is mounted on card.", "raw_text_dump": "IDNO\n\nP.171564.GIJ\n\nDescription\n\nA documentation photograph of two ekpu (ancestor) figures, representing the deceased head of a family lineage. [Description from record T.170123.GIJ , PB 24/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Oron; Ebughu\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171564.GIJ is mounted on card.\n\nFM:312284\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171564_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144822_P.171564.GIJ_001.jpg"}, {"file_name": "P_171564_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144823_P.171564.GIJ_003.jpg"}, {"file_name": "P_171564_GIJ_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144824_P.171564.GIJ_002_1.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.30454.NWT", "source_url": "https://collections.maa.cam.ac.uk/photographs/323726", "metadata": {"title": "Untitled", "idno": "P.30454.NWT", "description": "On Negative Listing: \"2031. 19. Killing of sheep. ?vozob.\n?kola. [Thomas' manuscript on RAI MS 467-2(1801-2475)]\n\nIn Blench and Alexander Catalogue for N. W. Thomas photograph collection: \u201c2031 location: Amobia; associations: religion?;\u201d [printed text]", "place": "W Africa; Nigeria; south eastern Nigeria; near Awka; Amobia village", "cultural_affliation": "", "named_person": "", "photographer": "Thomas, Northcote Whitridge", "collector_/_expedition": "", "date": "1909 - 1913", "collection_name": "Northcote Thomas Collection", "source": "Thomas, Northcote Whitridge", "format": "Print Black & White", "primary_documentation": "", "other_information": "This print was previously stored in a box in the fourth drawer of a container which has four drawers. The cataloguer has marked the container C70/, the fourth drawer C70/4/ and the box in which this print was kept C70/4/6/.", "raw_text_dump": "IDNO\n\nP.30454.NWT\n\nDescription\n\nOn Negative Listing: \"2031. 19. Killing of sheep. ?vozob.\n?kola. [Thomas' manuscript on RAI MS 467-2(1801-2475)]\n\nIn Blench and Alexander Catalogue for N. W. Thomas photograph collection: \u201c2031 location: Amobia; associations: religion?;\u201d [printed text]\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; near Awka; Amobia village\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nThomas, Northcote Whitridge\n\nCollector / Expedition\n\nDate\n\n1909 - 1913\n\nCollection Name\n\nNorthcote Thomas Collection\n\nSource\n\nThomas, Northcote Whitridge\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis print was previously stored in a box in the fourth drawer of a container which has four drawers. The cataloguer has marked the container C70/, the fourth drawer C70/4/ and the box in which this print was kept C70/4/6/.\n\n\n\nFM:165104\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_30454_NWT_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/860110_P.30454.NWT_001.png"}], "source_id": "maa_cambridge"}
{"id": "T.170061.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464094", "metadata": {"title": "Untitled", "idno": "T.170061.GIJ", "description": "Obugulu mau masquerade. A close up view of a 'mother' character wearing a white and black painted face mask adorned with an elaborate superstructure. The top of the mask consists of pieces of cloth, ribbon, felt. tassels, carvings, and mirrors. The costume is harlequin like appliques material. [Description from record N.71530.GIJ, PB 14/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170061.GIJ\n\nDescription\n\nObugulu mau masquerade. A close up view of a 'mother' character wearing a white and black painted face mask adorned with an elaborate superstructure. The top of the mask consists of pieces of cloth, ribbon, felt. tassels, carvings, and mirrors. The costume is harlequin like appliques material. [Description from record N.71530.GIJ, PB 14/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310589\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170061_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128189_T.170061.GIJ_001.png"}, {"file_name": "T_170061_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128191_T.170061.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71607.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364878", "metadata": {"title": "Untitled", "idno": "N.71607.GIJ", "description": "A masquerade character called Ogbuseyoloalu. The masquerader is dancing and is wearing a wooden face mask which is oval in shape; half of the face is painted white and the other half a darker colour. The eyes are square and framed by arched eyebrows, long nose, and large mouth with a chin that juts out. Attached to the top of the mask is raffia which emulates thick hair. The costume consists of a tie-dyed or batik long sleeved top with seeds or nut attached to it, woven cloth trousers, and a raffia skirt around the waist and a waist band made of shells? or nuts?. The arms are outstretched and in one hand, the masquerader is holding a woven, matt fan. To the left side, is a drummer beating a long cylindrical membrane drum with his hands. In the background are spectators and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 28 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Ogbuseyolaho Nimo (26th image).\n\nContext: In relation to the style of carving in the Nri Awka area, Jones writes, \u201c The area that has produced most of the carvings in the Lower Niger style was the Nri/Awka Ibo area of the Onitsha province. Not only masks an figurs, but decorative carvings of all sorts were produced here and in considerable quantity...The number and variety of masks and masquerades was considerable; they were referred to generically as Mau (Ghost) (Jones, 1984, p.142-143).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 4/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71607.GIJ\n\nDescription\n\nA masquerade character called Ogbuseyoloalu. The masquerader is dancing and is wearing a wooden face mask which is oval in shape; half of the face is painted white and the other half a darker colour. The eyes are square and framed by arched eyebrows, long nose, and large mouth with a chin that juts out. Attached to the top of the mask is raffia which emulates thick hair. The costume consists of a tie-dyed or batik long sleeved top with seeds or nut attached to it, woven cloth trousers, and a raffia skirt around the waist and a waist band made of shells? or nuts?. The arms are outstretched and in one hand, the masquerader is holding a woven, matt fan. To the left side, is a drummer beating a long cylindrical membrane drum with his hands. In the background are spectators and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 28 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Ogbuseyolaho Nimo (26th image).\n\nContext: In relation to the style of carving in the Nri Awka area, Jones writes, \u201c The area that has produced most of the carvings in the Lower Niger style was the Nri/Awka Ibo area of the Onitsha province. Not only masks an figurs, but decorative carvings of all sorts were produced here and in considerable quantity...The number and variety of masks and masquerades was considerable; they were referred to generically as Mau (Ghost) (Jones, 1984, p.142-143).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 4/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206257\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71607_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656717_N.71607.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171332.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465393", "metadata": {"title": "Untitled", "idno": "P.171332.GIJ", "description": "Ogbugulu Mau Mask Series. A side view of an Ogbugulu Mau helmet mask. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with carved teeth. There are black painted designs around the eyes and on the cheek and forehead. The top of the mask consists of an arched crest with a zig-zag designe, on the sides are incised designs representing uli?. A knitted fabric and pieces of felt are attached to the wooden mask. [Description from record N.13319.GIJ, PB 02/08/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka", "cultural_affliation": "Nri-Awka Igbo; Northern Igbo; Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767256.GIJ is mounted on card.\n\nPublication: Same image in Jones, 1984, p.141, Plate 47 with the caption, \"Ogbugulu Mau mask (N.M.). Nri/Awka Ibo.\"", "raw_text_dump": "IDNO\n\nP.171332.GIJ\n\nDescription\n\nOgbugulu Mau Mask Series. A side view of an Ogbugulu Mau helmet mask. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with carved teeth. There are black painted designs around the eyes and on the cheek and forehead. The top of the mask consists of an arched crest with a zig-zag designe, on the sides are incised designs representing uli?. A knitted fabric and pieces of felt are attached to the wooden mask. [Description from record N.13319.GIJ, PB 02/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka\n\nCultural Affliation\n\nNri-Awka Igbo; Northern Igbo; Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767256.GIJ is mounted on card.\n\nPublication: Same image in Jones, 1984, p.141, Plate 47 with the caption, \"Ogbugulu Mau mask (N.M.). Nri/Awka Ibo.\"\n\n\n\nFM:312023\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171332_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144548_P.171332.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71788.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365059", "metadata": {"title": "Untitled", "idno": "N.71788.GIJ", "description": "A comic male Lughulu mask modelled by a male. The mask is wooden and carve crudely; it is square in shape with abstract markings of square eyes, nose and square open mouth. The cheeks are bulging and swollen and the forehead is also over-empahsised. A piece of woven cloth covers the wearer\u2019s face. He appears to be seated and in the background is the wall of a mud hut.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Item", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 81 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Item Igbo\n3. Lugbulu Mask Comic male mask (4th image).\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]", "raw_text_dump": "IDNO\n\nN.71788.GIJ\n\nDescription\n\nA comic male Lughulu mask modelled by a male. The mask is wooden and carve crudely; it is square in shape with abstract markings of square eyes, nose and square open mouth. The cheeks are bulging and swollen and the forehead is also over-empahsised. A piece of woven cloth covers the wearer\u2019s face. He appears to be seated and in the background is the wall of a mud hut.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nItem\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 81 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Item Igbo\n3. Lugbulu Mask Comic male mask (4th image).\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nFM:206438\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71788_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656887_N.71788.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "T.170108.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464169", "metadata": {"title": "Untitled", "idno": "T.170108.GIJ", "description": "An Obugulu Mau costume with a wooden headdress, on display in an exhibition.\nThe costume is now in the care of MAA, reference Z 13527.1-2, and described as: \"Costume is in red cotton with ribbon of felt and cotton in white, yellow, black and green roughly stitched with wool. Blue roughly woven sock and white and brown mittens. The face of the mask is painted white and black with red lips. The decorations on the crown are painted black, blue, red and white. The mask represents Mmanwu Adanma 'beauty spirit' a maiden spirit in the Obugulu Mau or 'ghost' masquerade.\" [PB 22/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1980 to 1989", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170108.GIJ\n\nDescription\n\nAn Obugulu Mau costume with a wooden headdress, on display in an exhibition.\nThe costume is now in the care of MAA, reference Z 13527.1-2, and described as: \"Costume is in red cotton with ribbon of felt and cotton in white, yellow, black and green roughly stitched with wool. Blue roughly woven sock and white and brown mittens. The face of the mask is painted white and black with red lips. The decorations on the crown are painted black, blue, red and white. The mask represents Mmanwu Adanma 'beauty spirit' a maiden spirit in the Obugulu Mau or 'ghost' masquerade.\" [PB 22/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1980 to 1989\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310636\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170108_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128339_T.170108.GIJ_001.png"}, {"file_name": "T_170108_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128340_T.170108.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169668.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463675", "metadata": {"title": "Untitled", "idno": "P.169668.GIJ", "description": "A Mgbedike or Agu neche enyi mask displayed on a piece of cloth. The mask or headdress consists of a fierce looking face with white v-shaped marking on the forehead, large eyes, pointed nose, over-sized mouth and menacing teeth (painted white?, and crescent shaped ears. Protruding (twisted) horns encircle the top of the head in which there is an elaborate superstructure, with animals, horned figures and European or colonial officers (oyibo) dressed in European clothing with pith helmets. There is a painted serpent with its mouth wide open with teeth. A male is behind the mask holding it with vegetation in the background. [Description from record P.71555.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo town", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169668.GIJ\n\nDescription\n\nA Mgbedike or Agu neche enyi mask displayed on a piece of cloth. The mask or headdress consists of a fierce looking face with white v-shaped marking on the forehead, large eyes, pointed nose, over-sized mouth and menacing teeth (painted white?, and crescent shaped ears. Protruding (twisted) horns encircle the top of the head in which there is an elaborate superstructure, with animals, horned figures and European or colonial officers (oyibo) dressed in European clothing with pith helmets. There is a painted serpent with its mouth wide open with teeth. A male is behind the mask holding it with vegetation in the background. [Description from record P.71555.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo town\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\n\n\nFM:310155\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169668_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127441_P.169668.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171212.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465273", "metadata": {"title": "Untitled", "idno": "P.171212.GIJ", "description": "Two wooden Ikenga figures. The figure on the left is seated on a stool and is holding a staff in one hand and another object in the other. The figure has a stylised human face painted white with black markings accentuating the eyebrows, eyes, nose and mouth, the two horns are curled. The figure is sitting and around the neck are coiled rings, the torso is painted white and black and he is wearing a painted ruffled tunic, there are coils around the ankles. The figure on the right is also seated on a stool. The figure has a painted white face with distinctive markings for eyes, nose and mouth, there are etched markings on the side, and there are two pointed horns painted black and white. The figure is holding a head in one hand and a cutlass in the other (the head and cutlass are also painted white.) There is a gourd attached to the figure with a piece of twine. There are also coiled markings around the ankles. [Description from record P.71456.GIJ, PB 04/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Achaba; Ulakwo", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767134.GIJ - P.767139.GIJ are mounted together on paper.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Two Ikenga Nri-Awka Igbo (8th image).", "raw_text_dump": "IDNO\n\nP.171212.GIJ\n\nDescription\n\nTwo wooden Ikenga figures. The figure on the left is seated on a stool and is holding a staff in one hand and another object in the other. The figure has a stylised human face painted white with black markings accentuating the eyebrows, eyes, nose and mouth, the two horns are curled. The figure is sitting and around the neck are coiled rings, the torso is painted white and black and he is wearing a painted ruffled tunic, there are coils around the ankles. The figure on the right is also seated on a stool. The figure has a painted white face with distinctive markings for eyes, nose and mouth, there are etched markings on the side, and there are two pointed horns painted black and white. The figure is holding a head in one hand and a cutlass in the other (the head and cutlass are also painted white.) There is a gourd attached to the figure with a piece of twine. There are also coiled markings around the ankles. [Description from record P.71456.GIJ, PB 04/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Achaba; Ulakwo\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767134.GIJ - P.767139.GIJ are mounted together on paper.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Two Ikenga Nri-Awka Igbo (8th image).\n\nFM:311903\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171212_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144428_P.171212.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71617.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364888", "metadata": {"title": "Untitled", "idno": "N.71617.GIJ", "description": "Masquerade character called \u2018Government\u2019 and attendant. The masquerader is a facelss character with a piece of cloth covering his face, dressed in patterned cloth, wearing a Homburg hat with a feather tucked into the side. \u2018Government\u2019 is holding a piece of paper in his hand, symbolising authority. His \u2018attendant\u2019 is kneeling down and placing an ivory tusk and walking stick in front of him. The attendant is coverd in cloth and wearing a Homburg hat. He is carrying a large metal gong in his hand. In the background are spectators and thatched houses.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 2 of the negative album now numbered C15/.\n\nPublication: Same image published in Jones, 1984, p. 58, Figure 7 called \u2018Government\u201d .\n\nContext: Jones writes about the Government character, \u201c Thus the faceless character called \u2018Government\u2019 in an Awka masquerade had a hat and an elephant tusk horn as emblems of authority and carried a sheet of paper in its hand as a symbol of bureaucratic power, and in the same masquerade the proverb \u2018The tongue is more powerful than brute force\u2019 was represented by three faceless characters in identical costumes that sang together in thirds and were called Onukamma (\u2018Mouth Stronger than sword\u2019) (Jones, 1984, p.45)\n\nContext: Jones provides a detailed description of the various characters in this masquerade which he had observed and photographed in the field, \u201cA performance in the Northern Ibo village of Amobia was opened by a hooded character called \u201cGovernment\u201d. He had no face and was crowned with a Homburg hat; an elephant tusk horn, symbol of authority, was laid on the ground in front of him and he read in ghostly gibberish from an important-looking document. He and his acolyte withdrew and were succeeded by a parade of ghostly policemen and court messengers wearing imitations of police and messenger uniforms and with cloth masks over their faces and head. They performed a spirited guard drill before being posted by their commander to their stations to control the crowd. Their followed a supercilious white-faced sun-helmeted figure in white drill jacket and trousers called Oyibo (White Man), who inspected the audience and then took his seat amongst the places reserved for the distinguished visitors who had come to watch the play. After him came a succession of characters, some white-faced, representing female spirits, some black or multi-coloured fierce and masculine creatures with masks that combined animal and human features; others again, mainly harmless or comic or benign, representing antelopes, or other animal spirits or characters drawn from village life. Each had his or her special role to play and having acted it withdrew to the secret enclosure or sat on seats at the ringside waiting to repeat his performance. \u201c Jones also writes that this masquerade was \u201c a large concerted display which included characters contributed by all the local societies.\u201d (Jones, 1984, pp.59-60.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\nPublication: Image published in Thomas, Nicholas, 2014. 'Body Art' (Thames and Hudson). [JD 02/04/2025]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71617.GIJ\n\nDescription\n\nMasquerade character called \u2018Government\u2019 and attendant. The masquerader is a facelss character with a piece of cloth covering his face, dressed in patterned cloth, wearing a Homburg hat with a feather tucked into the side. \u2018Government\u2019 is holding a piece of paper in his hand, symbolising authority. His \u2018attendant\u2019 is kneeling down and placing an ivory tusk and walking stick in front of him. The attendant is coverd in cloth and wearing a Homburg hat. He is carrying a large metal gong in his hand. In the background are spectators and thatched houses.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 2 of the negative album now numbered C15/.\n\nPublication: Same image published in Jones, 1984, p. 58, Figure 7 called \u2018Government\u201d .\n\nContext: Jones writes about the Government character, \u201c Thus the faceless character called \u2018Government\u2019 in an Awka masquerade had a hat and an elephant tusk horn as emblems of authority and carried a sheet of paper in its hand as a symbol of bureaucratic power, and in the same masquerade the proverb \u2018The tongue is more powerful than brute force\u2019 was represented by three faceless characters in identical costumes that sang together in thirds and were called Onukamma (\u2018Mouth Stronger than sword\u2019) (Jones, 1984, p.45)\n\nContext: Jones provides a detailed description of the various characters in this masquerade which he had observed and photographed in the field, \u201cA performance in the Northern Ibo village of Amobia was opened by a hooded character called \u201cGovernment\u201d. He had no face and was crowned with a Homburg hat; an elephant tusk horn, symbol of authority, was laid on the ground in front of him and he read in ghostly gibberish from an important-looking document. He and his acolyte withdrew and were succeeded by a parade of ghostly policemen and court messengers wearing imitations of police and messenger uniforms and with cloth masks over their faces and head. They performed a spirited guard drill before being posted by their commander to their stations to control the crowd. Their followed a supercilious white-faced sun-helmeted figure in white drill jacket and trousers called Oyibo (White Man), who inspected the audience and then took his seat amongst the places reserved for the distinguished visitors who had come to watch the play. After him came a succession of characters, some white-faced, representing female spirits, some black or multi-coloured fierce and masculine creatures with masks that combined animal and human features; others again, mainly harmless or comic or benign, representing antelopes, or other animal spirits or characters drawn from village life. Each had his or her special role to play and having acted it withdrew to the secret enclosure or sat on seats at the ringside waiting to repeat his performance. \u201c Jones also writes that this masquerade was \u201c a large concerted display which included characters contributed by all the local societies.\u201d (Jones, 1984, pp.59-60.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\nPublication: Image published in Thomas, Nicholas, 2014. 'Body Art' (Thames and Hudson). [JD 02/04/2025]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206267\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71617_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656728_N.71617.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171542.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465603", "metadata": {"title": "Untitled", "idno": "P.171542.GIJ", "description": "A documentation photograph of a helmet mask for the Owu masquerade. The mask is carved in dark wood and portrays an antelope character, with long tapering horns with spiral incision, almond-shaped eyes and a wide snout. [PB 22/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Ebonyi State; Okposi", "cultural_affliation": "Igbo [historically Ibo]; Oba", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171542.GIJ to P.171544.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171542.GIJ\n\nDescription\n\nA documentation photograph of a helmet mask for the Owu masquerade. The mask is carved in dark wood and portrays an antelope character, with long tapering horns with spiral incision, almond-shaped eyes and a wide snout. [PB 22/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ebonyi State; Okposi\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oba\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171542.GIJ to P.171544.GIJ are mounted on card.\n\nFM:312262\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171542_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144778_P.171542.GIJ_001.jpg"}, {"file_name": "P_171542_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144779_P.171542.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71633.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364904", "metadata": {"title": "Untitled", "idno": "N.71633.GIJ", "description": "Ghost police sargent standing with a replica wooden rifle in one hand and a stick in the other. He is dressed in a dark police official\u2019s uniform which consists of a long sleeved dark shirt with buttons and \u2018official\u2019 (sargent) stripes on both sleeves, cropped trousers, and knee socks. Around the waist is a cloth belt in which a truncheon and two pouches are attached. The head is covered with a black knitted face mask with two holes for eyes and a hole for the mouth. The features are accentuated by white border markings above and below the eyes, on top is a cap. In the background are spectators and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 6 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Ghost Police Sargent, Amuobia village (15th image).\n\nContext: Jones provides a detailed description of the various characters in this masquerade which he had observed and photographed in the field, \u201cA performance in the Northern Ibo village of Amobia was opened by a hooded character called \u201cGovernment\u201d. He had no face and was crowned with a Homburg hat; an elephant tusk horn, symbol of authority, was laid on the ground in front of him and he read in ghostly gibberish from an important-looking document. He and his acolyte withdrew and were succeeded by a parade of ghostly policemen and court messengers wearing imitations of police and messenger uniforms and with cloth masks over their faces and head. They performed a spirited guard drill before being posted by their commander to their stations to control the crowd. Their followed a supercilious white-faced sun-helmeted figure in white drill jacket and trousers called Oyibo (White Man), who inspected the audience and then took his seat amongst the places reserved for the distinguished visitors who had come to watch the play. After him came a succession of characters, some white-faced, representing female spirits, some black or multi-coloured fierce and masculine creatures with masks that combined animal and human features; others again, mainly harmless or comic or benign, representing antelopes, or other animal spirits or characters drawn from village life. Each had his or her special role to play and having acted it withdrew to the secret enclosure or sat on seats at the ringside waiting to repeat his performance. \u201c Jones also writes that this masquerade was \u201c a large concerted display which included characters contributed by all the local societies.\u201d (Jones, 1984, pp.59-60.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71633.GIJ\n\nDescription\n\nGhost police sargent standing with a replica wooden rifle in one hand and a stick in the other. He is dressed in a dark police official\u2019s uniform which consists of a long sleeved dark shirt with buttons and \u2018official\u2019 (sargent) stripes on both sleeves, cropped trousers, and knee socks. Around the waist is a cloth belt in which a truncheon and two pouches are attached. The head is covered with a black knitted face mask with two holes for eyes and a hole for the mouth. The features are accentuated by white border markings above and below the eyes, on top is a cap. In the background are spectators and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 6 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Ghost Police Sargent, Amuobia village (15th image).\n\nContext: Jones provides a detailed description of the various characters in this masquerade which he had observed and photographed in the field, \u201cA performance in the Northern Ibo village of Amobia was opened by a hooded character called \u201cGovernment\u201d. He had no face and was crowned with a Homburg hat; an elephant tusk horn, symbol of authority, was laid on the ground in front of him and he read in ghostly gibberish from an important-looking document. He and his acolyte withdrew and were succeeded by a parade of ghostly policemen and court messengers wearing imitations of police and messenger uniforms and with cloth masks over their faces and head. They performed a spirited guard drill before being posted by their commander to their stations to control the crowd. Their followed a supercilious white-faced sun-helmeted figure in white drill jacket and trousers called Oyibo (White Man), who inspected the audience and then took his seat amongst the places reserved for the distinguished visitors who had come to watch the play. After him came a succession of characters, some white-faced, representing female spirits, some black or multi-coloured fierce and masculine creatures with masks that combined animal and human features; others again, mainly harmless or comic or benign, representing antelopes, or other animal spirits or characters drawn from village life. Each had his or her special role to play and having acted it withdrew to the secret enclosure or sat on seats at the ringside waiting to repeat his performance. \u201c Jones also writes that this masquerade was \u201c a large concerted display which included characters contributed by all the local societies.\u201d (Jones, 1984, pp.59-60.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206283\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71633_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656743_N.71633.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71621.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364892", "metadata": {"title": "Untitled", "idno": "N.71621.GIJ", "description": "Omuko (very old elder) assisted with an attendant. The masked character is wearing a white cloth covering the entire body and face. Attached to the cloth is a wooden mask and placed on top of the head is a white sun helmet. A dark shawl is draped around the shoulders and omuko is holding a long staff with a u-shaped tip. His attendant is holding him and is wearing a cloth, hat, and carrying something on his back. To the left of the photograph is a rounded tripod stool.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 25 of the negative album now numbered C15/.\n\nContext: Jones provides a detailed description of the various characters in this masquerade in Amobia Village which he had observed and photographed in the field, \u201cA performance in the Northern Ibo village of Amobia was opened by a hooded character called \u201cGovernment\u201d. He had no face and was crowned with a Homburg hat; an elephant tusk horn, symbol of authority, was laid on the ground in front of him and he read in ghostly gibberish from an important-looking document. He and his acolyte withdrew and were succeeded by a parade of ghostly policemen and court messengers wearing imitations of police and messenger uniforms and with cloth masks over their faces and head. They performed a spirited guard drill before being posted by their commander to their stations to control the crowd. Their followed a supercilious white-faced sun-helmeted figure in white drill jacket and trousers called Oyibo (White Man), who inspected the audience and then took his seat amongst the places reserved for the distinguished visitors who had come to watch the play. After him came a succession of characters, some white-faced, representing female spirits, some black or multi-coloured fierce and masculine creatures with masks that combined animal and human features; others again, mainly harmless or comic or benign, representing antelopes, or other animal spirits or characters drawn from village life. Each had his or her special role to play and having acted it withdrew to the secret enclosure or sat on seats at the ringside waiting to repeat his performance. \u201c Jones also writes that this masquerade was \u201c a large concerted display which included characters contributed by all the local societies.\u201d (Jones, 1984, pp.59-60.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71621.GIJ\n\nDescription\n\nOmuko (very old elder) assisted with an attendant. The masked character is wearing a white cloth covering the entire body and face. Attached to the cloth is a wooden mask and placed on top of the head is a white sun helmet. A dark shawl is draped around the shoulders and omuko is holding a long staff with a u-shaped tip. His attendant is holding him and is wearing a cloth, hat, and carrying something on his back. To the left of the photograph is a rounded tripod stool.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 25 of the negative album now numbered C15/.\n\nContext: Jones provides a detailed description of the various characters in this masquerade in Amobia Village which he had observed and photographed in the field, \u201cA performance in the Northern Ibo village of Amobia was opened by a hooded character called \u201cGovernment\u201d. He had no face and was crowned with a Homburg hat; an elephant tusk horn, symbol of authority, was laid on the ground in front of him and he read in ghostly gibberish from an important-looking document. He and his acolyte withdrew and were succeeded by a parade of ghostly policemen and court messengers wearing imitations of police and messenger uniforms and with cloth masks over their faces and head. They performed a spirited guard drill before being posted by their commander to their stations to control the crowd. Their followed a supercilious white-faced sun-helmeted figure in white drill jacket and trousers called Oyibo (White Man), who inspected the audience and then took his seat amongst the places reserved for the distinguished visitors who had come to watch the play. After him came a succession of characters, some white-faced, representing female spirits, some black or multi-coloured fierce and masculine creatures with masks that combined animal and human features; others again, mainly harmless or comic or benign, representing antelopes, or other animal spirits or characters drawn from village life. Each had his or her special role to play and having acted it withdrew to the secret enclosure or sat on seats at the ringside waiting to repeat his performance. \u201c Jones also writes that this masquerade was \u201c a large concerted display which included characters contributed by all the local societies.\u201d (Jones, 1984, pp.59-60.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206271\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71621_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656732_N.71621.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169655.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463649", "metadata": {"title": "Untitled", "idno": "P.169655.GIJ", "description": "Nwa Ekpo, A boy\u2019s masquerade. The masquerader is wearing a dark mask painted with white markings that accentuate the top of the head, eyes, nose, mouth and ears. On top of the mask is raffia \u201chair\u201d. The masquerader is wearing a dark woven costume with pieces of raffia tied to the waist. In the background are young boys, one of whom is sitting and playing a pot drum. There is a man in the right wearing a wrapper around his waist. [Description from record P.71579.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169655.GIJ\n\nDescription\n\nNwa Ekpo, A boy\u2019s masquerade. The masquerader is wearing a dark mask painted with white markings that accentuate the top of the head, eyes, nose, mouth and ears. On top of the mask is raffia \u201chair\u201d. The masquerader is wearing a dark woven costume with pieces of raffia tied to the waist. In the background are young boys, one of whom is sitting and playing a pot drum. There is a man in the right wearing a wrapper around his waist. [Description from record P.71579.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\n\nFM:310142\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169655_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127409_P.169655.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.169725.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463734", "metadata": {"title": "Untitled", "idno": "P.169725.GIJ", "description": "Half-length portrait of a man. There is a sheet of material behind the man. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169725.GIJ\n\nDescription\n\nHalf-length portrait of a man. There is a sheet of material behind the man. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310212\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169725_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127544_P.169725.GIJ_001.png"}, {"file_name": "P_169725_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127545_P.169725.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.7051.ACH1", "source_url": "https://collections.maa.cam.ac.uk/photographs/300323", "metadata": {"title": "Untitled", "idno": "P.7051.ACH1", "description": "On Catalogue Card: Ekoi people. No. 21 side face from a village farther N. than the others. He is in a yam stack.", "place": "W Africa; Nigeria; south eastern Nigeria", "cultural_affliation": "Ekoi", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Mounted Haddon Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "", "raw_text_dump": "IDNO\n\nP.7051.ACH1\n\nDescription\n\nOn Catalogue Card: Ekoi people. No. 21 side face from a village farther N. than the others. He is in a yam stack.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria\n\nCultural Affliation\n\nEkoi\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nMounted Haddon Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nFM:141701\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_7051_ACH1_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/866774_P.7051.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71871.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365142", "metadata": {"title": "Untitled", "idno": "N.71871.GIJ", "description": "The interior of an Obu House with the close up view of two figures and a wooden slit drum. The figure on the left has an abstract face which is elongated and mounted on a rounded plate behind; the upper torso depicts rounded shoulders, a protruding umbilicus, clenched hands, and the legs are bent at the knees with squarish feet with incised markings. The figure is painted in different colours and patterned designs. The figure on the right is more human-like and the face is rounded with a crested headdress, the upper torso depicts rounded shoulders, clenched fists with an object in one hand, bent knees and round anklets. The drum is hanging on the wall and hollowed wooden sculpture.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 46 of the negative album now numbered C19/.\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]", "raw_text_dump": "IDNO\n\nN.71871.GIJ\n\nDescription\n\nThe interior of an Obu House with the close up view of two figures and a wooden slit drum. The figure on the left has an abstract face which is elongated and mounted on a rounded plate behind; the upper torso depicts rounded shoulders, a protruding umbilicus, clenched hands, and the legs are bent at the knees with squarish feet with incised markings. The figure is painted in different colours and patterned designs. The figure on the right is more human-like and the face is rounded with a crested headdress, the upper torso depicts rounded shoulders, clenched fists with an object in one hand, bent knees and round anklets. The drum is hanging on the wall and hollowed wooden sculpture.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 46 of the negative album now numbered C19/.\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\n\nFM:206521\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71871_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656962_N.71871.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71792.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365063", "metadata": {"title": "Untitled", "idno": "N.71792.GIJ", "description": "A man wearing a wooden mask with two curved designs or protrusions emanating from the top inwards to the centre. The face of the mask is oval shaped and there is a squarish defined areas for the forehead with incised marking in the centre, slit eyes with overhanging eyebrows, two keloid markings on either side of the eyes, a long nose, and a raised geometric incised mouth in a square shape. The mask has been decorated with white chalk or paint which defines some of the facial features and the two curved/curled projections. The man is wearing a woven cloth around his head and covering his upper torso. It appears the photograph was taken inside a building.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Alayi", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 7 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Alayi Igbo (Isu-Ikem)\n3. Mask Ugwu Eke village (5th image).\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Alayi Igbo (Isu-Ikem)\n3. Mask Ugwu Eke village (4th image).\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]", "raw_text_dump": "IDNO\n\nN.71792.GIJ\n\nDescription\n\nA man wearing a wooden mask with two curved designs or protrusions emanating from the top inwards to the centre. The face of the mask is oval shaped and there is a squarish defined areas for the forehead with incised marking in the centre, slit eyes with overhanging eyebrows, two keloid markings on either side of the eyes, a long nose, and a raised geometric incised mouth in a square shape. The mask has been decorated with white chalk or paint which defines some of the facial features and the two curved/curled projections. The man is wearing a woven cloth around his head and covering his upper torso. It appears the photograph was taken inside a building.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Alayi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 7 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Alayi Igbo (Isu-Ikem)\n3. Mask Ugwu Eke village (5th image).\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Alayi Igbo (Isu-Ikem)\n3. Mask Ugwu Eke village (4th image).\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]\n\n\nFM:206442\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71792_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656889_N.71792.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.170261.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464322", "metadata": {"title": "Untitled", "idno": "P.170261.GIJ", "description": "A carved wooden Ekpo face mask. The face has a protruding forehead, almond shaped holes for eyes, nose, open mouth with two teeth, ears with serrated pattern of scarification along inner edge, two small pointed designs on forehead, and a tear-shaped protruding decoration in centre of forehead. [Description from record N.13201.GIJ, PB 03/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.", "raw_text_dump": "IDNO\n\nP.170261.GIJ\n\nDescription\n\nA carved wooden Ekpo face mask. The face has a protruding forehead, almond shaped holes for eyes, nose, open mouth with two teeth, ears with serrated pattern of scarification along inner edge, two small pointed designs on forehead, and a tear-shaped protruding decoration in centre of forehead. [Description from record N.13201.GIJ, PB 03/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.\n\nFM:310819\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170261_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131687_P.170261.GIJ_001.png"}, {"file_name": "P_170261_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131688_P.170261.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171258.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465319", "metadata": {"title": "Untitled", "idno": "P.171258.GIJ", "description": "A close up head and shoulders portrait of a masquerade character Anumbii (horned beast) masquerader sitting down in front of a mud wall. The mask has four long inward curving and two straight horns decorated with lines and notches, highlighted with light pigment. Sharp spikes stick out from the sides of the mask. From the centre of the curved hair ridge, a narrow hose-like nose ends in a flat snout. The forehead has raised dots highlighted with light pigment. The eyebrows are moulded clay from which thick grass eyelashes hang. The mouth is wide open with several long sharp teeth. On each side of the mask hangs a braided cotton cord of different colours. The base of the mask is fringed with grass over the masquerader's bare shoulders. [PB 12/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra state; Awka North; Achalla", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767182.GIJ - P.767184.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171258.GIJ\n\nDescription\n\nA close up head and shoulders portrait of a masquerade character Anumbii (horned beast) masquerader sitting down in front of a mud wall. The mask has four long inward curving and two straight horns decorated with lines and notches, highlighted with light pigment. Sharp spikes stick out from the sides of the mask. From the centre of the curved hair ridge, a narrow hose-like nose ends in a flat snout. The forehead has raised dots highlighted with light pigment. The eyebrows are moulded clay from which thick grass eyelashes hang. The mouth is wide open with several long sharp teeth. On each side of the mask hangs a braided cotton cord of different colours. The base of the mask is fringed with grass over the masquerader's bare shoulders. [PB 12/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra state; Awka North; Achalla\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767182.GIJ - P.767184.GIJ are mounted together on card.\n\nFM:311949\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171258_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144474_P.171258.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.170115.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464176", "metadata": {"title": "Untitled", "idno": "T.170115.GIJ", "description": "A documentation photograph of an image of an Ekpo face mask. The image is labelled by G.I. Jones as 'Obot Akara' . The mask is unpainted. It is oval in shape with a delineated cap-like head, high forehead with incised line, two scalloped markings and central linear marking in the centre of the forehead, almond shaped eyes defined with upper and lower lids, protruding cheeks, small nose, open mouth with etched teeth (painted white) and large flappy ears. At the top of the mask are two peg like structures on either side. [Description from record N.13155.GIJ, PB 26/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; ?near Abak; ?near Ikot Ekpene", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170115.GIJ\n\nDescription\n\nA documentation photograph of an image of an Ekpo face mask. The image is labelled by G.I. Jones as 'Obot Akara' . The mask is unpainted. It is oval in shape with a delineated cap-like head, high forehead with incised line, two scalloped markings and central linear marking in the centre of the forehead, almond shaped eyes defined with upper and lower lids, protruding cheeks, small nose, open mouth with etched teeth (painted white) and large flappy ears. At the top of the mask are two peg like structures on either side. [Description from record N.13155.GIJ, PB 26/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?near Abak; ?near Ikot Ekpene\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310643\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170115_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128353_T.170115.GIJ_001.png"}, {"file_name": "T_170115_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128354_T.170115.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169816.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463825", "metadata": {"title": "Untitled", "idno": "P.169816.GIJ", "description": "A group of men playing in a band. They are playing the igba (membrane drums) which are carved from wood and covered with animal skin); two of the longer drums are attached to shoulder straps. The men are playing the drums with their hands. One man (second from left) appears to be holding an ogene (gong). The clothing of the band members varies from loin cloths, shorts, wrappers, and smocks. In the background are trees. [Description from record N.71615.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River area", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169804.GIJ - P.169819.GIJ were located in an blue Seltona envelope now numbered C754/9/.", "raw_text_dump": "IDNO\n\nP.169816.GIJ\n\nDescription\n\nA group of men playing in a band. They are playing the igba (membrane drums) which are carved from wood and covered with animal skin); two of the longer drums are attached to shoulder straps. The men are playing the drums with their hands. One man (second from left) appears to be holding an ogene (gong). The clothing of the band members varies from loin cloths, shorts, wrappers, and smocks. In the background are trees. [Description from record N.71615.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River area\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169804.GIJ - P.169819.GIJ were located in an blue Seltona envelope now numbered C754/9/.\n\nFM:310303\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169816_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127713_P.169816.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.170234.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464295", "metadata": {"title": "Untitled", "idno": "P.170234.GIJ", "description": "A documentation photograph in side profile of a wooden face mask combining human and animal features. The mask has bulbous cheeks, a short pointed nose, a pointed tongue, and large eyeholes. Two short tusks painted white are on each side of the mouth. The mask is supported by a stick held between two stones, and has netting and strings attached. [PB 02/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Akwa Ibom State; Nto Edino", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170232.GIJ - P.170243.GIJ were located in a brown envelope, now numbered C759/1.", "raw_text_dump": "IDNO\n\nP.170234.GIJ\n\nDescription\n\nA documentation photograph in side profile of a wooden face mask combining human and animal features. The mask has bulbous cheeks, a short pointed nose, a pointed tongue, and large eyeholes. Two short tusks painted white are on each side of the mouth. The mask is supported by a stick held between two stones, and has netting and strings attached. [PB 02/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Akwa Ibom State; Nto Edino\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170232.GIJ - P.170243.GIJ were located in a brown envelope, now numbered C759/1.\n\nFM:310792\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170234_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131568_P.170234.GIJ_001.png"}, {"file_name": "P_170234_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131569_P.170234.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.7048.ACH1", "source_url": "https://collections.maa.cam.ac.uk/photographs/300320", "metadata": {"title": "Untitled", "idno": "P.7048.ACH1", "description": "On Catalogue Card: Native of Ekong.", "place": "W Africa; Nigeria; south eastern Nigeria; Ekong", "cultural_affliation": "", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Mounted Haddon Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "", "raw_text_dump": "IDNO\n\nP.7048.ACH1\n\nDescription\n\nOn Catalogue Card: Native of Ekong.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; Ekong\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nMounted Haddon Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nFM:141698\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_7048_ACH1_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/866771_P.7048.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13170.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306442", "metadata": {"title": "Untitled", "idno": "N.13170.GIJ", "description": "An Ibibio mask rectangular in shape and in \u201canimal form\u201d representing a buffalo.The mask has large round eyes, lower lids, pointed snout like nose and moveable lower jaw. Ohter distinguishing features include a braided design around the forehead, two curled horns, and rectangular keloid markings on the side. The mask has raffia attached to the back with rough woven cloth around the base of the mask.", "place": "W Africa; Nigeria; South Eastern Nigeria; Abak division", "cultural_affliation": "Anang; Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image in Jones, 1984, P.179, Plate 88 with the caption, \u201cMask representing a buffalo\u201d.\n\nContext: The Ibibio ekpo characters were said to be spirits from the surrounding area (or water), brought to the village during masquerades by members of the society that ministers to them. See Jones.G.I. 1989: 33-34\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio., though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nAkpan, J. 1994. \u201cEkpo Society Masks of the Ibibio\u201d. African Arts, Vol. XXVII, No.4, pp.. 48-53.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]", "raw_text_dump": "IDNO\n\nN.13170.GIJ\n\nDescription\n\nAn Ibibio mask rectangular in shape and in \u201canimal form\u201d representing a buffalo.The mask has large round eyes, lower lids, pointed snout like nose and moveable lower jaw. Ohter distinguishing features include a braided design around the forehead, two curled horns, and rectangular keloid markings on the side. The mask has raffia attached to the back with rough woven cloth around the base of the mask.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Abak division\n\nCultural Affliation\n\nAnang; Ibibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image in Jones, 1984, P.179, Plate 88 with the caption, \u201cMask representing a buffalo\u201d.\n\nContext: The Ibibio ekpo characters were said to be spirits from the surrounding area (or water), brought to the village during masquerades by members of the society that ministers to them. See Jones.G.I. 1989: 33-34\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio., though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nAkpan, J. 1994. \u201cEkpo Society Masks of the Ibibio\u201d. African Arts, Vol. XXVII, No.4, pp.. 48-53.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]\n\nFM:147820\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13170_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000432_N.13170.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.169823.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463832", "metadata": {"title": "Untitled", "idno": "P.169823.GIJ", "description": "The carcass of a leopard hanging from a tree. There is are many people crowded below the tree, with the roof of a building to the left. [PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169822.GIJ - P.169904.GIJ were located in an brown envelope now numbered C754/11/.", "raw_text_dump": "IDNO\n\nP.169823.GIJ\n\nDescription\n\nThe carcass of a leopard hanging from a tree. There is are many people crowded below the tree, with the roof of a building to the left. [PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169822.GIJ - P.169904.GIJ were located in an brown envelope now numbered C754/11/.\n\nFM:310310\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169823_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127724_P.169823.GIJ_001.png"}, {"file_name": "P_169823_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127725_P.169823.GIJ_002.png"}, {"file_name": "P_169823_GIJ_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127726_P.169823.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.170266.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464327", "metadata": {"title": "Untitled", "idno": "P.170266.GIJ", "description": "An Ibibio mask carved of wood. The mask depicts a human face and is angular in shape. The eyes are slit, long nose, open mouth with teeth, high cheekbones, large eliptical ears, and incised markings around the ears and chin. Around the forehead is a piece of twine and on top of the head is a square caved section representing the hair? It is made of highly polished darkened wood. [Description from record N.13150.GIJ, PB 03/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene; ?Ikot Abia village", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.", "raw_text_dump": "IDNO\n\nP.170266.GIJ\n\nDescription\n\nAn Ibibio mask carved of wood. The mask depicts a human face and is angular in shape. The eyes are slit, long nose, open mouth with teeth, high cheekbones, large eliptical ears, and incised markings around the ears and chin. Around the forehead is a piece of twine and on top of the head is a square caved section representing the hair? It is made of highly polished darkened wood. [Description from record N.13150.GIJ, PB 03/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene; ?Ikot Abia village\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.\n\nFM:310824\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170266_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131697_P.170266.GIJ_001.png"}, {"file_name": "P_170266_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131698_P.170266.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169779.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463788", "metadata": {"title": "Untitled", "idno": "P.169779.GIJ", "description": "A man paddling a canoe on a river. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169771.GIJ - P.169779.GIJ were located in an brown envelope now numbered C754/6/.", "raw_text_dump": "IDNO\n\nP.169779.GIJ\n\nDescription\n\nA man paddling a canoe on a river. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169771.GIJ - P.169779.GIJ were located in an brown envelope now numbered C754/6/.\n\nFM:310266\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169779_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127652_P.169779.GIJ_001.png"}, {"file_name": "P_169779_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127653_P.169779.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71331.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364602", "metadata": {"title": "Untitled", "idno": "N.71331.GIJ", "description": "A side view of a masquerader dancing in an Ikem Play. The mask consists of a naturalistic female face that depicts inset eyes, arched black eyebrows, nose, open painted mouth and ears. The hairstyle is an elaborate coiffure painted black and consisting of three elongated braids that project upward and outward in bold curves from the top of the head. The face is varnished. Around the upper body is square shaped form that is covered in a light cloth. The masquerader is wearing trousers and several pieces of plaid cloth around the waist and seed anklets. He is holding a decorated stick in one hand. Next to him are the attendants dressed in white shirts and plaid wrappers. In the background are spectators and thatch and mud buildings.", "place": "W Africa; Nigeria; South Eastern Nigeria; Umuahia", "cultural_affliation": "Ibibio", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 81 of the negative album now numbered C21/.\n\nPublication: Same mask in Jones, 1984, p. 185, Figure 93 with the caption, \u201cModern Anang mask\u201d.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ibibio, Ijo and Ogoni\n2. Ibibio\n3. Ikem Masquerade (6th image).\n\nContext: Jones writes about the Cross River Style and the Modern Anang (Ibibio) style . He notes, \u201cThe Cross River masquerade called Ikem spread from Old Calabar to the Ibibio country in the early decades of the twentieth century and Anang carvers were producing by the 1930s, if not well before this, skin-covered heads in this style equal to the best that had been made in Ejagham country and in Old Calabar. There were certain minor differences that distinguished these Anang heads, the most obvious being their drooping upper eyelids. The Ikem masquerade and heads in this modified Cross River diffused into the Umuahia area and as far north as Ozu Item. But the Ikem masquerade seems to have inspired the Akang to produce similar masquerades and their own variant of these heads in what was locally held to be a completely naturalistic style. The hair, eyes and lips were painted in natural colours and in place of the covering of skin the face and neck were painted with clear varnish(as in the photograph). The associated masquerade, which received different names in different areas, was spread widely to their Ibibio and Ibo neighbours. During the colonial period there was an increasing demand for Anang sculpture but primarily for masks, heads and figures in this modern naturalistic style. For it was a very successful compromise between the Traditional Anang (Ibibio) and the \u2018traditional European\u2019 style, meaning by the latter term Victorian naturalism and the classical Greek sculpture which inspired it. Europeans bought this sculpture because it looked sufficiently African but not too African. Nigerians bought it because it looked sufficiently modern and European. In response to this demand Anang carvers developed a minor local industry in the Ikot Ekpene district mass-producing inferior masks, heads, and dolls. The inferiority was due primarily for the buyers\u2019 reluctance to pay for something better (Jones, 1984, pp. 184-185).\u201d\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nExhibition: Digital reproduction of photograph exhibited in \u2018Afrique, mille vies d\u2019objects / Africa, a thousand lives of objects\u2019 at Mus\u00e9e de Confluences, Lyon, France, from June 2023 \u2013 February 2024. See www.museedesconfluences.fr/en. [JD 25/01/2023]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 16/1/2008]", "raw_text_dump": "IDNO\n\nN.71331.GIJ\n\nDescription\n\nA side view of a masquerader dancing in an Ikem Play. The mask consists of a naturalistic female face that depicts inset eyes, arched black eyebrows, nose, open painted mouth and ears. The hairstyle is an elaborate coiffure painted black and consisting of three elongated braids that project upward and outward in bold curves from the top of the head. The face is varnished. Around the upper body is square shaped form that is covered in a light cloth. The masquerader is wearing trousers and several pieces of plaid cloth around the waist and seed anklets. He is holding a decorated stick in one hand. Next to him are the attendants dressed in white shirts and plaid wrappers. In the background are spectators and thatch and mud buildings.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Umuahia\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 81 of the negative album now numbered C21/.\n\nPublication: Same mask in Jones, 1984, p. 185, Figure 93 with the caption, \u201cModern Anang mask\u201d.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ibibio, Ijo and Ogoni\n2. Ibibio\n3. Ikem Masquerade (6th image).\n\nContext: Jones writes about the Cross River Style and the Modern Anang (Ibibio) style . He notes, \u201cThe Cross River masquerade called Ikem spread from Old Calabar to the Ibibio country in the early decades of the twentieth century and Anang carvers were producing by the 1930s, if not well before this, skin-covered heads in this style equal to the best that had been made in Ejagham country and in Old Calabar. There were certain minor differences that distinguished these Anang heads, the most obvious being their drooping upper eyelids. The Ikem masquerade and heads in this modified Cross River diffused into the Umuahia area and as far north as Ozu Item. But the Ikem masquerade seems to have inspired the Akang to produce similar masquerades and their own variant of these heads in what was locally held to be a completely naturalistic style. The hair, eyes and lips were painted in natural colours and in place of the covering of skin the face and neck were painted with clear varnish(as in the photograph). The associated masquerade, which received different names in different areas, was spread widely to their Ibibio and Ibo neighbours. During the colonial period there was an increasing demand for Anang sculpture but primarily for masks, heads and figures in this modern naturalistic style. For it was a very successful compromise between the Traditional Anang (Ibibio) and the \u2018traditional European\u2019 style, meaning by the latter term Victorian naturalism and the classical Greek sculpture which inspired it. Europeans bought this sculpture because it looked sufficiently African but not too African. Nigerians bought it because it looked sufficiently modern and European. In response to this demand Anang carvers developed a minor local industry in the Ikot Ekpene district mass-producing inferior masks, heads, and dolls. The inferiority was due primarily for the buyers\u2019 reluctance to pay for something better (Jones, 1984, pp. 184-185).\u201d\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nExhibition: Digital reproduction of photograph exhibited in \u2018Afrique, mille vies d\u2019objects / Africa, a thousand lives of objects\u2019 at Mus\u00e9e de Confluences, Lyon, France, from June 2023 \u2013 February 2024. See www.museedesconfluences.fr/en. [JD 25/01/2023]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 16/1/2008]\n\nFM:205981\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71331_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656560_N.71331.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171271.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465332", "metadata": {"title": "Untitled", "idno": "P.171271.GIJ", "description": "An object documentation photograph of a ceremonial board staff, standing against a mud wall. The staff has ornate carvings above a long flat peg-like handle on which metal sanza plates are attached. The carvings consist of two leopards supporting a head with long inward-curving horns. On either side two human figures face outwards and support another human figure which lies horizontally at the top of the staff. [PB 15/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767193.GIJ - P.767195.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171271.GIJ\n\nDescription\n\nAn object documentation photograph of a ceremonial board staff, standing against a mud wall. The staff has ornate carvings above a long flat peg-like handle on which metal sanza plates are attached. The carvings consist of two leopards supporting a head with long inward-curving horns. On either side two human figures face outwards and support another human figure which lies horizontally at the top of the staff. [PB 15/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767193.GIJ - P.767195.GIJ are mounted together on card.\n\nFM:311962\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171271_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144487_P.171271.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171550.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465611", "metadata": {"title": "Untitled", "idno": "P.171550.GIJ", "description": "A large carved wooden face mask of a monkey character Oputu for the Owu masquerade, being held by a person sitting on a chair. The mask is as tall and wide as the person's torso. It has a bulbous forehead, large circular ears that jut out sideways, a prominent nose, heavy eyelids over narrow eye slits, and a prognathic jaw. There is a stripe of light pigment painted from the top of the herd down to the tip of the nose, and row of poladots indicating the hairline. [PB 22/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Ogba; Akabuka", "cultural_affliation": "Igbo [historically Ibo]; Oba", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171550.GIJ to P.171552.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171550.GIJ\n\nDescription\n\nA large carved wooden face mask of a monkey character Oputu for the Owu masquerade, being held by a person sitting on a chair. The mask is as tall and wide as the person's torso. It has a bulbous forehead, large circular ears that jut out sideways, a prominent nose, heavy eyelids over narrow eye slits, and a prognathic jaw. There is a stripe of light pigment painted from the top of the herd down to the tip of the nose, and row of poladots indicating the hairline. [PB 22/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ogba; Akabuka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oba\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171550.GIJ to P.171552.GIJ are mounted on card.\n\nFM:312270\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171550_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144794_P.171550.GIJ_001.jpg"}, {"file_name": "P_171550_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144795_P.171550.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171573.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465634", "metadata": {"title": "Untitled", "idno": "P.171573.GIJ", "description": "A documentation photograph of a face mask of an animal character. The mask is oval shaped. Features are painted in a dark pigment onto the white background, including various marks and geometric shapes. The mouth is small and round with teeth. There are two rounded horns projecting from the top of the mask. There are letters painted onto the forehead below the hairline, including 'OMARIRI ...TOTOTO'. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Ulakwo", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171572.GIJ and P.171573.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171573.GIJ\n\nDescription\n\nA documentation photograph of a face mask of an animal character. The mask is oval shaped. Features are painted in a dark pigment onto the white background, including various marks and geometric shapes. The mouth is small and round with teeth. There are two rounded horns projecting from the top of the mask. There are letters painted onto the forehead below the hairline, including 'OMARIRI ...TOTOTO'. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Ulakwo\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171572.GIJ and P.171573.GIJ are mounted on card.\n\nFM:312293\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171573_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144841_P.171573.GIJ_001.jpg"}, {"file_name": "P_171573_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144842_P.171573.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13251.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306523", "metadata": {"title": "Untitled", "idno": "N.13251.GIJ", "description": "Obugulu Mau (Ghost) masquerade.\nA close up portrait of a masquerader identified as Nawbogho Ehi (Heifer) wearing a carved wooden helmet mask with a curved crest, the face of the mask is white with black paint to accentuate the eyes, nose, mouth and facial markings and divided into four diagonals; a cloth scarf is tied around the neck, and a brightly coloured harlequin-like costume. There are male spectators in the background.", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "Nagbogho Ehi ( Heifer )", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: This image has been reproduced as a postcard by the University of Cambridge Museum of Archaeology and Anthropology, captioned as follows:\n\u201cNigerian Art\nIbo Masquerades\nNo. 5: Northern Ibo. Isu Ochi Tribe. \u2018Mau\u2019 Masquerade.\nMask called \u2018Nwabogho Ehi\u2019.\u201d [JD 11/6/2010]\n\nPublication: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe\nFame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13251.GIJ\n\nDescription\n\nObugulu Mau (Ghost) masquerade.\nA close up portrait of a masquerader identified as Nawbogho Ehi (Heifer) wearing a carved wooden helmet mask with a curved crest, the face of the mask is white with black paint to accentuate the eyes, nose, mouth and facial markings and divided into four diagonals; a cloth scarf is tied around the neck, and a brightly coloured harlequin-like costume. There are male spectators in the background.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nNagbogho Ehi ( Heifer )\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: This image has been reproduced as a postcard by the University of Cambridge Museum of Archaeology and Anthropology, captioned as follows:\n\u201cNigerian Art\nIbo Masquerades\nNo. 5: Northern Ibo. Isu Ochi Tribe. \u2018Mau\u2019 Masquerade.\nMask called \u2018Nwabogho Ehi\u2019.\u201d [JD 11/6/2010]\n\nPublication: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe\nFame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147901\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13251_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000514_N.13251.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13248.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306520", "metadata": {"title": "Untitled", "idno": "N.13248.GIJ", "description": "Obugulu Mau (Ghost) masquerade.\n\nIro Ekpetu (\u2018Merciless\u2019), the masquerader, wears a fierce-looking black carved mask (darkened, with white? painted eyes, pointed nose, and protruding teeth painted ?white), and a raffia hairpiece, a cloth top and trousers, and a raffia skirt. The masquerader is holding up the left arm and holding a stick in the right hand. Behind the masquerader are two mud huts, a walled area trees and vegetation.", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isu Ochi", "named_person": "Iro Ekpetu; Merciless [names of mask character]", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: Jones describes a masquerade performance in Amobia in which there were many different characters and one of the masqueraders was a black fierce and masculine creature with masks that combined animal and human features (p.59).\n\nAniakor and Cole discuss the differences between beauty and beast; good and bad etc..\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 17/10/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13248.GIJ\n\nDescription\n\nObugulu Mau (Ghost) masquerade.\n\nIro Ekpetu (\u2018Merciless\u2019), the masquerader, wears a fierce-looking black carved mask (darkened, with white? painted eyes, pointed nose, and protruding teeth painted ?white), and a raffia hairpiece, a cloth top and trousers, and a raffia skirt. The masquerader is holding up the left arm and holding a stick in the right hand. Behind the masquerader are two mud huts, a walled area trees and vegetation.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isu Ochi\n\nNamed Person\n\nIro Ekpetu; Merciless [names of mask character]\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: Jones describes a masquerade performance in Amobia in which there were many different characters and one of the masqueraders was a black fierce and masculine creature with masks that combined animal and human features (p.59).\n\nAniakor and Cole discuss the differences between beauty and beast; good and bad etc..\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 17/10/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147898\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13248_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000511_N.13248.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171587.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465648", "metadata": {"title": "Untitled", "idno": "P.171587.GIJ", "description": "A documentation photograph of the head of an ekwe drum. The head is carved as a janus head with four faces at right angles. The shoulders and arm are detailed, and the sound hole can be seen. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Orogwe", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171586.GIJ and P.171587.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171587.GIJ\n\nDescription\n\nA documentation photograph of the head of an ekwe drum. The head is carved as a janus head with four faces at right angles. The shoulders and arm are detailed, and the sound hole can be seen. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Orogwe\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171586.GIJ and P.171587.GIJ are mounted on card.\n\nFM:312307\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171587_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144869_P.171587.GIJ_001.jpg"}, {"file_name": "P_171587_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144870_P.171587.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.7040.ACH1", "source_url": "https://collections.maa.cam.ac.uk/photographs/300312", "metadata": {"title": "Untitled", "idno": "P.7040.ACH1", "description": "On Catalogue Card: Central \u201cmedicine\u201d of town, \u201cndem avam\u201d, Ekong. Borders of Ekoi and Efik country.", "place": "W Africa; Nigeria; south eastern Nigeria", "cultural_affliation": "Efik; Ekoi", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Mounted Haddon Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "", "raw_text_dump": "IDNO\n\nP.7040.ACH1\n\nDescription\n\nOn Catalogue Card: Central \u201cmedicine\u201d of town, \u201cndem avam\u201d, Ekong. Borders of Ekoi and Efik country.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria\n\nCultural Affliation\n\nEfik; Ekoi\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nMounted Haddon Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nFM:141690\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_7040_ACH1_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/866763_P.7040.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13327.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306599", "metadata": {"title": "Untitled", "idno": "N.13327.GIJ", "description": "A mau (ghost) face mask painted white with black. The wooden mask is oval shaped with slit eyed, elongated nose, open mouth with teeth, and ears. The mask is accentuated with black painted triangular shaped designs with incised markings above and below the eyes. In the centre of the forehead is a dotted line crossed in the centre. The holes for attaching the mask are visible", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "Prior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) (Jones, 1984)\n\nContext: In reference to this photograph Jones describes the markings as representations of these facial scars can easily be confused with the circles, crosses and other simple figures that were painted on peple and reproduced on their carvings. The most striking of these are the curved triangles stretched diagonally across the cheeks and foreheads of many of the Nri Akwa Ibo white faced masks (Jones, 1989, p.18)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]", "raw_text_dump": "IDNO\n\nN.13327.GIJ\n\nDescription\n\nA mau (ghost) face mask painted white with black. The wooden mask is oval shaped with slit eyed, elongated nose, open mouth with teeth, and ears. The mask is accentuated with black painted triangular shaped designs with incised markings above and below the eyes. In the centre of the forehead is a dotted line crossed in the centre. The holes for attaching the mask are visible\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPrior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) (Jones, 1984)\n\nContext: In reference to this photograph Jones describes the markings as representations of these facial scars can easily be confused with the circles, crosses and other simple figures that were painted on peple and reproduced on their carvings. The most striking of these are the curved triangles stretched diagonally across the cheeks and foreheads of many of the Nri Akwa Ibo white faced masks (Jones, 1989, p.18)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]\n\nFM:147977\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13327_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000590_N.13327.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171305.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465366", "metadata": {"title": "Untitled", "idno": "P.171305.GIJ", "description": "Agu Necheni (lion-elephant) or Mgbedike masquerade in which the masquerader is dressed in a bulky fibrous quill studded costume with a large, wooden mask standing in front of a barrier?/fence? The mask is comprised of large, curved horns and in between the horns is a carved figure also adorned with horns. The \u2018face\u2019 of the mask shows bulging eyes encircled in white? paint, long triangular nose, and oversized mouth with large teeth. In the background are bystanders, huts, and trees. [Description from record N.71564.GIJ, PB 30/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767228.GIJ and P.767230.GIJ are mounted together on paper.", "raw_text_dump": "IDNO\n\nP.171305.GIJ\n\nDescription\n\nAgu Necheni (lion-elephant) or Mgbedike masquerade in which the masquerader is dressed in a bulky fibrous quill studded costume with a large, wooden mask standing in front of a barrier?/fence? The mask is comprised of large, curved horns and in between the horns is a carved figure also adorned with horns. The \u2018face\u2019 of the mask shows bulging eyes encircled in white? paint, long triangular nose, and oversized mouth with large teeth. In the background are bystanders, huts, and trees. [Description from record N.71564.GIJ, PB 30/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767228.GIJ and P.767230.GIJ are mounted together on paper.\n\nFM:311996\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171305_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144521_P.171305.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169635.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463611", "metadata": {"title": "Untitled", "idno": "P.169635.GIJ", "description": "Rumuji Owu play, the character is Abam (one who has visited places and learnt things) and the figure represents a fierce fish spirit. The headpiece is a long horizontal carved piece with a pointed head depicting sharp incised teeth, round eyes, and fins on the sides and top. The headpiece is painted in different colours. On top of the carving is a square cloth panel (like a sail) that has four pieces of cloth sewn in the centre. The masquerader is draped in block printed cotton cloth. In the background are spectators. [Description from record N.74264.GIJ, PB 01/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Ikwerri", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.", "raw_text_dump": "IDNO\n\nP.169635.GIJ\n\nDescription\n\nRumuji Owu play, the character is Abam (one who has visited places and learnt things) and the figure represents a fierce fish spirit. The headpiece is a long horizontal carved piece with a pointed head depicting sharp incised teeth, round eyes, and fins on the sides and top. The headpiece is painted in different colours. On top of the carving is a square cloth panel (like a sail) that has four pieces of cloth sewn in the centre. The masquerader is draped in block printed cotton cloth. In the background are spectators. [Description from record N.74264.GIJ, PB 01/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ikwerri\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nFM:310122\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169635_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127338_P.169635.GIJ_001.png"}, {"file_name": "P_169635_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127339_P.169635.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71859.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365130", "metadata": {"title": "Untitled", "idno": "N.71859.GIJ", "description": "The interior of an Obu House showing a male elder sitting on a bench and with four Obu house carvings behind him. The man is dressed in a jacket, shirt, plaid wrapper and has a cloth thrown over his shoulder. He is wearing bracelets around his wrists. The four figures in the background are very stylised, with elongated upper torso, and painted in dark and light colours. The figure on the left is standing upright and wearing a tall coiffure; the second figure is standing and holding a staff in the centre and wearing a hat; the third figure is female and is holding a pot on top of her head; the fourth is male and is holding a machete in one hand and a head in the other. Behind the carvings, is a bamboo panel with raffia, possibly a shrine?", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 63 of the negative album now numbered C19/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. Chief in Obu house Abiriba. (7th image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nExhibition: Digital reproduction of photograph exhibited in \u2018Afrique, mille vies d\u2019objects / Africa, a thousand lives of objects\u2019 at Mus\u00e9e de Confluences, Lyon, France, from June 2023 \u2013 February 2024. See www.museedesconfluences.fr/en. [JD 25/01/2023]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]", "raw_text_dump": "IDNO\n\nN.71859.GIJ\n\nDescription\n\nThe interior of an Obu House showing a male elder sitting on a bench and with four Obu house carvings behind him. The man is dressed in a jacket, shirt, plaid wrapper and has a cloth thrown over his shoulder. He is wearing bracelets around his wrists. The four figures in the background are very stylised, with elongated upper torso, and painted in dark and light colours. The figure on the left is standing upright and wearing a tall coiffure; the second figure is standing and holding a staff in the centre and wearing a hat; the third figure is female and is holding a pot on top of her head; the fourth is male and is holding a machete in one hand and a head in the other. Behind the carvings, is a bamboo panel with raffia, possibly a shrine?\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 63 of the negative album now numbered C19/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. Chief in Obu house Abiriba. (7th image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nExhibition: Digital reproduction of photograph exhibited in \u2018Afrique, mille vies d\u2019objects / Africa, a thousand lives of objects\u2019 at Mus\u00e9e de Confluences, Lyon, France, from June 2023 \u2013 February 2024. See www.museedesconfluences.fr/en. [JD 25/01/2023]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\nFM:206509\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71859_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656950_N.71859.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13222.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306494", "metadata": {"title": "Untitled", "idno": "N.13222.GIJ", "description": "View of Ekpe (Egbo) society meeting house in Umuajatta (Olokoro) village. The house has a tall thatched roof, and a wall painted by an Anang artist in the style of Ngwomo ghost houses. Surrounded by trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; Umuajatta village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image in Jones, 1984, p.106, Figure 31 with the caption, \u201cMeeting house\u201d.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13222.GIJ\n\nDescription\n\nView of Ekpe (Egbo) society meeting house in Umuajatta (Olokoro) village. The house has a tall thatched roof, and a wall painted by an Anang artist in the style of Ngwomo ghost houses. Surrounded by trees.\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; Umuajatta village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image in Jones, 1984, p.106, Figure 31 with the caption, \u201cMeeting house\u201d.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147872\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13222_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000485_N.13222.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71445.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364716", "metadata": {"title": "Untitled", "idno": "N.71445.GIJ", "description": "A close up view of mural decorations on a wall in Nri Akwa. The murals depict two raised figures in relief. The stylised figure on the left is standing with his long (out of proportion) arms stretched out. The figure has a white painted clothing and body decorations, and his left arm is holding a gun? and is painted in spots. Around his head is white oval circular and designs. On either side of his legs are birds and leaf designs. He is standing on a decorated plinth. The figure on the right is standing and has his arms placed on his hips; his face is painted white and he is also painted with white markings and wearing a medal around his neck. Around the figures are designs, geometric swirled patterns and birds.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "Context: Jones provides a detailed discussion about wall paintings, he writes, \u201c In the brief boom period following the First World War the villages of this tribe were competing against each other in the building of meeting-houses and similar public monuments. The village of Umuajatta (Olokoro) conributed together to build the finest Ekpe (Egbo) society house in the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired an Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace thier Mbaja wall with a permanent one decorated in the same manner. This villag was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument.\u201d PP. 107-108.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]", "raw_text_dump": "IDNO\n\nN.71445.GIJ\n\nDescription\n\nA close up view of mural decorations on a wall in Nri Akwa. The murals depict two raised figures in relief. The stylised figure on the left is standing with his long (out of proportion) arms stretched out. The figure has a white painted clothing and body decorations, and his left arm is holding a gun? and is painted in spots. Around his head is white oval circular and designs. On either side of his legs are birds and leaf designs. He is standing on a decorated plinth. The figure on the right is standing and has his arms placed on his hips; his face is painted white and he is also painted with white markings and wearing a medal around his neck. Around the figures are designs, geometric swirled patterns and birds.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nContext: Jones provides a detailed discussion about wall paintings, he writes, \u201c In the brief boom period following the First World War the villages of this tribe were competing against each other in the building of meeting-houses and similar public monuments. The village of Umuajatta (Olokoro) conributed together to build the finest Ekpe (Egbo) society house in the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired an Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace thier Mbaja wall with a permanent one decorated in the same manner. This villag was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument.\u201d PP. 107-108.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]\n\n\n\nFM:206095\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71445_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656590_N.71445.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171090.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465151", "metadata": {"title": "Untitled", "idno": "P.171090.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nA band of musicians playing various instruments including a pot drum (udu), two small membrane drums. one small iron double gong (ogene), and one whistle. One person is sitting on a wooden chair with a large pot drum perched on his lap. The drum is circular in shape and has twine or rope tied around it. In the right hand corner is a masquerader wearing a cloth top, tights, socks and a raffia skirt. In the background are thatched roofs, trees and vegetation. [Description from record N.13242.GIJ, PB 13/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767013.GIJ - P.767018.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"", "raw_text_dump": "IDNO\n\nP.171090.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nA band of musicians playing various instruments including a pot drum (udu), two small membrane drums. one small iron double gong (ogene), and one whistle. One person is sitting on a wooden chair with a large pot drum perched on his lap. The drum is circular in shape and has twine or rope tied around it. In the right hand corner is a masquerader wearing a cloth top, tights, socks and a raffia skirt. In the background are thatched roofs, trees and vegetation. [Description from record N.13242.GIJ, PB 13/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767013.GIJ - P.767018.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nFM:311781\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171090_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144306_P.171090.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71965.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365236", "metadata": {"title": "Untitled", "idno": "N.71965.GIJ", "description": "Nbanga Ikoro band consisting of a group of small boys sitting on the ground wearing masks on top of their heads; they are playing gongs and clappers.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 33 of the negative album now numbered C17/.\n\nPublication: Same image published in Jones, 1984, p.63. Fig. 13 with the caption, Nbanga Ikoro band.\n\nPublication: Same image published in Jones, 1988, p.60, Fig. 52 with the caption, Ngbangba Ikoro masquerade. Abiriba twon, Cross River Ibo. Masked band.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Small boys chorus Ngbagba Ikoro, Abiriba. (2nd image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71965.GIJ\n\nDescription\n\nNbanga Ikoro band consisting of a group of small boys sitting on the ground wearing masks on top of their heads; they are playing gongs and clappers.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 33 of the negative album now numbered C17/.\n\nPublication: Same image published in Jones, 1984, p.63. Fig. 13 with the caption, Nbanga Ikoro band.\n\nPublication: Same image published in Jones, 1988, p.60, Fig. 52 with the caption, Ngbangba Ikoro masquerade. Abiriba twon, Cross River Ibo. Masked band.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Small boys chorus Ngbagba Ikoro, Abiriba. (2nd image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206615\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71965_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657069_N.71965.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171094.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465155", "metadata": {"title": "Untitled", "idno": "P.171094.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nUdu Ezuo (World Famous) and Iro Ekeptu (Merciless) performing in a masquerade. Udo Ezuo is standing in the foreground, wearing a white (painted in white clay or gypsum?) head-mask to the top of the head attached to a geometric patterned cloth top, striped leggings, raffia skirt, and ankle-rattles. The mask appears to be similar to a female helmet mask, though the face is above the head of the wearer.\nIro Ekpetu is standing behind Udo Ezuo and is wearing a black,fierce face mask, with eyes and teeth painted ?white, raffia hair, cloth tights and top, and a raffia skirt.\nThere are mud and thatch huts, trees, and vegetation in the background.\n[Description from record P.71541.GIJ, PB 13/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767013.GIJ - P.767018.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Udo Ezu (World famous), G.I. Jones writes in the notes: \"A white faced female head with the neck portion expanded and hollowed out so as to fit over the head like a cap. Wearing a loose fitting \"gown\" of imported blue and white patterned cotton cloth with a raffia skirt and white the sleeves and trouser-legs of local \"Yoruba type\" cloth. I did not see her dancing before any band but only mooning about with the other masks. \"\n\nAbout the character Iro Ekpetu (Merciless), G.I. Jones writes in the notes: \"There were two of these fierce masks, black with fang-like teeth, wearing a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia, and carrying a wand or a stick with which to theaten the crowd.\"", "raw_text_dump": "IDNO\n\nP.171094.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nUdu Ezuo (World Famous) and Iro Ekeptu (Merciless) performing in a masquerade. Udo Ezuo is standing in the foreground, wearing a white (painted in white clay or gypsum?) head-mask to the top of the head attached to a geometric patterned cloth top, striped leggings, raffia skirt, and ankle-rattles. The mask appears to be similar to a female helmet mask, though the face is above the head of the wearer.\nIro Ekpetu is standing behind Udo Ezuo and is wearing a black,fierce face mask, with eyes and teeth painted ?white, raffia hair, cloth tights and top, and a raffia skirt.\nThere are mud and thatch huts, trees, and vegetation in the background.\n[Description from record P.71541.GIJ, PB 13/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767013.GIJ - P.767018.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Udo Ezu (World famous), G.I. Jones writes in the notes: \"A white faced female head with the neck portion expanded and hollowed out so as to fit over the head like a cap. Wearing a loose fitting \"gown\" of imported blue and white patterned cotton cloth with a raffia skirt and white the sleeves and trouser-legs of local \"Yoruba type\" cloth. I did not see her dancing before any band but only mooning about with the other masks. \"\n\nAbout the character Iro Ekpetu (Merciless), G.I. Jones writes in the notes: \"There were two of these fierce masks, black with fang-like teeth, wearing a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia, and carrying a wand or a stick with which to theaten the crowd.\"\n\nFM:311785\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171094_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144310_P.171094.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169684.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463693", "metadata": {"title": "Untitled", "idno": "P.169684.GIJ", "description": "A group of human remains, including two skulls and three bones. The remains are lying on open ground on the incline of a grassy slope with small trees in the background. [PB 24/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169680.GIJ - P.169690.GIJ were located in a brown envelope now numbered C754/3/.", "raw_text_dump": "IDNO\n\nP.169684.GIJ\n\nDescription\n\nA group of human remains, including two skulls and three bones. The remains are lying on open ground on the incline of a grassy slope with small trees in the background. [PB 24/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169680.GIJ - P.169690.GIJ were located in a brown envelope now numbered C754/3/.\n\nFM:310171\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169684_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127463_image_not_public.jpg"}, {"file_name": "P_169684_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127464_P.169684.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71969.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365240", "metadata": {"title": "Untitled", "idno": "N.71969.GIJ", "description": "A samll boy with Ajonku Ngbagba Ikoro", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 51 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Small boy with Ajonku Ngbagba Ikoro, Abiriba. (9th image).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/3/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71969.GIJ\n\nDescription\n\nA samll boy with Ajonku Ngbagba Ikoro\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 51 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Small boy with Ajonku Ngbagba Ikoro, Abiriba. (9th image).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/3/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206619\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71969_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657073_N.71969.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71879.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365150", "metadata": {"title": "Untitled", "idno": "N.71879.GIJ", "description": "The interior of an Obu House with the close up view of a group of wooden figures and a central pillar. The figure on the left has an abstract black face, with a decorated rounded plate behind and with raffia around the neck, the second figure is tall with humanised facial features, a black crest on the top of the head, an elongated torso wearing a striped cloth wrapper; the third figure is standing upright and his head consists of a rounded face with facial features accentuated with large arched eyebrows, white painted eyes, nose, white lips and three square geometric designs on the side of the face. The torso is rounded in the shoulders with an elongated upper torso decorated with a white line running down the centre, around the waist is a striped cloth wrapper. The figure at the bottom of the pillar shows a full figure with a rounded face with a distinctive hairline and squarish carved incised object on the top of the head. The upper torso is decorated with a dark paint in a triangular pattern adorning the centre of the chest, a striped wrapper around the waist. The figure on the upper half of the pillar is painted white, wearing a pattered cloth and holding a machete in one hand. The figure is standing on a round incised base. Attached to the side of the pillar are pieces of twine and the pillar is decorated in semicircle designs. A partial view of a man is in the far right of the photograph.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 38 of the negative album now numbered C19/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. figures in Obu Abiriba. (1st image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nExhibition: Digital reproduction of photograph exhibited in \u2018Afrique, mille vies d\u2019objects / Africa, a thousand lives of objects\u2019 at Mus\u00e9e de Confluences, Lyon, France, from June 2023 \u2013 February 2024. See www.museedesconfluences.fr/en. [JD 25/01/2023]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]", "raw_text_dump": "IDNO\n\nN.71879.GIJ\n\nDescription\n\nThe interior of an Obu House with the close up view of a group of wooden figures and a central pillar. The figure on the left has an abstract black face, with a decorated rounded plate behind and with raffia around the neck, the second figure is tall with humanised facial features, a black crest on the top of the head, an elongated torso wearing a striped cloth wrapper; the third figure is standing upright and his head consists of a rounded face with facial features accentuated with large arched eyebrows, white painted eyes, nose, white lips and three square geometric designs on the side of the face. The torso is rounded in the shoulders with an elongated upper torso decorated with a white line running down the centre, around the waist is a striped cloth wrapper. The figure at the bottom of the pillar shows a full figure with a rounded face with a distinctive hairline and squarish carved incised object on the top of the head. The upper torso is decorated with a dark paint in a triangular pattern adorning the centre of the chest, a striped wrapper around the waist. The figure on the upper half of the pillar is painted white, wearing a pattered cloth and holding a machete in one hand. The figure is standing on a round incised base. Attached to the side of the pillar are pieces of twine and the pillar is decorated in semicircle designs. A partial view of a man is in the far right of the photograph.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 38 of the negative album now numbered C19/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. figures in Obu Abiriba. (1st image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nExhibition: Digital reproduction of photograph exhibited in \u2018Afrique, mille vies d\u2019objects / Africa, a thousand lives of objects\u2019 at Mus\u00e9e de Confluences, Lyon, France, from June 2023 \u2013 February 2024. See www.museedesconfluences.fr/en. [JD 25/01/2023]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\nFM:206529\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71879_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656970_N.71879.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169663.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463665", "metadata": {"title": "Untitled", "idno": "P.169663.GIJ", "description": "A close up view of Mgbedike masquerade. The masquerader is wearing an elaborate headdress carved of horns, figures, animals, and on the top of the headdress is a man with a white face riding a horse? The mask is covered with palm fronds, omu, and the masquerader is holding an object (machete? or knife?) in one hand. The costume is made of cloth, palm fronds, shells, seeds and porcupine quills jutting out around the neck. In the background are trees, bystanders, and houses. [Description from record P.71561.GIJ, PB 03/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Ibo [historically Igbo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169663.GIJ\n\nDescription\n\nA close up view of Mgbedike masquerade. The masquerader is wearing an elaborate headdress carved of horns, figures, animals, and on the top of the headdress is a man with a white face riding a horse? The mask is covered with palm fronds, omu, and the masquerader is holding an object (machete? or knife?) in one hand. The costume is made of cloth, palm fronds, shells, seeds and porcupine quills jutting out around the neck. In the background are trees, bystanders, and houses. [Description from record P.71561.GIJ, PB 03/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nFM:310150\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169663_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127431_P.169663.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.71776.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365047", "metadata": {"title": "Untitled", "idno": "N.71776.GIJ", "description": "A Lughulu male comic mask. The mask is oval in shape with a high rounded forehead, two almond shaped eyes, snout like nose, open mouth and puffy cheeks with scarification marks. The ears are square shaped and have holes drilled into them. There is possibly a desing on the forehead. The mask is hanging on a wall with a piece of twine attached.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Item", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 95 of the negative album now numbered C17/.\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]", "raw_text_dump": "IDNO\n\nN.71776.GIJ\n\nDescription\n\nA Lughulu male comic mask. The mask is oval in shape with a high rounded forehead, two almond shaped eyes, snout like nose, open mouth and puffy cheeks with scarification marks. The ears are square shaped and have holes drilled into them. There is possibly a desing on the forehead. The mask is hanging on a wall with a piece of twine attached.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nItem\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 95 of the negative album now numbered C17/.\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nFM:206426\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71776_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656880_N.71776.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71905.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365176", "metadata": {"title": "Untitled", "idno": "N.71905.GIJ", "description": "A wooden headpiece which consists of a head carved on a square with a pedestal and on top of the square is a rounded top. The head has inset eyes, pointed nose and pursed lips. The square is incised and the round finial on the top is incised. The bottom part of the base is damaged. In the background are pointed stakes and a mud wall.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 16 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nN.71905.GIJ\n\nDescription\n\nA wooden headpiece which consists of a head carved on a square with a pedestal and on top of the square is a rounded top. The head has inset eyes, pointed nose and pursed lips. The square is incised and the round finial on the top is incised. The bottom part of the base is damaged. In the background are pointed stakes and a mud wall.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 16 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nFM:206555\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71905_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657009_N.71905.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169857.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463876", "metadata": {"title": "Untitled", "idno": "P.169857.GIJ", "description": "A scene from the ogbukere masquerade. The character is wearing a long horizontal wooden headdress that has two curved horns at the front and various shaped objects with a tall vertical stick at the rear on which there is a 'tail' of material. The character is surrounded by several attendants carrying implements made from narrow metal rod. [PB 05/01/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross Rivers State", "cultural_affliation": "Igbo [historically Ibo]; Ekpeya", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169857.GIJ\n\nDescription\n\nA scene from the ogbukere masquerade. The character is wearing a long horizontal wooden headdress that has two curved horns at the front and various shaped objects with a tall vertical stick at the rear on which there is a 'tail' of material. The character is surrounded by several attendants carrying implements made from narrow metal rod. [PB 05/01/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross Rivers State\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ekpeya\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310344\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169857_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127815_P.169857.GIJ_001.png"}, {"file_name": "P_169857_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127816_P.169857.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171249.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465310", "metadata": {"title": "Untitled", "idno": "P.171249.GIJ", "description": "A close up of a character in the ajofia newi ('evil forest') masquerade. [PB 05/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra state; Nnewi; Otolo", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767172.GIJ - P.767174.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171249.GIJ\n\nDescription\n\nA close up of a character in the ajofia newi ('evil forest') masquerade. [PB 05/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra state; Nnewi; Otolo\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767172.GIJ - P.767174.GIJ are mounted together on card.\n\nFM:311940\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171249_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144465_P.171249.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171348.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465409", "metadata": {"title": "Untitled", "idno": "P.171348.GIJ", "description": "A documentation photograph of a carved wooden figure. The figure is sitting on a stool, with elbows bent and hands on waist. Six anklets are carved on the ankles. The neck is elongated, and has a cord attached dangling behind the figure, with a loop at its end. A peg juts out of the base of the head at its rear. The hair is carved into an elaborate crest of feather like hair horns with a disc at the side of a head band. [PB 08/08/2024]", "place": "W Africa; Nigeria; South Ibo; South Eastern Nigeria; Akwa Ibom state; Ikot Abia town", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171342.GIJ - P.171348.GIJ were located in a 'Gateway' folder, now numbered C768/1.\n\nP.768005.GIJ to P.768008.GIJ are mounted together on card.\n\nImages P.171342.GIJ and P.768005.GIJ to P.768008.GIJ are of the same figure", "raw_text_dump": "IDNO\n\nP.171348.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden figure. The figure is sitting on a stool, with elbows bent and hands on waist. Six anklets are carved on the ankles. The neck is elongated, and has a cord attached dangling behind the figure, with a loop at its end. A peg juts out of the base of the head at its rear. The hair is carved into an elaborate crest of feather like hair horns with a disc at the side of a head band. [PB 08/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Ibo; South Eastern Nigeria; Akwa Ibom state; Ikot Abia town\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171342.GIJ - P.171348.GIJ were located in a 'Gateway' folder, now numbered C768/1.\n\nP.768005.GIJ to P.768008.GIJ are mounted together on card.\n\nImages P.171342.GIJ and P.768005.GIJ to P.768008.GIJ are of the same figure\n\nFM:312049\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171348_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144564_P.171348.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.170239.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464300", "metadata": {"title": "Untitled", "idno": "P.170239.GIJ", "description": "Documentary photograph of a carved wooden Ekpo face mask. Representation of a composite face combining animal and human. The mask consists of two pointed horns at the top, lidded or rounded area at the top of the head, high forehead, almond shaped eyes, nose and protruding snout like mouth with moveable jaw. The mask is darkened wood.\nThe mask is photographed hung on a piece of wood in front of a plain backdrop. [Description from record N.13156.GIJ, PB 02/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Anang; Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170232.GIJ - P.170243.GIJ were located in a brown envelope, now numbered C759/1.\n\nPublication: Image published in Jones G.I. The art of eastern Nigeria. 1984 Cambridge: CUP. Fig 91 p 182, and captioned: \"Horned mask: Ekpo masquerade (N.M.). Anang (Ibibio).\" [PB 03/11/2023]", "raw_text_dump": "IDNO\n\nP.170239.GIJ\n\nDescription\n\nDocumentary photograph of a carved wooden Ekpo face mask. Representation of a composite face combining animal and human. The mask consists of two pointed horns at the top, lidded or rounded area at the top of the head, high forehead, almond shaped eyes, nose and protruding snout like mouth with moveable jaw. The mask is darkened wood.\nThe mask is photographed hung on a piece of wood in front of a plain backdrop. [Description from record N.13156.GIJ, PB 02/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nAnang; Ibibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170232.GIJ - P.170243.GIJ were located in a brown envelope, now numbered C759/1.\n\nPublication: Image published in Jones G.I. The art of eastern Nigeria. 1984 Cambridge: CUP. Fig 91 p 182, and captioned: \"Horned mask: Ekpo masquerade (N.M.). Anang (Ibibio).\" [PB 03/11/2023]\n\nFM:310797\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170239_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131578_P.170239.GIJ_001.png"}, {"file_name": "P_170239_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131579_P.170239.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.71950.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365221", "metadata": {"title": "Untitled", "idno": "P.71950.GIJ", "description": "The Ngbangbo Ikoro masquerade with a masquerader wearing a dark wooden mask with a projection at the top and attached to the mask is a woven sack cloth material. The character is leaning over and holding a long stick. A group of young boys are sitting on the ground with masks attached to the top of their heads with their faces visible. Men and children are standing behind. In the background are trees and buildings.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71946.GIJ to P.71968.GIJ were found wrapped in paper, now numbered C298/9/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nP.71950.GIJ\n\nDescription\n\nThe Ngbangbo Ikoro masquerade with a masquerader wearing a dark wooden mask with a projection at the top and attached to the mask is a woven sack cloth material. The character is leaning over and holding a long stick. A group of young boys are sitting on the ground with masks attached to the top of their heads with their faces visible. Men and children are standing behind. In the background are trees and buildings.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71946.GIJ to P.71968.GIJ were found wrapped in paper, now numbered C298/9/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nFM:206600\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_71950_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657047_N.71951.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "T.170121.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464182", "metadata": {"title": "Untitled", "idno": "T.170121.GIJ", "description": "An Ekpo mask in the \u201crounded mode\u201d. The features of the mask consist of slit eyes, nose and mouth with jagged teeth, rectangular keloid markings on the side, an incised border or rim around the forehead. The mask is dark with a smooth and polished finish. [Description from record N.13169.GIJ, PB 26/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nPublication: Image published in Jones, G.I. 1984. The Art of Eastern Nigeria. (Cambridge: CUP), fig. 41 p. 129, and captioned as \"Ekpo mask. rounded mode.\" [PB 26/09/2023]", "raw_text_dump": "IDNO\n\nT.170121.GIJ\n\nDescription\n\nAn Ekpo mask in the \u201crounded mode\u201d. The features of the mask consist of slit eyes, nose and mouth with jagged teeth, rectangular keloid markings on the side, an incised border or rim around the forehead. The mask is dark with a smooth and polished finish. [Description from record N.13169.GIJ, PB 26/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nPublication: Image published in Jones, G.I. 1984. The Art of Eastern Nigeria. (Cambridge: CUP), fig. 41 p. 129, and captioned as \"Ekpo mask. rounded mode.\" [PB 26/09/2023]\n\nFM:310649\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170121_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128365_T.170121.GIJ_001.png"}, {"file_name": "T_170121_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128366_T.170121.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71800.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365071", "metadata": {"title": "Untitled", "idno": "N.71800.GIJ", "description": "A Lughulu \u2018beautiful\u2019 female mask; the mask is carved in oval shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long triangular shaped nose, open mouth with teeth painted white, elliptical shaped ears and linear markings in the centre of the forehead and to the sides. On top are two carved shapes resembling a coiffure? with incised v-markings. There is white paint/chalk visible on the top right.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Alayi", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 11 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Alayi Igbo (Isu-Ikem)\n3. Mask Ugwu Eke village (3rd image).\n\nPublication: Similar images are found in Jones, 1989, p.16, Figure 8. The caption reads: \u201cLughulu masquerade, Ugwueke Alayi town, Isu-Item Ibo. Mask representing a beautiful female spirit.\u201d and in Jones, 1973, Figure 3, p.59.\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that it conforms to a stylized mode which converts the salient features to geometrical forms. In the Isu-Item maskerade, the beautiful female masks are carved in either a rounded or naturalistic mode while the fierce or comic male masks are stylized(Jones, 1973, pp. 60-61).\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]", "raw_text_dump": "IDNO\n\nN.71800.GIJ\n\nDescription\n\nA Lughulu \u2018beautiful\u2019 female mask; the mask is carved in oval shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long triangular shaped nose, open mouth with teeth painted white, elliptical shaped ears and linear markings in the centre of the forehead and to the sides. On top are two carved shapes resembling a coiffure? with incised v-markings. There is white paint/chalk visible on the top right.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Alayi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 11 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Alayi Igbo (Isu-Ikem)\n3. Mask Ugwu Eke village (3rd image).\n\nPublication: Similar images are found in Jones, 1989, p.16, Figure 8. The caption reads: \u201cLughulu masquerade, Ugwueke Alayi town, Isu-Item Ibo. Mask representing a beautiful female spirit.\u201d and in Jones, 1973, Figure 3, p.59.\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that it conforms to a stylized mode which converts the salient features to geometrical forms. In the Isu-Item maskerade, the beautiful female masks are carved in either a rounded or naturalistic mode while the fierce or comic male masks are stylized(Jones, 1973, pp. 60-61).\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]\n\nFM:206450\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71800_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656897_N.71800.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.61211.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/354482", "metadata": {"title": "Untitled", "idno": "N.61211.GIJ", "description": "A carved wooden panel from Benin.", "place": "Africa; Nigeria; South Eastern Nigeria; ?Benin City", "cultural_affliation": "", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 45 of the negative album now numbered C22/.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/3/2008]", "raw_text_dump": "IDNO\n\nN.61211.GIJ\n\nDescription\n\nA carved wooden panel from Benin.\n\nPlace\n\nAfrica; Nigeria; South Eastern Nigeria; ?Benin City\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 45 of the negative album now numbered C22/.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/3/2008]\n\nFM:195861\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_61211_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/954390_N.61211.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13250.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306522", "metadata": {"title": "Untitled", "idno": "N.13250.GIJ", "description": "Egu Mau (Money Finish) masquerade depicting a close up view of the masquerader and supporters. The helmet shaped wooden mask is painted and consists of an elaborate superstructure which is adorned with pieces of cloth and tassels. A side view profile of the \u2018face\u2019 of mask depicts a white painted face, stylised and delicate eyes, nose and lips and a crescent-shaped design on the face. The upper torso is covered in harlequin cloth and wrappers. The performer is holding a fly whisk in his left hand. Male onlookers are to the side of the performer and in the background are trees and vegetation.", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "Egu Agu; Money Finish [names of mask character]", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nP.71504.GIJ to P.71662.GIJ were kept in box 4, now numbered C301/.\nP.71531.GIJ to P.71546.GIJ were found wrapped in paper, now numbered C301/2/.\n\nPublications: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by by his actions. The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nThe number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nAniakor and Cole provide further in-depth description about he maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) .During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 17/10/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13250.GIJ\n\nDescription\n\nEgu Mau (Money Finish) masquerade depicting a close up view of the masquerader and supporters. The helmet shaped wooden mask is painted and consists of an elaborate superstructure which is adorned with pieces of cloth and tassels. A side view profile of the \u2018face\u2019 of mask depicts a white painted face, stylised and delicate eyes, nose and lips and a crescent-shaped design on the face. The upper torso is covered in harlequin cloth and wrappers. The performer is holding a fly whisk in his left hand. Male onlookers are to the side of the performer and in the background are trees and vegetation.\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nEgu Agu; Money Finish [names of mask character]\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nP.71504.GIJ to P.71662.GIJ were kept in box 4, now numbered C301/.\nP.71531.GIJ to P.71546.GIJ were found wrapped in paper, now numbered C301/2/.\n\nPublications: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by by his actions. The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nThe number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nAniakor and Cole provide further in-depth description about he maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) .During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 17/10/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147900\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13250_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000513_N.13250.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.169791.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463800", "metadata": {"title": "Untitled", "idno": "P.169791.GIJ", "description": "Head and shoulders portrait of a man wearing a torn shirt. There are several men standing in the background looking on, some wearing hats. [PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169791.GIJ - P.169803.GIJ were located in an brown envelope now numbered C754/8/.", "raw_text_dump": "IDNO\n\nP.169791.GIJ\n\nDescription\n\nHead and shoulders portrait of a man wearing a torn shirt. There are several men standing in the background looking on, some wearing hats. [PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169791.GIJ - P.169803.GIJ were located in an brown envelope now numbered C754/8/.\n\nFM:310278\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169791_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127675_P.169791.GIJ_001.png"}, {"file_name": "P_169791_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127676_P.169791.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169852.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463868", "metadata": {"title": "Untitled", "idno": "P.169852.GIJ", "description": "A masquerader in an Ogbukere masquerade dancing. There are women dancing behind the masquerader, and drummers alongside. A crowd of spectators and houses are the background. The masquerade character Asele (Beloved daughter mask). The mask consists of a wooden horizontal base that is abstract and displays various geometric shapes and protrusions.\n\nThe mask is known as Asele Asele (Water Spirit head mask) and from the Ijaw and Abua groups, in the Bayelsa River area. [Information by Bolcit Byanyik and, Justina Eke-Abuiya, National Museum Headquarters, Abuja, Nigeria, Onime Wilson, National Museum Lagos, and Emily Isaa-Emmanuel, Lafia Museum, Abuja, Nigeria, JD 8/13/2013]\n\n[PB 05/01/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria: Cross Rivers State", "cultural_affliation": "Igbo {Ibo]; South Ikwerri", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169852.GIJ\n\nDescription\n\nA masquerader in an Ogbukere masquerade dancing. There are women dancing behind the masquerader, and drummers alongside. A crowd of spectators and houses are the background. The masquerade character Asele (Beloved daughter mask). The mask consists of a wooden horizontal base that is abstract and displays various geometric shapes and protrusions.\n\nThe mask is known as Asele Asele (Water Spirit head mask) and from the Ijaw and Abua groups, in the Bayelsa River area. [Information by Bolcit Byanyik and, Justina Eke-Abuiya, National Museum Headquarters, Abuja, Nigeria, Onime Wilson, National Museum Lagos, and Emily Isaa-Emmanuel, Lafia Museum, Abuja, Nigeria, JD 8/13/2013]\n\n[PB 05/01/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria: Cross Rivers State\n\nCultural Affliation\n\nIgbo {Ibo]; South Ikwerri\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310339\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169852_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127801_P.169852.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.170249.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464310", "metadata": {"title": "Untitled", "idno": "P.170249.GIJ", "description": "A Nwabugho mask. The mask consists of an oval face with slit eyes, elongated nose, open mouth and two diagonal cheek scars with a wooden flat board on top. The mask is black (leaf dye) with white defined areas around the eyes, white dots on the lips, an white markings on the rectangular projection. The mask is encircled with white feathers around the face. The mask is leaning against some rocks. [Description from record N.13067.GIJ;, PB 02/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Afikpo; Ada", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170248.GIJ - P.170251.GIJ were located in a paper sleeve, now numbered C759/4.", "raw_text_dump": "IDNO\n\nP.170249.GIJ\n\nDescription\n\nA Nwabugho mask. The mask consists of an oval face with slit eyes, elongated nose, open mouth and two diagonal cheek scars with a wooden flat board on top. The mask is black (leaf dye) with white defined areas around the eyes, white dots on the lips, an white markings on the rectangular projection. The mask is encircled with white feathers around the face. The mask is leaning against some rocks. [Description from record N.13067.GIJ;, PB 02/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Afikpo; Ada\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170248.GIJ - P.170251.GIJ were located in a paper sleeve, now numbered C759/4.\n\nFM:310807\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170249_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131599_P.170249.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171099.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465160", "metadata": {"title": "Untitled", "idno": "P.171099.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nIro Ekpetu (\u2018Merciless\u2019), the masquerader, wears a fierce-looking black carved mask (darkened, with white? painted eyes, pointed nose, and protruding teeth painted white)?, and a raffia hairpiece, a cloth top and trousers, and a raffia skirt. The masquerader is holding up the left arm and holding a stick in the right hand. Behind the masquerader are two mud huts, a walled area trees and vegetation. [Description from record N.13248.GIJ, PB 13/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767019.GIJ - P.767028.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Iro Ekpetu (Merciless), G.I. Jones writes in the notes: \"There were two of these fierce masks, black with fang-like teeth, wearing a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia, and carrying a wand or a stick with which to theaten the crowd.\"", "raw_text_dump": "IDNO\n\nP.171099.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nIro Ekpetu (\u2018Merciless\u2019), the masquerader, wears a fierce-looking black carved mask (darkened, with white? painted eyes, pointed nose, and protruding teeth painted white)?, and a raffia hairpiece, a cloth top and trousers, and a raffia skirt. The masquerader is holding up the left arm and holding a stick in the right hand. Behind the masquerader are two mud huts, a walled area trees and vegetation. [Description from record N.13248.GIJ, PB 13/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767019.GIJ - P.767028.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Iro Ekpetu (Merciless), G.I. Jones writes in the notes: \"There were two of these fierce masks, black with fang-like teeth, wearing a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia, and carrying a wand or a stick with which to theaten the crowd.\"\n\nFM:311790\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171099_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144315_P.171099.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13194.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306466", "metadata": {"title": "Untitled", "idno": "N.13194.GIJ", "description": "Close up view of Ekpo face mask. Representation of an oval face with rimmed head, high forehead with two round keloid markings, almond shaped eyes, nose, protruding cheeks, open mouth with inicised teeth, whiskers on either side of the mouth, and large rounded ears. Plant fibres surround the mask. The mask is highly polished darkened wood.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene; ?Ikot Abia village", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: A similar mask is shown in Plate, 37 \u201cEkpo Figure\u201d in Jones, 1984 p. 121, plate 37.\n\nContext: Jones writes about the carver of this mask, \u201c The artist who carved the mask in Figure 37 was an Ibibio farmer whose mains specialisation was the painting of Ngwomo frescoes.\u201d (p. 123) He also provides a detailed description of the masks and the costumes, he writes, \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13194.GIJ\n\nDescription\n\nClose up view of Ekpo face mask. Representation of an oval face with rimmed head, high forehead with two round keloid markings, almond shaped eyes, nose, protruding cheeks, open mouth with inicised teeth, whiskers on either side of the mouth, and large rounded ears. Plant fibres surround the mask. The mask is highly polished darkened wood.\n\n\n\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene; ?Ikot Abia village\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: A similar mask is shown in Plate, 37 \u201cEkpo Figure\u201d in Jones, 1984 p. 121, plate 37.\n\nContext: Jones writes about the carver of this mask, \u201c The artist who carved the mask in Figure 37 was an Ibibio farmer whose mains specialisation was the painting of Ngwomo frescoes.\u201d (p. 123) He also provides a detailed description of the masks and the costumes, he writes, \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147844\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13194_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000456_N.13194.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13224.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306496", "metadata": {"title": "Untitled", "idno": "N.13224.GIJ", "description": "A rectangular shaped house under construction showing the rafters and purlins made from raffia palm branches (locally known as bamboo poles)and the posts are made of trees. A man is standing dressed in a wrapper and hat wearing a hat. There are also men working \u2018inside\u2019 the frame of the house and man leaning on the top of the roof. On the right hand side of the photograph is a wooden ladder and tree trunk and behind the construction are trees and vegetation.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Other Igbo cultural items\n3. House under construction Roof is made from raffia palm branches (locally known as bamboo poles) prior to the attachment to them of tile like mats made out of raffia palm leaves (southern Igbo) (5th image).\n\nContext: Jones discusses the construction of domestic buildings in Eastern Nigeria and notes that houses were utilitarian and functional and that their size and their shape were primarily determined by the quality and availability of materials out of which they were made. In the forest area of South Eastern Nigeria there was variation in the materials and the designs used....the southern forest house was essentially a frame house with both the roof and the walls made of open work \u2018bamboo\u2019 and \u2018bamboo\u2019 - and-stick frames. The rafters and purlins of the roof were \u2018bamboo\u2019 poles lashed together to form a front and a back frame to which the roofing mats were attached. They were supported by a central ridge pole and their free sides were lashed to the wall frames or to posts on the outside of the walls.\u2019 (Jones, 1984, pp. 95-96)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/10/2007]", "raw_text_dump": "IDNO\n\nN.13224.GIJ\n\nDescription\n\nA rectangular shaped house under construction showing the rafters and purlins made from raffia palm branches (locally known as bamboo poles)and the posts are made of trees. A man is standing dressed in a wrapper and hat wearing a hat. There are also men working \u2018inside\u2019 the frame of the house and man leaning on the top of the roof. On the right hand side of the photograph is a wooden ladder and tree trunk and behind the construction are trees and vegetation.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Other Igbo cultural items\n3. House under construction Roof is made from raffia palm branches (locally known as bamboo poles) prior to the attachment to them of tile like mats made out of raffia palm leaves (southern Igbo) (5th image).\n\nContext: Jones discusses the construction of domestic buildings in Eastern Nigeria and notes that houses were utilitarian and functional and that their size and their shape were primarily determined by the quality and availability of materials out of which they were made. In the forest area of South Eastern Nigeria there was variation in the materials and the designs used....the southern forest house was essentially a frame house with both the roof and the walls made of open work \u2018bamboo\u2019 and \u2018bamboo\u2019 - and-stick frames. The rafters and purlins of the roof were \u2018bamboo\u2019 poles lashed together to form a front and a back frame to which the roofing mats were attached. They were supported by a central ridge pole and their free sides were lashed to the wall frames or to posts on the outside of the walls.\u2019 (Jones, 1984, pp. 95-96)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/10/2007]\n\nFM:147874\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13224_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000487_N.13224.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13199.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306471", "metadata": {"title": "Untitled", "idno": "N.13199.GIJ", "description": "A close up view of an Ikem masquerader wearing a female head mask on top of a square frame covered in cloth. The mask is very naturalistic and shows refined features and black hair and an elaborate coiffure made of twisted or curved \u201chorns\u201d. The side profile of the face shows dark eyebrows, inset eyes, nose, and lips (outlined in a darker shade). The ears are carved with an earring. Next to the masquerader is the \u201cattendant\u201d of the masquerade. In the (blurred) background are buildings and people.", "place": "W Africa; Nigeria; South Eastern Nigeria; Umuahia", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Image reproduced in Jones, 1984, p. 185 as Figure 93. Also see Jones, 1989, Plate 5, p.14 which reproduces a drawing similar to style as in this photograph. The caption reads, \u201cIkem masquerade. Ohuhu Ibo or Anang Ibibio. Female head with the hair dressed into five curved \u2018horns\u2019. This is a modern carving painted in oils and varnished; in older carvings the face and neck were coved in skin. (Pitt Rivers Museum, Oxford. Drawing by Dr K.F. Campbell.)\n\nA more contemporary photograph of a similar style is found in Plate 330 with the description, \u201cThe Igbo artist Obunyan Okpori of Amaokwe Item with an unfinished mask (yet to be covered with skin) for the Oiyima masqueeade in the \u201cCross River\u2019\u201d style. Photo by Keith Nicklin, 1977.\n\nContext: \u201cThe Cross River masquerade called Ikem spread from Old Calabar to the Ibibio country in the early decades of the twentieth century and Anang carvers were producing by the early 1930s, if not well before this, skin-covered heads in this style equal to the best that had been made in the Ejagham country and in Old Calabar. There were certain minor differences that distinguished these Anang heads, the most obvious being their drooping upper eyelids. The Ikem masquerade and heads in this modified Cross River style diffused into the Umuahia area and as far north as Ozu Item. But the Ikem masquerade seems to have inspired the Akang to produce similar masquerades and their own variant of these heads in what was locally held to be a completely naturalistic style. The hair, eyes, and lips were painted with a clear varnish. The associated masquerade, which received different names in different areas, was spread widely to their Ibibio and Ibo neighbours. During the colonial period there was an increasing demand for Anang sculpture but primarily for masks, heads and figures in this modern naturalistic style. For it was a very successful compromise between the Traditional Anang(Ibibio) and the \u2018traditional European\u2019 style. meaning by the latter term Victorian naturalism and the classical Greek sculpture which inspired it.\u201d (Jones 1984, pp.184-185)\n\nCole and Aniakor also provide the name of the masquerade that this type of headdress was used. \u201cAnalogous headdresses of \u201ccrocodiles\u201d and females with fine, hornlike coiffures are used in Amaoke Item for the Oiyima masquerade. They also refer to the style that Jones had described as Cross River. \u201cQuite similar headdresses were also made for the Ikem masquerades by the Efut Ejagham of Calabar, and Jones documented another example of a male type near Item. Jones\u2019 designation of \u201cCross River Style\u201d for these and other skin covered masks is understandable since the peoples of the region carved for one another in several substyles, traded dances and associations, and thus confounded any but the most broad classifications.\u201d (Cole and Aniakor, 1984, p. 182)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nJones, G.I. 1989, Ibo Art (Shire).\n\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nNicklin, K. 1974. \u201cNigerian Skin Covered Masks, \u201c African Arts 7(3):8-15, 67-68, 92.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 7/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13199.GIJ\n\nDescription\n\nA close up view of an Ikem masquerader wearing a female head mask on top of a square frame covered in cloth. The mask is very naturalistic and shows refined features and black hair and an elaborate coiffure made of twisted or curved \u201chorns\u201d. The side profile of the face shows dark eyebrows, inset eyes, nose, and lips (outlined in a darker shade). The ears are carved with an earring. Next to the masquerader is the \u201cattendant\u201d of the masquerade. In the (blurred) background are buildings and people.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Umuahia\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Image reproduced in Jones, 1984, p. 185 as Figure 93. Also see Jones, 1989, Plate 5, p.14 which reproduces a drawing similar to style as in this photograph. The caption reads, \u201cIkem masquerade. Ohuhu Ibo or Anang Ibibio. Female head with the hair dressed into five curved \u2018horns\u2019. This is a modern carving painted in oils and varnished; in older carvings the face and neck were coved in skin. (Pitt Rivers Museum, Oxford. Drawing by Dr K.F. Campbell.)\n\nA more contemporary photograph of a similar style is found in Plate 330 with the description, \u201cThe Igbo artist Obunyan Okpori of Amaokwe Item with an unfinished mask (yet to be covered with skin) for the Oiyima masqueeade in the \u201cCross River\u2019\u201d style. Photo by Keith Nicklin, 1977.\n\nContext: \u201cThe Cross River masquerade called Ikem spread from Old Calabar to the Ibibio country in the early decades of the twentieth century and Anang carvers were producing by the early 1930s, if not well before this, skin-covered heads in this style equal to the best that had been made in the Ejagham country and in Old Calabar. There were certain minor differences that distinguished these Anang heads, the most obvious being their drooping upper eyelids. The Ikem masquerade and heads in this modified Cross River style diffused into the Umuahia area and as far north as Ozu Item. But the Ikem masquerade seems to have inspired the Akang to produce similar masquerades and their own variant of these heads in what was locally held to be a completely naturalistic style. The hair, eyes, and lips were painted with a clear varnish. The associated masquerade, which received different names in different areas, was spread widely to their Ibibio and Ibo neighbours. During the colonial period there was an increasing demand for Anang sculpture but primarily for masks, heads and figures in this modern naturalistic style. For it was a very successful compromise between the Traditional Anang(Ibibio) and the \u2018traditional European\u2019 style. meaning by the latter term Victorian naturalism and the classical Greek sculpture which inspired it.\u201d (Jones 1984, pp.184-185)\n\nCole and Aniakor also provide the name of the masquerade that this type of headdress was used. \u201cAnalogous headdresses of \u201ccrocodiles\u201d and females with fine, hornlike coiffures are used in Amaoke Item for the Oiyima masquerade. They also refer to the style that Jones had described as Cross River. \u201cQuite similar headdresses were also made for the Ikem masquerades by the Efut Ejagham of Calabar, and Jones documented another example of a male type near Item. Jones\u2019 designation of \u201cCross River Style\u201d for these and other skin covered masks is understandable since the peoples of the region carved for one another in several substyles, traded dances and associations, and thus confounded any but the most broad classifications.\u201d (Cole and Aniakor, 1984, p. 182)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nJones, G.I. 1989, Ibo Art (Shire).\n\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nNicklin, K. 1974. \u201cNigerian Skin Covered Masks, \u201c African Arts 7(3):8-15, 67-68, 92.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 7/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147849\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13199_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000461_N.13199.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71828.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365099", "metadata": {"title": "Untitled", "idno": "N.71828.GIJ", "description": "Band playing in the Agonku masquerade. A group of young boys are holding four membrane drums for the drummers. The drums are made of wood and covered at one end with animal skin and are being beaten with drum sticks. The drummers are older males are wearing white shirts and wrappers. In the left of the photograph, men are dancing and in the background are spectators.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Isu Ikuru Ato", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 87 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Isu Ikwu Ato\n3. Drummers for Ajouku masquerade Note:\nchildren holding the drums, Ovim village (3rd image)\n\nContext: Jones discusses the various types of musical instruments that are found in Eastern Nigeria and played during masquerades: Membrane drums were consisted of a cylinder, usually hollowed out of a tree trunk, with a membrane of skin stretched and pegged over the one end and with the other end left open.(Jones, 1984, p. 115)\n\nContext: In reference to the Abam/Ohaffia area, Jones writes that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin-covered heads in the Cross-River Style, usually called Ajonku. But they also had masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of the Abiriba. All these tribes, but particularly the Abiriba, were great doctors and traders and travelled extensively in the Cross River area and through the Ibibio country to the coastal trading states. Anang (Ibibio) sculpture was greatly admired, but it does not seem to have had much influence on the local styles\u201d (Jones, 1984, p.208)\n\nContext: Cole and Aniakor talk about the skin covered masks and headdresses which were common in the Cross River Area. Through the work of Nicklin, Salmons, Jones and Campbell, some provenances of these masquerades are now being sorted out. It is acknowledged that Ejagham peoples originated the genre, but not often mentioned that Cross River Igbo were also exponents of it, creating some variants that stand as important works of art. Examples are documented from Isu-Item, Bende, Umuahia, Abiribia, Ohafia, Arochukwu, and some north-eastern Igbo peoples, and it is probable that a number of of masks labeled Ekoi are also of Igbo origin. They were danced in the masquerades of men\u2019s societies: Ekpe (Ohuhu-Ngwa), Ikem, Oiyima, Ajonkwu, Ekong, and probably others as well...Jones\u2019 designation of \u201cCross River Style\u201d for these and other skin covered masks is understandable since the peoples of the region carved for one another in several substyles, traded dances and associations, and thus confounded any but the most broad classifications. (Cole and Aniakor, 1984, p.182). [AF 3/12/2007]\n\nBibliographical Reference: A brief history is provided by Emmanuel Eze on the website: History, Culture and Politics in Isuikwuato LGA; Emmanuel Eze reporting from Abia\nSubmitted on 25/07/2005\nIsuikwuato is one of the Local Government Areas in Abia state. The name itself means a union of three main components or kindreds as [ikwu] represents in igbo language. It is bounded in the North by by Uturu, in the east by Alayi, to the suoth by Akoli and Mkpa, and to the west by Otanchara and Otanzu. However, the present political structure of Isuikwuato has Uturu as part of it.\nThe people of Isuikwuato speak Igbo language though with a distinct dialect. The people are quite friendly and hospitable. They are into farming as the area has a large landmass though it is hilly and undulating as per the topography. In addition, they are also businessmen cum women and professionals in different fields. Like all other igbos they are seasoned sojourners and can be found in all parts of Nigeria and beyond.\nOwing to the topography of Isuikwuato, there are many rivers cum streams from were the indigenes get their water, the only difficulty being the long distance .\nIn recent times, the area has come to produce great Academicians and intellectuals one of whom is Dr Chinweizu; Author of Anatomy of Female Power, among others.\nThere are a number of cultural celebrations such as the Ajonkwu in Ovim[ Ovum], Ebo in Umuobiala and the New Yam festival which is a general festival in Igboland. [Source: nigerianmasses.com, AF 3/12/2007]\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 3/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71828.GIJ\n\nDescription\n\nBand playing in the Agonku masquerade. A group of young boys are holding four membrane drums for the drummers. The drums are made of wood and covered at one end with animal skin and are being beaten with drum sticks. The drummers are older males are wearing white shirts and wrappers. In the left of the photograph, men are dancing and in the background are spectators.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isu Ikuru Ato\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 87 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Isu Ikwu Ato\n3. Drummers for Ajouku masquerade Note:\nchildren holding the drums, Ovim village (3rd image)\n\nContext: Jones discusses the various types of musical instruments that are found in Eastern Nigeria and played during masquerades: Membrane drums were consisted of a cylinder, usually hollowed out of a tree trunk, with a membrane of skin stretched and pegged over the one end and with the other end left open.(Jones, 1984, p. 115)\n\nContext: In reference to the Abam/Ohaffia area, Jones writes that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin-covered heads in the Cross-River Style, usually called Ajonku. But they also had masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of the Abiriba. All these tribes, but particularly the Abiriba, were great doctors and traders and travelled extensively in the Cross River area and through the Ibibio country to the coastal trading states. Anang (Ibibio) sculpture was greatly admired, but it does not seem to have had much influence on the local styles\u201d (Jones, 1984, p.208)\n\nContext: Cole and Aniakor talk about the skin covered masks and headdresses which were common in the Cross River Area. Through the work of Nicklin, Salmons, Jones and Campbell, some provenances of these masquerades are now being sorted out. It is acknowledged that Ejagham peoples originated the genre, but not often mentioned that Cross River Igbo were also exponents of it, creating some variants that stand as important works of art. Examples are documented from Isu-Item, Bende, Umuahia, Abiribia, Ohafia, Arochukwu, and some north-eastern Igbo peoples, and it is probable that a number of of masks labeled Ekoi are also of Igbo origin. They were danced in the masquerades of men\u2019s societies: Ekpe (Ohuhu-Ngwa), Ikem, Oiyima, Ajonkwu, Ekong, and probably others as well...Jones\u2019 designation of \u201cCross River Style\u201d for these and other skin covered masks is understandable since the peoples of the region carved for one another in several substyles, traded dances and associations, and thus confounded any but the most broad classifications. (Cole and Aniakor, 1984, p.182). [AF 3/12/2007]\n\nBibliographical Reference: A brief history is provided by Emmanuel Eze on the website: History, Culture and Politics in Isuikwuato LGA; Emmanuel Eze reporting from Abia\nSubmitted on 25/07/2005\nIsuikwuato is one of the Local Government Areas in Abia state. The name itself means a union of three main components or kindreds as [ikwu] represents in igbo language. It is bounded in the North by by Uturu, in the east by Alayi, to the suoth by Akoli and Mkpa, and to the west by Otanchara and Otanzu. However, the present political structure of Isuikwuato has Uturu as part of it.\nThe people of Isuikwuato speak Igbo language though with a distinct dialect. The people are quite friendly and hospitable. They are into farming as the area has a large landmass though it is hilly and undulating as per the topography. In addition, they are also businessmen cum women and professionals in different fields. Like all other igbos they are seasoned sojourners and can be found in all parts of Nigeria and beyond.\nOwing to the topography of Isuikwuato, there are many rivers cum streams from were the indigenes get their water, the only difficulty being the long distance .\nIn recent times, the area has come to produce great Academicians and intellectuals one of whom is Dr Chinweizu; Author of Anatomy of Female Power, among others.\nThere are a number of cultural celebrations such as the Ajonkwu in Ovim[ Ovum], Ebo in Umuobiala and the New Yam festival which is a general festival in Igboland. [Source: nigerianmasses.com, AF 3/12/2007]\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 3/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206478\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71828_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656924_N.71828.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.170286.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464347", "metadata": {"title": "Untitled", "idno": "P.170286.GIJ", "description": "A documentation photograph of a wooded face mask with metal ring at back, in the form of a horned animal; the face covered with patterns painted in black, white and dull yellow. [PB 07/11/23]", "place": "W Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; Onitsha; England; London; British Museum", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.\n\nRelated Object: This mask is in the British Museum collection, reference Af1954,23.1523.\n\"Height: 63 centimetres\nWidth: 36.80 centimetres\nDepth: 14.60 centimetres\nDescription:'Wood mask with metal ring at back, in the form of a horned animal; the face covered with patterns painted in black, white and dull yellow.\n?Onitsha Ibo, Nigeria. (K. Nicklin.)\nThe mask shows no evidence of use and may have been carved for sale'.\" [PB 07/11/23]", "raw_text_dump": "IDNO\n\nP.170286.GIJ\n\nDescription\n\nA documentation photograph of a wooded face mask with metal ring at back, in the form of a horned animal; the face covered with patterns painted in black, white and dull yellow. [PB 07/11/23]\n\nPlace\n\nW Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; Onitsha; England; London; British Museum\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.\n\nRelated Object: This mask is in the British Museum collection, reference Af1954,23.1523.\n\"Height: 63 centimetres\nWidth: 36.80 centimetres\nDepth: 14.60 centimetres\nDescription:'Wood mask with metal ring at back, in the form of a horned animal; the face covered with patterns painted in black, white and dull yellow.\n?Onitsha Ibo, Nigeria. (K. Nicklin.)\nThe mask shows no evidence of use and may have been carved for sale'.\" [PB 07/11/23]\n\nFM:310844\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170286_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131750_P.170286.GIJ_001.png"}, {"file_name": "P_170286_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131751_P.170286.GIJ_002.png"}, {"file_name": "P_170286_GIJ_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131752_P.170286.GIJ_003.png"}], "source_id": "maa_cambridge"}
{"id": "P.169891.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463910", "metadata": {"title": "Untitled", "idno": "P.169891.GIJ", "description": "A drawing on a house wall of a \u201cHausa\u201d (zebra style) cow. The drawing is outlined in white and depicts the distinctive hump of the cow, pointed horns, ears, head, three folds of skin on the neck, and long tail. The drawing is on a wall that appears to have a rim around the edge. There is bamboo roofing in a criss-crossed\npattern.\n\nThere is another drawing in the room behind of a horned?man holding a cutlass wearing white? raffia clothing around the wrists, ankles and waist (reminiscent of a masquerade?). [Description from record N.71501.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169891.GIJ\n\nDescription\n\nA drawing on a house wall of a \u201cHausa\u201d (zebra style) cow. The drawing is outlined in white and depicts the distinctive hump of the cow, pointed horns, ears, head, three folds of skin on the neck, and long tail. The drawing is on a wall that appears to have a rim around the edge. There is bamboo roofing in a criss-crossed\npattern.\n\nThere is another drawing in the room behind of a horned?man holding a cutlass wearing white? raffia clothing around the wrists, ankles and waist (reminiscent of a masquerade?). [Description from record N.71501.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310378\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169891_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127859_P.169891.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.71881.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365152", "metadata": {"title": "Untitled", "idno": "N.71881.GIJ", "description": "The interior of an Obu House with the close up view of a central pillar consisting of two figures- one male and one female. The figure at the top depicts a male who is seated. He is wearing a black top hat, his face is humanised and painted in two toned colours, his upper torso is painted a dark colour with white and he is holding a carved head in one hand. The figure below is female and she is seated and has a headdress, rounded face with half painted white and the other half a darker colour. Her torso is designed in the centre and she is wearing a cloth around her waist, and she is holding a baby in her hands. She is seated on an incised platform and placed on a large rounded incised pedestal. The walls behind are painted with borders of geometric designs in light and dark colours, and there are heavy incised striations along the bottom of the wall. The door in the back is painted with striped markings.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 44 of the negative album now numbered C19/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. Figures in Obu house Woman with a baby. Above her a man with cutlass and trophy head, Abiriba. (9th image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]", "raw_text_dump": "IDNO\n\nN.71881.GIJ\n\nDescription\n\nThe interior of an Obu House with the close up view of a central pillar consisting of two figures- one male and one female. The figure at the top depicts a male who is seated. He is wearing a black top hat, his face is humanised and painted in two toned colours, his upper torso is painted a dark colour with white and he is holding a carved head in one hand. The figure below is female and she is seated and has a headdress, rounded face with half painted white and the other half a darker colour. Her torso is designed in the centre and she is wearing a cloth around her waist, and she is holding a baby in her hands. She is seated on an incised platform and placed on a large rounded incised pedestal. The walls behind are painted with borders of geometric designs in light and dark colours, and there are heavy incised striations along the bottom of the wall. The door in the back is painted with striped markings.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 44 of the negative album now numbered C19/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. Figures in Obu house Woman with a baby. Above her a man with cutlass and trophy head, Abiriba. (9th image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\n\nFM:206531\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71881_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656972_N.71881.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171345.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465406", "metadata": {"title": "Untitled", "idno": "P.171345.GIJ", "description": "A modern Anang female doll figure. The doll is carved in wood and painted in a \u2018naturalistic style\u2019. The face consists of a large eyes accentuated with black eyebrows, nose, and lips with two black linear marks on either side of the mouth; the hair is painted black and parted in the middle with an elaborate braided coiffure, elongated neck painted with dots and adorned with a necklace. The arms are stretched forward and there are decorative designs around the shoulders, and a dotted linear line down the centre of the chest with a protruding umbilicus. She is dressed in a plaid waist cloth or wrapper and her feet are painted a dark colour.\n\nObject documentation photograph.[Description from record N.13196.GIJ, PB 08/08/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Etinan", "cultural_affliation": "Anang; Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171342.GIJ - P.171348.GIJ were located in a 'Gateway' folder, now numbered C768/1.\n\nP.768002.GIJ and P.768004.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171345.GIJ\n\nDescription\n\nA modern Anang female doll figure. The doll is carved in wood and painted in a \u2018naturalistic style\u2019. The face consists of a large eyes accentuated with black eyebrows, nose, and lips with two black linear marks on either side of the mouth; the hair is painted black and parted in the middle with an elaborate braided coiffure, elongated neck painted with dots and adorned with a necklace. The arms are stretched forward and there are decorative designs around the shoulders, and a dotted linear line down the centre of the chest with a protruding umbilicus. She is dressed in a plaid waist cloth or wrapper and her feet are painted a dark colour.\n\nObject documentation photograph.[Description from record N.13196.GIJ, PB 08/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Etinan\n\nCultural Affliation\n\nAnang; Ibibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171342.GIJ - P.171348.GIJ were located in a 'Gateway' folder, now numbered C768/1.\n\nP.768002.GIJ and P.768004.GIJ are mounted together on card.\n\nFM:312046\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171345_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144561_P.171345.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71582.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364853", "metadata": {"title": "Untitled", "idno": "N.71582.GIJ", "description": "Nwa Ekpo, A boy\u2019s masquerade. The masquerader is wearing a dark mask painted with white markings that accentuate the top of the head with a V-shape in the centre of the forehead, slit eyes, long nose, open mouth with white teeth and rounded white ears. The top of the mask is adorned with raffia \u201chair\u201d. The masquerader is wearing a dark woven costume with pieces of raffia tied to the waist. In the background are young boys, one of whom is playing a small wooden slit gong.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 17 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Nwa Ekpo, boy\u2019s masquerade, Nimo (20th image).\n\nContext: Jones writes about boys masquerades and says that \u201cuninitiated boys were expected to \u2018play at masquerading\u2019 and had their own masquerades, which were either imitations of those of their elders, like the Anang (Ibibio) Ekpo ntoke eyen (small boy\u2019s Ekpo), or masquerades which had \u2018died\u2019, that is, had been discarded by their seniors and been replaced by others. For their masks and costumes boys made use of anything they could get hold of or make. Many of the cruder masks in European collections were probably made by boys for their masquerades; on the other hand I have seen them using very old ones discarded by their elders. The secrets from which the uninitiated were excluded, usually on pain of death, included the privacy attached to society meetings and information about its rituals, masks, instruments for making ghostly noises and other property of the society. These were revealed to members during their initiation, together with instructions and training in their use\u201d (Jones, 1984, pp.61-62)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71582.GIJ\n\nDescription\n\nNwa Ekpo, A boy\u2019s masquerade. The masquerader is wearing a dark mask painted with white markings that accentuate the top of the head with a V-shape in the centre of the forehead, slit eyes, long nose, open mouth with white teeth and rounded white ears. The top of the mask is adorned with raffia \u201chair\u201d. The masquerader is wearing a dark woven costume with pieces of raffia tied to the waist. In the background are young boys, one of whom is playing a small wooden slit gong.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 17 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Nwa Ekpo, boy\u2019s masquerade, Nimo (20th image).\n\nContext: Jones writes about boys masquerades and says that \u201cuninitiated boys were expected to \u2018play at masquerading\u2019 and had their own masquerades, which were either imitations of those of their elders, like the Anang (Ibibio) Ekpo ntoke eyen (small boy\u2019s Ekpo), or masquerades which had \u2018died\u2019, that is, had been discarded by their seniors and been replaced by others. For their masks and costumes boys made use of anything they could get hold of or make. Many of the cruder masks in European collections were probably made by boys for their masquerades; on the other hand I have seen them using very old ones discarded by their elders. The secrets from which the uninitiated were excluded, usually on pain of death, included the privacy attached to society meetings and information about its rituals, masks, instruments for making ghostly noises and other property of the society. These were revealed to members during their initiation, together with instructions and training in their use\u201d (Jones, 1984, pp.61-62)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206232\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71582_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656685_N.71582.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171522.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465583", "metadata": {"title": "Untitled", "idno": "P.171522.GIJ", "description": "The masquerade character called Aminikoro. The Aminikoro mask is placed on top of the wearer\u2019s head and consists of a large horizontal wooden structure with coloured fringe around the base of the mask and in the centre of the mask are carved, painted designs and three large pointed fins. The masquerader is wearing different pieces of coloured cloth with long strands of palm fronds around the neck. In the background are attendants who are wearing printed wrappers around the waist. [Description from record P.169649.GIJ, PB 10/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Colour Mounted", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171511.GIJ - P.171522.GIJ were located in a brown folder, now numbered C768/6.\n\nP.171522.GIJ was located in a 'Unilever' folder, now numbered C768/6/2.\n\nImage used in Jones G.I. The art of Eastern Nigeria. 1984. Cambridge: CUP. Fig 79 p172. Caption: \"Aminikoro: Ogbukere masquerade. Abua\"", "raw_text_dump": "IDNO\n\nP.171522.GIJ\n\nDescription\n\nThe masquerade character called Aminikoro. The Aminikoro mask is placed on top of the wearer\u2019s head and consists of a large horizontal wooden structure with coloured fringe around the base of the mask and in the centre of the mask are carved, painted designs and three large pointed fins. The masquerader is wearing different pieces of coloured cloth with long strands of palm fronds around the neck. In the background are attendants who are wearing printed wrappers around the waist. [Description from record P.169649.GIJ, PB 10/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Colour Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171511.GIJ - P.171522.GIJ were located in a brown folder, now numbered C768/6.\n\nP.171522.GIJ was located in a 'Unilever' folder, now numbered C768/6/2.\n\nImage used in Jones G.I. The art of Eastern Nigeria. 1984. Cambridge: CUP. Fig 79 p172. Caption: \"Aminikoro: Ogbukere masquerade. Abua\"\n\nFM:312223\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171522_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144739_P.171522.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169737.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463746", "metadata": {"title": "Untitled", "idno": "P.169737.GIJ", "description": "A half-length portrait of a young Igbo man in profile wearing a collarless tunic. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169737.GIJ\n\nDescription\n\nA half-length portrait of a young Igbo man in profile wearing a collarless tunic. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310224\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169737_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127568_P.169737.GIJ_001.png"}, {"file_name": "P_169737_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127569_P.169737.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171154.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465215", "metadata": {"title": "Untitled", "idno": "P.171154.GIJ", "description": "A close up portrait of an Oganochi mgbedike masquerader standing, facing the camera. In the background are spectators seated and standing, a thatched hut and trees.\nThe masquerader is wearing a full length cloth costume with light and dark striped ruffles on body and his upper arms and legs, with porcupine quills hanging from the edges of the ruffles. The masquerader is wearing a dark wooden helmet mask, with white paint accentuating the mouth, teeth and eyes. It is similar to an 'lion elephant mask'. There are two feathers held in the front of the band at the bottom of the horns. On the top of the mask are four carved horns curling inwards, with a carved animal finial joining the tips of the horns. [PB 21/06/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767078.GIJ - P.767083.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171154.GIJ\n\nDescription\n\nA close up portrait of an Oganochi mgbedike masquerader standing, facing the camera. In the background are spectators seated and standing, a thatched hut and trees.\nThe masquerader is wearing a full length cloth costume with light and dark striped ruffles on body and his upper arms and legs, with porcupine quills hanging from the edges of the ruffles. The masquerader is wearing a dark wooden helmet mask, with white paint accentuating the mouth, teeth and eyes. It is similar to an 'lion elephant mask'. There are two feathers held in the front of the band at the bottom of the horns. On the top of the mask are four carved horns curling inwards, with a carved animal finial joining the tips of the horns. [PB 21/06/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767078.GIJ - P.767083.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311845\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171154_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144370_P.171154.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71941.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365212", "metadata": {"title": "Untitled", "idno": "N.71941.GIJ", "description": "A ceremonial tripod drum with three carved figures like caryatids. The drum is rounded and covered with animal skin and twine. The base of the drum has thick inicisions. The frontal figure is carved and the figure has legs slightly bent and stylised hands and feet. In the background are people.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 10 of the negative album now numbered C27/.\n\nSame image in Jones, 1988, p.60. Figure 51 with the caption, \u201cCeremonial drum. Abiriba town. Cross River Ibo, said to have been carved by Ibibio, but obviously carved locally\u201d.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nN.71941.GIJ\n\nDescription\n\nA ceremonial tripod drum with three carved figures like caryatids. The drum is rounded and covered with animal skin and twine. The base of the drum has thick inicisions. The frontal figure is carved and the figure has legs slightly bent and stylised hands and feet. In the background are people.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 10 of the negative album now numbered C27/.\n\nSame image in Jones, 1988, p.60. Figure 51 with the caption, \u201cCeremonial drum. Abiriba town. Cross River Ibo, said to have been carved by Ibibio, but obviously carved locally\u201d.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nFM:206591\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71941_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657034_N.71941.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169753.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463762", "metadata": {"title": "Untitled", "idno": "P.169753.GIJ", "description": "Wood carver making a lidded bowl. [Description from image published on https://jonesarchive.siu.edu/?page_id=277, PB 18/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nPublication: Same person in close up image in 'Jones Archive', Southern Illinois University, under page of Household Artefacts published at https://jonesarchive.siu.edu/?page_id=277 [PB 18/11/2022]", "raw_text_dump": "IDNO\n\nP.169753.GIJ\n\nDescription\n\nWood carver making a lidded bowl. [Description from image published on https://jonesarchive.siu.edu/?page_id=277, PB 18/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nPublication: Same person in close up image in 'Jones Archive', Southern Illinois University, under page of Household Artefacts published at https://jonesarchive.siu.edu/?page_id=277 [PB 18/11/2022]\n\nFM:310240\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169753_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127600_P.169753.GIJ_001.png"}, {"file_name": "P_169753_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127601_P.169753.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.170279.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464340", "metadata": {"title": "Untitled", "idno": "P.170279.GIJ", "description": "A documentation photograph of two wooden face masks. Both masks have human faces and vertical projection above the crown; geometric marks painted on face and crest; base perforated for fitting on the head. [PB 07/11/23]", "place": "W Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; Afikpo; England; London; British Museum", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.\n\nRelated Object: The masks are in the British Museum collection, references Af1919,0207.1 and Af1919,0207.2.\n\"Af1919,0207.1\nHeight: 35.50 centimetres\nWidth: 10.80 centimetres\nDepth: 9 centimetres\nDescription:\nDancing mask from Southern Nigeria'. A later annotation by W.B.Fagg adds 'Ibo of Afikpo'.\"\nAf1919,0207.2\n\"Height: 41.70 centimetres\nWidth: 10.30 centimetres\nDepth: 12.50 centimetres\nDescription: 'Dancing mask from Southern Nigeria'. A later annotation by W.B.Fagg adds 'Ibo of Afikpo'.\" [PB 07/1123]", "raw_text_dump": "IDNO\n\nP.170279.GIJ\n\nDescription\n\nA documentation photograph of two wooden face masks. Both masks have human faces and vertical projection above the crown; geometric marks painted on face and crest; base perforated for fitting on the head. [PB 07/11/23]\n\nPlace\n\nW Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; Afikpo; England; London; British Museum\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.\n\nRelated Object: The masks are in the British Museum collection, references Af1919,0207.1 and Af1919,0207.2.\n\"Af1919,0207.1\nHeight: 35.50 centimetres\nWidth: 10.80 centimetres\nDepth: 9 centimetres\nDescription:\nDancing mask from Southern Nigeria'. A later annotation by W.B.Fagg adds 'Ibo of Afikpo'.\"\nAf1919,0207.2\n\"Height: 41.70 centimetres\nWidth: 10.30 centimetres\nDepth: 12.50 centimetres\nDescription: 'Dancing mask from Southern Nigeria'. A later annotation by W.B.Fagg adds 'Ibo of Afikpo'.\" [PB 07/1123]\n\nFM:310837\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170279_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131729_P.170279.GIJ_001.png"}, {"file_name": "P_170279_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131730_P.170279.GIJ_002.png"}, {"file_name": "P_170279_GIJ_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131731_P.170279.GIJ_003.png"}], "source_id": "maa_cambridge"}
{"id": "P.171156.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465217", "metadata": {"title": "Untitled", "idno": "P.171156.GIJ", "description": "An Mgbedike or Agu neche enyi mask displayed on a piece of cloth. The mask or headdress consists of a fierce looking face with white v-shaped marking on the forehead, large eyes, pointed nose, over-sized mouth and menacing teeth (painted white?), and crescent shaped ears. Protruding (twisted) horns encircle the top of the head in which there is an elaborate superstructure, with animals, horned figures and European or colonial officers (oyibo) dressed in European clothing with pith helmets. There is a painted serpent with its mouth wide open with teeth. A man is behind the mask holding it with vegetation in the background. [Description from record P.71555.GIJ, PB 21/06/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767078.GIJ - P.767083.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades on pp 56-75 in Jones G.I. The art of Eastern Nigeria. 1984. Cambridge: CUP. [PB 21/06/24]", "raw_text_dump": "IDNO\n\nP.171156.GIJ\n\nDescription\n\nAn Mgbedike or Agu neche enyi mask displayed on a piece of cloth. The mask or headdress consists of a fierce looking face with white v-shaped marking on the forehead, large eyes, pointed nose, over-sized mouth and menacing teeth (painted white?), and crescent shaped ears. Protruding (twisted) horns encircle the top of the head in which there is an elaborate superstructure, with animals, horned figures and European or colonial officers (oyibo) dressed in European clothing with pith helmets. There is a painted serpent with its mouth wide open with teeth. A man is behind the mask holding it with vegetation in the background. [Description from record P.71555.GIJ, PB 21/06/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767078.GIJ - P.767083.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades on pp 56-75 in Jones G.I. The art of Eastern Nigeria. 1984. Cambridge: CUP. [PB 21/06/24]\n\nFM:311847\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171156_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144372_P.171156.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13198.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306470", "metadata": {"title": "Untitled", "idno": "N.13198.GIJ", "description": "Ikem masquerade play. A masquerader wearing an Anang carved female face mask over a square frame covered in a printed cloth and wearing a striped wrapper or waist cloth. The face of the mask is a very naturalistic and human, with accentuated dark eyebrows, eyes, fine nose , marks on both cheeks, and lips, with an elaborate black coiffure parted in the centre and in large plaits or braids, around the neck is a large necklace. The masquerader is holding and umbrella in one hand and a handkerchief in the other. To the side of the masquerader is a man \u201cattendant\u201d holding a musical instrument?; he is wearing a white top and plaid wrapper. Behind is a group of spectators and in the background are thatched houses and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Umuahia", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: \u201cThe Cross River masquerade called Ikem spread from Old Calabar to the Ibibio country in the early decades of the twentieth century and Anang carvers were producing by the early 1930s, if not well before this, skin-covered heads in this style equal to the best that had been made in the Ejagham country and in Old Calabar. There were certain minor differences that distinguished these Anang heads, the most obvious being their drooping upper eyelids. The Ikem masquerade and heads in this modified Cross River style diffused into the Umuahia area and as far north as Ozu Item. But the Ikem masquerade seems to have inspired the Akang to produce similar masquerades and their own variant of these heads in what was locally held to be a completely naturalistic style. The hair, eyes, and lips were painted with a clear varnish. The associated masquerade, which received different names in different areas, was spread widely to their Ibibio and Ibo neighbours. During the colonial period there was an increasing demand for Anang sculpture but primarily for masks, heads and figures in this modern naturalistic style. For it was a very successful compromise between the Traditional Anang(Ibibio) and the \u2018traditional European\u2019 style. meaning by the latter term Victorian naturalism and the classical Greek sculpture which inspired it.\u201d (Jones 1984, pp.184-185)\n\nCole and Aniakor also describe the Ikem style, \u201cQuite similar headdresses were also made for the Ikem masquerades by the Efut Ejagham of Calabar, and Jones documented another example of a male type near Item. Jones\u2019 designation of \u201cCross River Style\u201d for these and other skin covered masks is understandable since the peoples of the region carved for one another in several substyles, traded dances and associations, and thus confounded any but the most broad classifications.\u201d\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 7/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13198.GIJ\n\nDescription\n\nIkem masquerade play. A masquerader wearing an Anang carved female face mask over a square frame covered in a printed cloth and wearing a striped wrapper or waist cloth. The face of the mask is a very naturalistic and human, with accentuated dark eyebrows, eyes, fine nose , marks on both cheeks, and lips, with an elaborate black coiffure parted in the centre and in large plaits or braids, around the neck is a large necklace. The masquerader is holding and umbrella in one hand and a handkerchief in the other. To the side of the masquerader is a man \u201cattendant\u201d holding a musical instrument?; he is wearing a white top and plaid wrapper. Behind is a group of spectators and in the background are thatched houses and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Umuahia\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: \u201cThe Cross River masquerade called Ikem spread from Old Calabar to the Ibibio country in the early decades of the twentieth century and Anang carvers were producing by the early 1930s, if not well before this, skin-covered heads in this style equal to the best that had been made in the Ejagham country and in Old Calabar. There were certain minor differences that distinguished these Anang heads, the most obvious being their drooping upper eyelids. The Ikem masquerade and heads in this modified Cross River style diffused into the Umuahia area and as far north as Ozu Item. But the Ikem masquerade seems to have inspired the Akang to produce similar masquerades and their own variant of these heads in what was locally held to be a completely naturalistic style. The hair, eyes, and lips were painted with a clear varnish. The associated masquerade, which received different names in different areas, was spread widely to their Ibibio and Ibo neighbours. During the colonial period there was an increasing demand for Anang sculpture but primarily for masks, heads and figures in this modern naturalistic style. For it was a very successful compromise between the Traditional Anang(Ibibio) and the \u2018traditional European\u2019 style. meaning by the latter term Victorian naturalism and the classical Greek sculpture which inspired it.\u201d (Jones 1984, pp.184-185)\n\nCole and Aniakor also describe the Ikem style, \u201cQuite similar headdresses were also made for the Ikem masquerades by the Efut Ejagham of Calabar, and Jones documented another example of a male type near Item. Jones\u2019 designation of \u201cCross River Style\u201d for these and other skin covered masks is understandable since the peoples of the region carved for one another in several substyles, traded dances and associations, and thus confounded any but the most broad classifications.\u201d\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 7/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147848\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13198_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000460_N.13198.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71770.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365041", "metadata": {"title": "Untitled", "idno": "N.71770.GIJ", "description": "An Item comic male mask; the mask is flanked by heads of a pig and a dog. The mask is round and the face is painted white with black markings. There are two large holes for eyes and pained black eyebrows, painted linear nose, painted lips and two circular painted markings on the cheeks; the hairline is also painted black. On the left of the mask is the heed of the pig painted black and white with a circular snout; on the right side is the head of the dog painted black and white. There are strands of raffia or dried grasses adorning the mask; two carved hands are holding the mask supporting the chin. In the background is a walled area.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Item", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 76 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Item Igbo\n3. Lugbulu Mask Comic male flanked by heads of a pig and a dog (5th image).\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]", "raw_text_dump": "IDNO\n\nN.71770.GIJ\n\nDescription\n\nAn Item comic male mask; the mask is flanked by heads of a pig and a dog. The mask is round and the face is painted white with black markings. There are two large holes for eyes and pained black eyebrows, painted linear nose, painted lips and two circular painted markings on the cheeks; the hairline is also painted black. On the left of the mask is the heed of the pig painted black and white with a circular snout; on the right side is the head of the dog painted black and white. There are strands of raffia or dried grasses adorning the mask; two carved hands are holding the mask supporting the chin. In the background is a walled area.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nItem\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 76 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Item Igbo\n3. Lugbulu Mask Comic male flanked by heads of a pig and a dog (5th image).\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\n\nFM:206420\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71770_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656876_N.71770.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13168.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306440", "metadata": {"title": "Untitled", "idno": "N.13168.GIJ", "description": "Object documentation photograph of an Ekpo carved wooden face mask. The rectangular face has deep set holes for eyes, nose, open mouth, keloid markings on the side, and a band of relief pattern around top of head. The mask is damaged.\n\nThe mask is photographed on a piece of cloth.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: The Ibibio ekpo characters were said to be spirits from the surrounding area (or water), brought to the village during masquerades by members of the society that ministers to them.\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio., though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nAkpan, J. 1994. \u201cEkpo Society Masks of the Ibibio\u201d. African Arts, Vol. XXVII, No.4, pp.. 48-53.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]", "raw_text_dump": "IDNO\n\nN.13168.GIJ\n\nDescription\n\nObject documentation photograph of an Ekpo carved wooden face mask. The rectangular face has deep set holes for eyes, nose, open mouth, keloid markings on the side, and a band of relief pattern around top of head. The mask is damaged.\n\nThe mask is photographed on a piece of cloth.\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: The Ibibio ekpo characters were said to be spirits from the surrounding area (or water), brought to the village during masquerades by members of the society that ministers to them.\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio., though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nAkpan, J. 1994. \u201cEkpo Society Masks of the Ibibio\u201d. African Arts, Vol. XXVII, No.4, pp.. 48-53.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]\n\n\nFM:147818\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13168_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000430_N.13168.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.169740.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463749", "metadata": {"title": "Untitled", "idno": "P.169740.GIJ", "description": "A half-length portrait of a man. He is smiling. His front upper teeth have been filed to points. He is wearing a cord around his neck, which has one long bead in the centre with two small beads (teeth?) on each side. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169740.GIJ\n\nDescription\n\nA half-length portrait of a man. He is smiling. His front upper teeth have been filed to points. He is wearing a cord around his neck, which has one long bead in the centre with two small beads (teeth?) on each side. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310227\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169740_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127574_P.169740.GIJ_001.png"}, {"file_name": "P_169740_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127575_P.169740.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171089.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465150", "metadata": {"title": "Untitled", "idno": "P.171089.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nA close up portrait of Ojo (Eju) Onu (Long Mouth) masquerade character wearing a carved and painted wooden head mask, attached to a woven cloth costume which covers the whole of the top half of the wearer. The \u201canimal-like\u201d mask is carved with two horns, eyes, nose, ears, snout with teeth, and a criss-cross pattern in the centre of the forehead. It is painted with dark pigment, on to which pale spots and lines have been added. In the background are spectators, grasses, huts and trees. [Description from record P.71539.GIJ, PB 13/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767013.GIJ - P.767018.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Eju Onu (long mouth), G.I. Jones writes in the notes: \"There were two of these both typical \"Awka\" type antelope masks worn on top of the actor head, facing upward and wearing a loose gown of blue and white patterned \"Yoruba\" cloth with sleeves and trouser-legs of the same type of cloth but white with narrow blue stripes. In most Northern Ibo masquerades the role of Eju Onu is a comic and stupid oaf-like one. On this play they carried wands and behaved like the fierce characters (only less fiercely) and thgey wore the same raffia aprons.\"", "raw_text_dump": "IDNO\n\nP.171089.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nA close up portrait of Ojo (Eju) Onu (Long Mouth) masquerade character wearing a carved and painted wooden head mask, attached to a woven cloth costume which covers the whole of the top half of the wearer. The \u201canimal-like\u201d mask is carved with two horns, eyes, nose, ears, snout with teeth, and a criss-cross pattern in the centre of the forehead. It is painted with dark pigment, on to which pale spots and lines have been added. In the background are spectators, grasses, huts and trees. [Description from record P.71539.GIJ, PB 13/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767013.GIJ - P.767018.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Eju Onu (long mouth), G.I. Jones writes in the notes: \"There were two of these both typical \"Awka\" type antelope masks worn on top of the actor head, facing upward and wearing a loose gown of blue and white patterned \"Yoruba\" cloth with sleeves and trouser-legs of the same type of cloth but white with narrow blue stripes. In most Northern Ibo masquerades the role of Eju Onu is a comic and stupid oaf-like one. On this play they carried wands and behaved like the fierce characters (only less fiercely) and thgey wore the same raffia aprons.\"\n\nFM:311780\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171089_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144305_P.171089.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171538.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465599", "metadata": {"title": "Untitled", "idno": "P.171538.GIJ", "description": "A documentation photograph of a carved wooden face mask, portraying a horned animal character in the okorosie masquerade. The horns extend from the forehead to curve inwards. The mask has a central vertical ridge highlghted with white paint. The lower part of the mask is elongated with snout and nostrils picked out with grooves and white paint. [PB 22/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Omoku", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171538.GIJ and P.171539.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171538.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden face mask, portraying a horned animal character in the okorosie masquerade. The horns extend from the forehead to curve inwards. The mask has a central vertical ridge highlghted with white paint. The lower part of the mask is elongated with snout and nostrils picked out with grooves and white paint. [PB 22/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Omoku\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171538.GIJ and P.171539.GIJ are mounted on card.\n\nFM:312258\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171538_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144770_P.171538.GIJ_001.jpg"}, {"file_name": "P_171538_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144771_P.171538.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171551.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465612", "metadata": {"title": "Untitled", "idno": "P.171551.GIJ", "description": "A wooden face mask of an animal character Ori Obubu for the Owu masquerade, being held by a seated man wearing a striped waist cloth. The mask has a bulbous forehead, eyebrows indicated by incised grooves, protruding eyes, a pointed nose and a beak mouth. There are parallel grooves on the cheeks. [PB 22/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Ogba; Akabuka", "cultural_affliation": "Igbo [historically Ibo]; Oba", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171550.GIJ to P.171552.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171551.GIJ\n\nDescription\n\nA wooden face mask of an animal character Ori Obubu for the Owu masquerade, being held by a seated man wearing a striped waist cloth. The mask has a bulbous forehead, eyebrows indicated by incised grooves, protruding eyes, a pointed nose and a beak mouth. There are parallel grooves on the cheeks. [PB 22/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ogba; Akabuka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oba\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171550.GIJ to P.171552.GIJ are mounted on card.\n\nFM:312271\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171551_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144796_P.171551.GIJ_001.jpg"}, {"file_name": "P_171551_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144797_P.171551.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13263.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306535", "metadata": {"title": "Untitled", "idno": "N.13263.GIJ", "description": "A shrine of Alose (tutelary deity). The shrine consists of a wooden structure with a thatched roof. The Alose sculpture is inside the shrine. He is wearing a striped hat and his face is painted white and dark pigments accentuating the eyes, nose, mouth and teeth. In front of the shrine are rocks and wooden objects (clubs?). In the background are trees.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Abaja", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Alusi or Arunsi (shrines)\n3. Alusi (22nd image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d(Jones, 1989, p. 37).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked lik\n\nContext: In relation to the Alusi figures, Cole and Aniakor write that, \u201cthe dead are conceived as part of the everyday world, and just as clearly, their presence can hold a positive or negative valence for the living; exactly the same is true of the tutelary deities, alusi. These forces, however, are neither personal (chi or ancestors) nor universal (Chineke, Chukwu). Rather, they are in part specific, usually tangible phenomena such as: Earth, the Niger or Imo river, Eke, Afo, Orie/Oye, or Nkwo market, an extraordinary tree, a binding oath at a particular shrine, or the canyon of erosion in Agulu. The preeminence of Ala/Ani does not eclipse the vitality of these other deities, especially those associated with water, or of Amadioha, god of thunder and lightening and, by extension, rain. These anthropomorphic male and female deities have priests and often elaborate cult apparatus, symbolic works of art, and finely decorated compounds. Each has general and specific powers, and although their priesthoods may be held by certain lineages, the more commanding of these cults have constituencies cutting across lines of kinship and stressing communal worship. Such tutelary deities are close to people, fast-acting (for good or ill), and often capricious, thus requiring frequent attention and sacrifice. ...(Cole and Aniakor, 1984, p.16).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1984, p.54)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989, Ibo Art (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/11/2007]", "raw_text_dump": "IDNO\n\nN.13263.GIJ\n\nDescription\n\nA shrine of Alose (tutelary deity). The shrine consists of a wooden structure with a thatched roof. The Alose sculpture is inside the shrine. He is wearing a striped hat and his face is painted white and dark pigments accentuating the eyes, nose, mouth and teeth. In front of the shrine are rocks and wooden objects (clubs?). In the background are trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abaja\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Alusi or Arunsi (shrines)\n3. Alusi (22nd image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d(Jones, 1989, p. 37).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked lik\n\nContext: In relation to the Alusi figures, Cole and Aniakor write that, \u201cthe dead are conceived as part of the everyday world, and just as clearly, their presence can hold a positive or negative valence for the living; exactly the same is true of the tutelary deities, alusi. These forces, however, are neither personal (chi or ancestors) nor universal (Chineke, Chukwu). Rather, they are in part specific, usually tangible phenomena such as: Earth, the Niger or Imo river, Eke, Afo, Orie/Oye, or Nkwo market, an extraordinary tree, a binding oath at a particular shrine, or the canyon of erosion in Agulu. The preeminence of Ala/Ani does not eclipse the vitality of these other deities, especially those associated with water, or of Amadioha, god of thunder and lightening and, by extension, rain. These anthropomorphic male and female deities have priests and often elaborate cult apparatus, symbolic works of art, and finely decorated compounds. Each has general and specific powers, and although their priesthoods may be held by certain lineages, the more commanding of these cults have constituencies cutting across lines of kinship and stressing communal worship. Such tutelary deities are close to people, fast-acting (for good or ill), and often capricious, thus requiring frequent attention and sacrifice. ...(Cole and Aniakor, 1984, p.16).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1984, p.54)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989, Ibo Art (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/11/2007]\n\nFM:147913\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13263_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000526_N.13263.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169774.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463783", "metadata": {"title": "Untitled", "idno": "P.169774.GIJ", "description": "A path leading upwards through the bush. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169771.GIJ - P.169779.GIJ were located in an brown envelope now numbered C754/6/.", "raw_text_dump": "IDNO\n\nP.169774.GIJ\n\nDescription\n\nA path leading upwards through the bush. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169771.GIJ - P.169779.GIJ were located in an brown envelope now numbered C754/6/.\n\nFM:310261\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169774_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127642_P.169774.GIJ_001.png"}, {"file_name": "P_169774_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127643_P.169774.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13201.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306473", "metadata": {"title": "Untitled", "idno": "N.13201.GIJ", "description": "A carved wooden Ekpo face mask. The face has a protruding forehead, almond shaped holes for eyes, nose, open mouth with two teeth, ears with serrated pattern of scarification. along inner edge, two small pointed designs on forehead, and a tear-shaped protruding decoration in centre of forehead.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]", "raw_text_dump": "IDNO\n\nN.13201.GIJ\n\nDescription\n\nA carved wooden Ekpo face mask. The face has a protruding forehead, almond shaped holes for eyes, nose, open mouth with two teeth, ears with serrated pattern of scarification. along inner edge, two small pointed designs on forehead, and a tear-shaped protruding decoration in centre of forehead.\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]\n\n\n\nFM:147851\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13201_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000463_N.13201.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71598.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364869", "metadata": {"title": "Untitled", "idno": "N.71598.GIJ", "description": "A masquerade character called Ogaranya or (Big Man). The masquerader is standing and carrying a long metal staff on his shoulder. He is wearing a white face mask painted with black markings. The eyes, nose, and lips are bordered in black and there is a large rectangular area on the forehead that is incised with geometric striations and painted black, a necklace adorns the neck area. Carved on the top of the mask is a white sun helmet with a black border and a feather tucked in. The costume is made of a loose batik tunic, baggy woven trousers and additional plaid cloth. In the background are spectators seated ad standing), a thatched hut and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negativPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]e was found in pocket 43 of the negative album now numbered C15/.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) (Jones, 1984).\n\nContext: The wide variety of masks in the Nri Akwa area is discussed further. Antelopes, goats, and similar animal spirits were given head masks and those with long muzzles were called Oji Onu (long mouth) or Ulaga. Some animals (for example, Tortoise) were carved as a complete figure which was worn on the actor\u2019s head. There was a range of masks in various shapes, sizes, styles and materials representing comic, stupid, and other human and animal types. There was also faceless characters where the actor\u2019s own face was concealed under a cloth or raffia hood. Some of these were said to be very old and senior, other were abstractions like the spirit called Government or three raffia-covered characters who sang together in thirds and were called Onukamma (the tongue is stronger than the sword). Some of the masks used in Nri-Akwa masquerades were borrowed from elsewhere, mainly from the Ibibio. (Jones, 1989, pp.46-47.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]", "raw_text_dump": "IDNO\n\nN.71598.GIJ\n\nDescription\n\nA masquerade character called Ogaranya or (Big Man). The masquerader is standing and carrying a long metal staff on his shoulder. He is wearing a white face mask painted with black markings. The eyes, nose, and lips are bordered in black and there is a large rectangular area on the forehead that is incised with geometric striations and painted black, a necklace adorns the neck area. Carved on the top of the mask is a white sun helmet with a black border and a feather tucked in. The costume is made of a loose batik tunic, baggy woven trousers and additional plaid cloth. In the background are spectators seated ad standing), a thatched hut and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negativPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]e was found in pocket 43 of the negative album now numbered C15/.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) (Jones, 1984).\n\nContext: The wide variety of masks in the Nri Akwa area is discussed further. Antelopes, goats, and similar animal spirits were given head masks and those with long muzzles were called Oji Onu (long mouth) or Ulaga. Some animals (for example, Tortoise) were carved as a complete figure which was worn on the actor\u2019s head. There was a range of masks in various shapes, sizes, styles and materials representing comic, stupid, and other human and animal types. There was also faceless characters where the actor\u2019s own face was concealed under a cloth or raffia hood. Some of these were said to be very old and senior, other were abstractions like the spirit called Government or three raffia-covered characters who sang together in thirds and were called Onukamma (the tongue is stronger than the sword). Some of the masks used in Nri-Akwa masquerades were borrowed from elsewhere, mainly from the Ibibio. (Jones, 1989, pp.46-47.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nFM:206248\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71598_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656698_N.71598.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71655.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364926", "metadata": {"title": "Untitled", "idno": "N.71655.GIJ", "description": "A wooden Ikenga figure seated on a round circular stool. The figure is holding a cutlass in one hand wrapped in twine, and a white staff in the other. The head of the carved figure depicts a white painted face with carved facial features accentuated by black paint, around the face are two curved horns and on top of the head are two larger curved horns and a few pieces of twine attached to them. The neck of the figure is thick and the figure is carved with a wooden neck ring, a waist cloth, and there are two carved white leg rings. Leaning against the figure is a calabash.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "P.71652.GIJ to P.71658.GIJ were presumed to come from box 4 now numbered C301/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Ikenga Nri-Awka Igbo (1st image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d In reference to Ikenga figures, he writes, \u201c The best known Ibo personal cult and the one that has given rise to the greatest number of carvings is that of Ikenga, a Lower Niger cult of a man\u2019s right arm and of success associated with it, which the Edo shared with the Western, Northern, most of the Southern Ibo and with Igala groups. The Ohuhu-Ngwa, Cross River and Northeastern Ibo did not participate in it. Most Ibo and Edo had a small cylindrical object with some geometrical carving on it and ending in a pair of pointed horns. Some Western Ibo increased the size so that it looked more like a circular stool . Other Ibo and Edo added a head and some carved a whole figure. The Nri-Akwa Ibo produced the most elaborate cult objects and in the greatest number. Older examples carved by them elaborated the horns and the head, which was shown smoking a pipe. Later ones consisted of complete figures which were shown standing or more usually seated on a circular stool with a cutlass in one hand and a human head in the other or, alternatively, holding a tusk horn and an ornamental staff (Jones, 1989, p.40). Also, see Jones, 1984, pp. 141-142.\n\nContext: Cole and Aniakor write in detail about Ikenga (see Chapter Two). They show that the concept of Ikenga reverberates throughout much of Igbo life . These images are found in the shrines of individual diviners and corporate tutelary cults and as representatives of age-grades and communities. ...They continue to describe that the basic Igbo Ikenga image is a human with horns, sometimes rendered very simply as an abstract head and horns base. Larger, more elaborate examples include fully realized males seated on stools, holding and wearing various symbols, and with more or less complex headdresses determined in part by horns and often including several other motifs (Cole and Aniakor, 1984, p.24).\n\nPublications: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989 Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/11/2007]", "raw_text_dump": "IDNO\n\nN.71655.GIJ\n\nDescription\n\nA wooden Ikenga figure seated on a round circular stool. The figure is holding a cutlass in one hand wrapped in twine, and a white staff in the other. The head of the carved figure depicts a white painted face with carved facial features accentuated by black paint, around the face are two curved horns and on top of the head are two larger curved horns and a few pieces of twine attached to them. The neck of the figure is thick and the figure is carved with a wooden neck ring, a waist cloth, and there are two carved white leg rings. Leaning against the figure is a calabash.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71652.GIJ to P.71658.GIJ were presumed to come from box 4 now numbered C301/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Ikenga Nri-Awka Igbo (1st image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d In reference to Ikenga figures, he writes, \u201c The best known Ibo personal cult and the one that has given rise to the greatest number of carvings is that of Ikenga, a Lower Niger cult of a man\u2019s right arm and of success associated with it, which the Edo shared with the Western, Northern, most of the Southern Ibo and with Igala groups. The Ohuhu-Ngwa, Cross River and Northeastern Ibo did not participate in it. Most Ibo and Edo had a small cylindrical object with some geometrical carving on it and ending in a pair of pointed horns. Some Western Ibo increased the size so that it looked more like a circular stool . Other Ibo and Edo added a head and some carved a whole figure. The Nri-Akwa Ibo produced the most elaborate cult objects and in the greatest number. Older examples carved by them elaborated the horns and the head, which was shown smoking a pipe. Later ones consisted of complete figures which were shown standing or more usually seated on a circular stool with a cutlass in one hand and a human head in the other or, alternatively, holding a tusk horn and an ornamental staff (Jones, 1989, p.40). Also, see Jones, 1984, pp. 141-142.\n\nContext: Cole and Aniakor write in detail about Ikenga (see Chapter Two). They show that the concept of Ikenga reverberates throughout much of Igbo life . These images are found in the shrines of individual diviners and corporate tutelary cults and as representatives of age-grades and communities. ...They continue to describe that the basic Igbo Ikenga image is a human with horns, sometimes rendered very simply as an abstract head and horns base. Larger, more elaborate examples include fully realized males seated on stools, holding and wearing various symbols, and with more or less complex headdresses determined in part by horns and often including several other motifs (Cole and Aniakor, 1984, p.24).\n\nPublications: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989 Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/11/2007]\n\nFM:206305\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71655_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656758_N.71655.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169747.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463756", "metadata": {"title": "Untitled", "idno": "P.169747.GIJ", "description": "Half-length portrait of a man in profile. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169747.GIJ\n\nDescription\n\nHalf-length portrait of a man in profile. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310234\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169747_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127588_P.169747.GIJ_001.png"}, {"file_name": "P_169747_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127589_P.169747.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71903.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365174", "metadata": {"title": "Untitled", "idno": "N.71903.GIJ", "description": "The inside of a lineage meeting house. Figures carved on the interior of an Obu House with figures carved on three pillars. The centre pillar depicts a woman carrying a water pot on her head; the figure is placed on a rounded incised base and a much larger pedestal which is incised on the bottom. Another figure, the Egbo runner is above her. To the left is another pillar with two figures and to the right is a pillar with geometric patterns and designs and three membrane drums hanging from it. The wall in the background is decorated with a colourful display of geometric designs, The roof appears to be wooden and a window is at the top of the gable. [AF 13/12/2007]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 47 of the negative album now numbered C27/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/,\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. Carved pillars in Obu house Abiriba. Jones notes: \u2018Figures carved on the central pillar are: below, a woman with a waterpot on her head; above, an \u201cEgbo runner\u201d (i.e. the agent of the Ekpe [Egbo] secret society, his identity concealed beneath a tight fitting all enveloping costume and believed by the uninitiated to be a forest daemon. The servant of the Ekpe spirit to which the society ministers.).\" [11th image]\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nContext: Jones writes on the back of this photograph: \u201cInside of a lineage meeting house. Figures carved on the central pillar are below a woman with a water pot on her head and above an Egbo runner (i.e. the agent of Ekpe (Egbo) secret society, his identity concealed beneath a tight fittting all enveloping net costume believed by the unitiated to be a forest demon the servant of th Ekpe spirit to which the society ministered.\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press).\n\nExhibition: Digital reproduction of photograph exhibited in \u2018Afrique, mille vies d\u2019objects / Africa, a thousand lives of objects\u2019 at Mus\u00e9e de Confluences, Lyon, France, from June 2023 \u2013 February 2024. See www.museedesconfluences.fr/en. [JD 25/01/2023]\n\nPublication: Image included in exhibition catalogue 'Afrique, mille vies d\u2019objects' [Africa, a thousand lives of objects] Mus\u00e9e de Confluences, Lyon, 9 June 2023 \u2013 18 February 2024, and captioned \"Int\u00e9rieur d'un obu avec des figures sculpt\u00e9es sur trois pilliers, 1932-1938.\nSud-Est du Nigeria, Abiriba. [Interior of an obu with figures carved on three pillars, 1932-1938.\nSouth-Eastern Nigeria, Abiriba.\n\u00a9 Gwilliam Iwan Jones, Museum of Archaeology and Anthropology, Cambridge (N.71903.GIJ).\nDans la partie orientale du pays igbo, les maisons cummunautaires, appel\u00e9es obu, servaient de lieu d'accueil pour les \u00e9strangers, d'espace de r\u00e9union ed de r\u00e9serves pour les objets rituels. Elles \u00e9taient d\u00e9cor\u00e9es de statues qui tapissaient les murs ou la v\u00e9randa. Ces statues figuraient des m\u00e9res et enfants, des querriers ou d'autres personnages h\u00e9ro\u00efcises de la soci\u00e9t\u00e9 villageoise. [In the eastern part of Igbo country, community houses, called obu, served as a place of welcome for foreigners, a meeting space and reserves for ritual objects. They were decorated with statues which lined the walls or the veranda. These statues represented mothers and children, warriors or other heroic characters from village society.]\" [JD 08/09/2023]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/12/2007]", "raw_text_dump": "IDNO\n\nN.71903.GIJ\n\nDescription\n\nThe inside of a lineage meeting house. Figures carved on the interior of an Obu House with figures carved on three pillars. The centre pillar depicts a woman carrying a water pot on her head; the figure is placed on a rounded incised base and a much larger pedestal which is incised on the bottom. Another figure, the Egbo runner is above her. To the left is another pillar with two figures and to the right is a pillar with geometric patterns and designs and three membrane drums hanging from it. The wall in the background is decorated with a colourful display of geometric designs, The roof appears to be wooden and a window is at the top of the gable. [AF 13/12/2007]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 47 of the negative album now numbered C27/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/,\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. Carved pillars in Obu house Abiriba. Jones notes: \u2018Figures carved on the central pillar are: below, a woman with a waterpot on her head; above, an \u201cEgbo runner\u201d (i.e. the agent of the Ekpe [Egbo] secret society, his identity concealed beneath a tight fitting all enveloping costume and believed by the uninitiated to be a forest daemon. The servant of the Ekpe spirit to which the society ministers.).\" [11th image]\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nContext: Jones writes on the back of this photograph: \u201cInside of a lineage meeting house. Figures carved on the central pillar are below a woman with a water pot on her head and above an Egbo runner (i.e. the agent of Ekpe (Egbo) secret society, his identity concealed beneath a tight fittting all enveloping net costume believed by the unitiated to be a forest demon the servant of th Ekpe spirit to which the society ministered.\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press).\n\nExhibition: Digital reproduction of photograph exhibited in \u2018Afrique, mille vies d\u2019objects / Africa, a thousand lives of objects\u2019 at Mus\u00e9e de Confluences, Lyon, France, from June 2023 \u2013 February 2024. See www.museedesconfluences.fr/en. [JD 25/01/2023]\n\nPublication: Image included in exhibition catalogue 'Afrique, mille vies d\u2019objects' [Africa, a thousand lives of objects] Mus\u00e9e de Confluences, Lyon, 9 June 2023 \u2013 18 February 2024, and captioned \"Int\u00e9rieur d'un obu avec des figures sculpt\u00e9es sur trois pilliers, 1932-1938.\nSud-Est du Nigeria, Abiriba. [Interior of an obu with figures carved on three pillars, 1932-1938.\nSouth-Eastern Nigeria, Abiriba.\n\u00a9 Gwilliam Iwan Jones, Museum of Archaeology and Anthropology, Cambridge (N.71903.GIJ).\nDans la partie orientale du pays igbo, les maisons cummunautaires, appel\u00e9es obu, servaient de lieu d'accueil pour les \u00e9strangers, d'espace de r\u00e9union ed de r\u00e9serves pour les objets rituels. Elles \u00e9taient d\u00e9cor\u00e9es de statues qui tapissaient les murs ou la v\u00e9randa. Ces statues figuraient des m\u00e9res et enfants, des querriers ou d'autres personnages h\u00e9ro\u00efcises de la soci\u00e9t\u00e9 villageoise. [In the eastern part of Igbo country, community houses, called obu, served as a place of welcome for foreigners, a meeting space and reserves for ritual objects. They were decorated with statues which lined the walls or the veranda. These statues represented mothers and children, warriors or other heroic characters from village society.]\" [JD 08/09/2023]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/12/2007]\n\nFM:206553\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71903_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657008_N.71903.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71609.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364880", "metadata": {"title": "Untitled", "idno": "N.71609.GIJ", "description": "A group of young boys and men playing in a band. There are various types of musical instruments including igba (membrane drums with drum sticks), pot drums, ngedegwu (zylophone , made froma pot base with wooden slats), abia (metal gongs), and rattles. The clothing of the band members varies from loin cloths, shorts, and smocks. The band is located under a tree with some musicians sitting and other standing. In the background are trees and vegetation.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River area", "cultural_affliation": "Igbo [historically Ibo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 32 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Igbo Musicians\n3. Band playing in Northern Igboland (4th image).\n\nContext: Jones describes the various types of musical instruments and the way they were played during masquerades. \u201cDrums of both types (slit and membrane) were combined with flutes, whistles, rattles, clappers of various sorts, single and double iron gongs and pots to form orchestras of varying size for dances and masquerades. The flutes and whistles were carved out of wood or were the horns of goats or small antelopes with a mouthpiece cut in the side or the end: the rattles were small basketwork or calabash containers half filled with hard seeds or shells or calabashes covered with loose net on which beads or seeds had been threaded. The pots were round narrow-necked water pots with a circular hole cut out the side which was beaten with the palm of the hand. Drums predominated and provided most of the variations and improvisations. There was usually one slit drum that was used for most of these, while the others were limited to the regular repetition of one or two notes: as were the other instruments. In masquerades where the characters danced and where the dancing and mining was at all elaborate, as amongst the Kalabari, the movements of the characters were governed not only by the rhythm of the drumming but by the coded instructions played on one particular drum, which the actor had to distinguish from the notes which accompanied it on the drums.\u201d (Jones, 1984, p.115)\n\nContext: Echezona provides a detailed description of the various Ibo musical instruments and discusses their various uses. Interestingly, he notes that, \u201cAlmost any type of Ibo musical instrument is used in \u201ctalking\u201d. Here are a few reasons why this is possible. Ibo language is tonal and the language calls to mind an agreeable succession of tones which combine themselves into interesting patterns and rhythms using syncopation, asymmetric divisions, nonaccented rhythms, changing meters, and shifted accents as some of the devices. In reference to drums he notes that the drum is extensively used for dancing, rejoicing, and wrestling. Gongs or ogene are also important because the, Ogene is principally used to supply rhythms for dancers. The two different pitches often employed in the use of the ogene can show whether a dancer is expected to use his right or his left leg or, when one foot is doing the motion, whether the foot should move up or done. The ogene is also used as a an accompaniment for other percussive instruments such as the ngededgwu (xylophone), abia (set of drums) and in combination with the udu (earthen pot instrument). The aja (clappers) are used to mark rhythms in a song or dance (Echezona, 1964)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nEchezona, W. Wilberforce 1964. \u201cIbo Musical Instruments\u201d Music Educators Journal, Vol. 50, No.5 pp.23-27+130-131.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71609.GIJ\n\nDescription\n\nA group of young boys and men playing in a band. There are various types of musical instruments including igba (membrane drums with drum sticks), pot drums, ngedegwu (zylophone , made froma pot base with wooden slats), abia (metal gongs), and rattles. The clothing of the band members varies from loin cloths, shorts, and smocks. The band is located under a tree with some musicians sitting and other standing. In the background are trees and vegetation.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River area\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 32 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Igbo Musicians\n3. Band playing in Northern Igboland (4th image).\n\nContext: Jones describes the various types of musical instruments and the way they were played during masquerades. \u201cDrums of both types (slit and membrane) were combined with flutes, whistles, rattles, clappers of various sorts, single and double iron gongs and pots to form orchestras of varying size for dances and masquerades. The flutes and whistles were carved out of wood or were the horns of goats or small antelopes with a mouthpiece cut in the side or the end: the rattles were small basketwork or calabash containers half filled with hard seeds or shells or calabashes covered with loose net on which beads or seeds had been threaded. The pots were round narrow-necked water pots with a circular hole cut out the side which was beaten with the palm of the hand. Drums predominated and provided most of the variations and improvisations. There was usually one slit drum that was used for most of these, while the others were limited to the regular repetition of one or two notes: as were the other instruments. In masquerades where the characters danced and where the dancing and mining was at all elaborate, as amongst the Kalabari, the movements of the characters were governed not only by the rhythm of the drumming but by the coded instructions played on one particular drum, which the actor had to distinguish from the notes which accompanied it on the drums.\u201d (Jones, 1984, p.115)\n\nContext: Echezona provides a detailed description of the various Ibo musical instruments and discusses their various uses. Interestingly, he notes that, \u201cAlmost any type of Ibo musical instrument is used in \u201ctalking\u201d. Here are a few reasons why this is possible. Ibo language is tonal and the language calls to mind an agreeable succession of tones which combine themselves into interesting patterns and rhythms using syncopation, asymmetric divisions, nonaccented rhythms, changing meters, and shifted accents as some of the devices. In reference to drums he notes that the drum is extensively used for dancing, rejoicing, and wrestling. Gongs or ogene are also important because the, Ogene is principally used to supply rhythms for dancers. The two different pitches often employed in the use of the ogene can show whether a dancer is expected to use his right or his left leg or, when one foot is doing the motion, whether the foot should move up or done. The ogene is also used as a an accompaniment for other percussive instruments such as the ngededgwu (xylophone), abia (set of drums) and in combination with the udu (earthen pot instrument). The aja (clappers) are used to mark rhythms in a song or dance (Echezona, 1964)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nEchezona, W. Wilberforce 1964. \u201cIbo Musical Instruments\u201d Music Educators Journal, Vol. 50, No.5 pp.23-27+130-131.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206259\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71609_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656719_N.71609.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.7041.ACH1", "source_url": "https://collections.maa.cam.ac.uk/photographs/300313", "metadata": {"title": "Untitled", "idno": "P.7041.ACH1", "description": "On Catalogue Card: Native loom, \u2018ndengani\u2019, borders of Ekoi and Efik countries.", "place": "W Africa; Nigeria; south eastern Nigeria", "cultural_affliation": "Efik; Ekoi", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Mounted Haddon Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "", "raw_text_dump": "IDNO\n\nP.7041.ACH1\n\nDescription\n\nOn Catalogue Card: Native loom, \u2018ndengani\u2019, borders of Ekoi and Efik countries.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria\n\nCultural Affliation\n\nEfik; Ekoi\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nMounted Haddon Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nFM:141691\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_7041_ACH1_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/866764_P.7041.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13242.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306514", "metadata": {"title": "Untitled", "idno": "N.13242.GIJ", "description": "Mau (Ghost) masquerade.\n\nA band of musicians playing various instruments including a Pot drum (udu), two small membrane drums. one small iron double gong (ogene), and one whistle. One person is sitting on a wooden chair with a large pot drum perched on his lap. The drum is circular in shape and has twine or rope tied around it. In the right hand corner is a masquerader wearing a cloth top, tights, socks and a raffia skirt. In the background are thatched roofs, trees and vegetation.", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Igbo Musicians\n3. Band playing for Mmau Masquerade, Amuda village, Isu Ochi. Instruments: udu (pot drum), two small membrane drums, on small ogene (iron bell) and a whistle.\n\nContext: Jones discusses the various types of musical instruments that are found in Eastern Nigeria and played during masquerades: Membrane drums were consisted of a cylinder, usually hollowed out of a tree trunk, with a membrane of skin stretched and pegged over the one end and with the other end left open...Drums of both types (membrane drums and slit drums) were combined with flutes, whistles, rattles, clappers of various sorts, single and double iron gongs and pots to form orchestras of varying size for dances and masquerades. The flutes and whistles were carved out of wood or were the horns of goats or small antelopes with a mouthpiece cut in the side or the end; the rattles were small basket work or calabash containers half filled with seeds or shells or calabashes covered with a loose net on which beads or seeds had been threaded. The pots were round narrow-necked water pots with a circular hole cut out of the side which was beaten with the palm of the hand (Jones, 1984, p. 115)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/10/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13242.GIJ\n\nDescription\n\nMau (Ghost) masquerade.\n\nA band of musicians playing various instruments including a Pot drum (udu), two small membrane drums. one small iron double gong (ogene), and one whistle. One person is sitting on a wooden chair with a large pot drum perched on his lap. The drum is circular in shape and has twine or rope tied around it. In the right hand corner is a masquerader wearing a cloth top, tights, socks and a raffia skirt. In the background are thatched roofs, trees and vegetation.\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Igbo Musicians\n3. Band playing for Mmau Masquerade, Amuda village, Isu Ochi. Instruments: udu (pot drum), two small membrane drums, on small ogene (iron bell) and a whistle.\n\nContext: Jones discusses the various types of musical instruments that are found in Eastern Nigeria and played during masquerades: Membrane drums were consisted of a cylinder, usually hollowed out of a tree trunk, with a membrane of skin stretched and pegged over the one end and with the other end left open...Drums of both types (membrane drums and slit drums) were combined with flutes, whistles, rattles, clappers of various sorts, single and double iron gongs and pots to form orchestras of varying size for dances and masquerades. The flutes and whistles were carved out of wood or were the horns of goats or small antelopes with a mouthpiece cut in the side or the end; the rattles were small basket work or calabash containers half filled with seeds or shells or calabashes covered with a loose net on which beads or seeds had been threaded. The pots were round narrow-necked water pots with a circular hole cut out of the side which was beaten with the palm of the hand (Jones, 1984, p. 115)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/10/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147892\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13242_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000505_N.13242.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171560.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465621", "metadata": {"title": "Untitled", "idno": "P.171560.GIJ", "description": "A documentation photograph of a carved wooden helmet mask for the Owu masquerade. The mask has a crouching figure on top of an elaborate platform. The platform has a lower section formed of two leather discs connected by vertical struts between which are tucked the cords and cloth straps to attach to the masquerader's head. Above this the base of the figure is painted with geometric shapes. The carved figure is similar to an ikenga. The figure has legs bent at the knees, is holding a staff in each hand, and has a head with a central; coiled hair crest with two wide horns curling inwards from each side to meet in the mjddle. [PB 23/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Ihuburuku village", "cultural_affliation": "Igbo [historically Ibo]; Ekpeya", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171560.GIJ is mounted on card.", "raw_text_dump": "IDNO\n\nP.171560.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden helmet mask for the Owu masquerade. The mask has a crouching figure on top of an elaborate platform. The platform has a lower section formed of two leather discs connected by vertical struts between which are tucked the cords and cloth straps to attach to the masquerader's head. Above this the base of the figure is painted with geometric shapes. The carved figure is similar to an ikenga. The figure has legs bent at the knees, is holding a staff in each hand, and has a head with a central; coiled hair crest with two wide horns curling inwards from each side to meet in the mjddle. [PB 23/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ihuburuku village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ekpeya\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171560.GIJ is mounted on card.\n\nFM:312280\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171560_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144814_P.171560.GIJ_001.jpg"}, {"file_name": "P_171560_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144815_P.171560.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71554.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364825", "metadata": {"title": "Untitled", "idno": "N.71554.GIJ", "description": "Aguneche euyi (lion elephant) mask worn on the head of a male wearing a cloth- the mask is wooden and consists of anthropomorphised elements - a carved face with arched eyebrows encasing rounded eyes encircled in white? paint, a triangular nose with white line in the centre, a large mouth and extended jaw line depicting large pointed teeth painted white? and two curved horns as \u201cears\u201d, above the face of the mask are two curved horns in the centre, and other pointed horns emanating from the sides. In the centre of the larger horns is a small carved figure - with horns and a white face. On top of the superstructure is a carved animal with a white face. In the background is a thatched building.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 57 of the negative album now numbered C15/.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71554.GIJ\n\nDescription\n\nAguneche euyi (lion elephant) mask worn on the head of a male wearing a cloth- the mask is wooden and consists of anthropomorphised elements - a carved face with arched eyebrows encasing rounded eyes encircled in white? paint, a triangular nose with white line in the centre, a large mouth and extended jaw line depicting large pointed teeth painted white? and two curved horns as \u201cears\u201d, above the face of the mask are two curved horns in the centre, and other pointed horns emanating from the sides. In the centre of the larger horns is a small carved figure - with horns and a white face. On top of the superstructure is a carved animal with a white face. In the background is a thatched building.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 57 of the negative album now numbered C15/.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206204\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71554_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656663_N.71554.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71522.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364793", "metadata": {"title": "Untitled", "idno": "N.71522.GIJ", "description": "Obugulu Mau masquerade. A side profile of a standing masquerader wearing a delicate white face mask with black markings with a carved crested and curved shape on top painted white and black. The costume is patterned in a harlequin-like design with appliqu\u00e9d detail with two pronounced pointed breasts.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Ibo [historically Igbo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 55 of the negative album now numbered C15/.\n\nP.71504.GIJ to P.71662.GIJ were kept in box 4, now numbered C301/.\nP.71504.GIJ to P.71529.GIJ were found wrapped in paper, now numbered C301/1/.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe\nFame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71522.GIJ\n\nDescription\n\nObugulu Mau masquerade. A side profile of a standing masquerader wearing a delicate white face mask with black markings with a carved crested and curved shape on top painted white and black. The costume is patterned in a harlequin-like design with appliqu\u00e9d detail with two pronounced pointed breasts.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 55 of the negative album now numbered C15/.\n\nP.71504.GIJ to P.71662.GIJ were kept in box 4, now numbered C301/.\nP.71504.GIJ to P.71529.GIJ were found wrapped in paper, now numbered C301/1/.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe\nFame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206172\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71522_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656654_N.71522.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.71958.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365229", "metadata": {"title": "Untitled", "idno": "P.71958.GIJ", "description": "A Ngbagba Ikoro masquerade with the chorus and band. They are seated on the ground and some are holding wooden clappers. Other members are wearing dark wooden face masks with woven cloth shrouding their faces; some wear masks covering their faces other have the masks on top of their heads.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71946.GIJ to P.71968.GIJ were found wrapped in paper, now numbered C298/9/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Older woman touching Otiri Ngbagba Ikoro, Abiriba. (4th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nP.71958.GIJ\n\nDescription\n\nA Ngbagba Ikoro masquerade with the chorus and band. They are seated on the ground and some are holding wooden clappers. Other members are wearing dark wooden face masks with woven cloth shrouding their faces; some wear masks covering their faces other have the masks on top of their heads.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71946.GIJ to P.71968.GIJ were found wrapped in paper, now numbered C298/9/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Older woman touching Otiri Ngbagba Ikoro, Abiriba. (4th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nFM:206608\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_71958_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657059_N.71959.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169658.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463656", "metadata": {"title": "Untitled", "idno": "P.169658.GIJ", "description": "Young adult males performing in an age set dance, surrounded by crowds. Male in centre is wearing waist ornaments and bands, some of which have bells attached to them, knee-rattles, and head-gear (which appears to be a wig with pale round ornaments sewn onto it). [Description from record N.13259.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169658.GIJ\n\nDescription\n\nYoung adult males performing in an age set dance, surrounded by crowds. Male in centre is wearing waist ornaments and bands, some of which have bells attached to them, knee-rattles, and head-gear (which appears to be a wig with pale round ornaments sewn onto it). [Description from record N.13259.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nFM:310145\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169658_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127416_P.169658.GIJ_001.png"}, {"file_name": "P_169658_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127417_P.169658.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.71952.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365223", "metadata": {"title": "Untitled", "idno": "P.71952.GIJ", "description": "A Ngbagba Ikoro masquerade with the masquerade character called Otiri the principle dancer in the play with small girls around him and touchng him. Otiri wears a mask on top of his head stuck full of long feathers, his face is shrouded in a raffia bag, and he wears a shirt of raffia sacking and a grass skirt. His right arm and left leg were painted in Nzu (white chalk) and the other arm and leg in Odo (yellow pigment). He is holding large white plumes in his hands and seed anklets. The girls are wearing waist beads. In the background is a crowd of spectators and a thatched pitched roof building.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71946.GIJ to P.71968.GIJ were found wrapped in paper, now numbered C298/9/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Small girls touching Otiri Ngbagba Ikoro, Abiriba. (5th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nP.71952.GIJ\n\nDescription\n\nA Ngbagba Ikoro masquerade with the masquerade character called Otiri the principle dancer in the play with small girls around him and touchng him. Otiri wears a mask on top of his head stuck full of long feathers, his face is shrouded in a raffia bag, and he wears a shirt of raffia sacking and a grass skirt. His right arm and left leg were painted in Nzu (white chalk) and the other arm and leg in Odo (yellow pigment). He is holding large white plumes in his hands and seed anklets. The girls are wearing waist beads. In the background is a crowd of spectators and a thatched pitched roof building.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71946.GIJ to P.71968.GIJ were found wrapped in paper, now numbered C298/9/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Small girls touching Otiri Ngbagba Ikoro, Abiriba. (5th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nFM:206602\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_71952_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657051_N.71953.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171153.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465214", "metadata": {"title": "Untitled", "idno": "P.171153.GIJ", "description": "Agaba (mgbedike) - 'time of brave and strong' - masquerade depicting a masquerader and supporters. The character is completely covered and is wearing a fierce mask with an elaborately carved helmet-like superstructure decorated with cloth and tassels, and a raffia fringed costume. He is holding a fly whisk in his right hand. To the left of the image are supporters holding drumsticks and in the background are trees, huts and three small children. [PB 21/06/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767075.GIJ - P.767077.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171153.GIJ\n\nDescription\n\nAgaba (mgbedike) - 'time of brave and strong' - masquerade depicting a masquerader and supporters. The character is completely covered and is wearing a fierce mask with an elaborately carved helmet-like superstructure decorated with cloth and tassels, and a raffia fringed costume. He is holding a fly whisk in his right hand. To the left of the image are supporters holding drumsticks and in the background are trees, huts and three small children. [PB 21/06/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767075.GIJ - P.767077.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311844\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171153_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144369_P.171153.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171540.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465601", "metadata": {"title": "Untitled", "idno": "P.171540.GIJ", "description": "A documentation photograph in profile of a carved wooden helmet mask, with a crested janus head, used as a juju. The mask has a disc-shaped hair crest, with a design of fretwork curved lines. The faces are carved in geometric lines with high foreheads, curved ears, studs in forehead and on cheeks, and prognathic jaws. [PB 22/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Ebonyi State; Okposi", "cultural_affliation": "Igbo [historically Ibo]; Oba", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171540.GIJ and P.171541.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171540.GIJ\n\nDescription\n\nA documentation photograph in profile of a carved wooden helmet mask, with a crested janus head, used as a juju. The mask has a disc-shaped hair crest, with a design of fretwork curved lines. The faces are carved in geometric lines with high foreheads, curved ears, studs in forehead and on cheeks, and prognathic jaws. [PB 22/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ebonyi State; Okposi\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oba\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171540.GIJ and P.171541.GIJ are mounted on card.\n\nFM:312260\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171540_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144774_P.171540.GIJ_001.jpg"}, {"file_name": "P_171540_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144775_P.171540.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.7038.ACH1", "source_url": "https://collections.maa.cam.ac.uk/photographs/300310", "metadata": {"title": "Untitled", "idno": "P.7038.ACH1", "description": "On Catalogue Card: Small-fox medicine, Ekoi country. S. N.", "place": "W Africa; Nigeria; south eastern Nigeria; near Cross River", "cultural_affliation": "?Ekoi", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Mounted Haddon Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "", "raw_text_dump": "IDNO\n\nP.7038.ACH1\n\nDescription\n\nOn Catalogue Card: Small-fox medicine, Ekoi country. S. N.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; near Cross River\n\nCultural Affliation\n\n?Ekoi\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nMounted Haddon Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nFM:141688\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_7038_ACH1_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/866761_P.7038.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171185.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465246", "metadata": {"title": "Untitled", "idno": "P.171185.GIJ", "description": "Masquerade character called \u2018Government\u2019 and attendant. The masquerader is a faceless character with a piece of cloth covering his face, dressed in patterned cloth, wearing a Homburg hat with a feather tucked into the side. \u2018Government\u2019 is holding a piece of paper in his hand, symbolising authority. His \u2018attendant\u2019 is kneeling down and placing an ivory tusk and walking stick in front of him. The attendant is covered in cloth and wearing a Homburg hat. He is carrying a large metal gong in his hand. In the background are spectators and thatched houses. [Description from record P.71616.GIJ, PB 02/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767109.GIJ - P.767112.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171185.GIJ\n\nDescription\n\nMasquerade character called \u2018Government\u2019 and attendant. The masquerader is a faceless character with a piece of cloth covering his face, dressed in patterned cloth, wearing a Homburg hat with a feather tucked into the side. \u2018Government\u2019 is holding a piece of paper in his hand, symbolising authority. His \u2018attendant\u2019 is kneeling down and placing an ivory tusk and walking stick in front of him. The attendant is covered in cloth and wearing a Homburg hat. He is carrying a large metal gong in his hand. In the background are spectators and thatched houses. [Description from record P.71616.GIJ, PB 02/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767109.GIJ - P.767112.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311876\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171185_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144401_P.171185.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171585.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465646", "metadata": {"title": "Untitled", "idno": "P.171585.GIJ", "description": "A documentation full length photograph of a carved wooden ancestral female figure, in profile. The wood is worn and aged. There is cord tied around the neck and remains of a cloth wrapper around the waist. The head is etched with diagonal lines. There is a single hair crest. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171583.GIJ to P.171585.GIJ are mounted on card.\n\nImages P.171583.GIJ to P.171585.GIJ are of the same figure.", "raw_text_dump": "IDNO\n\nP.171585.GIJ\n\nDescription\n\nA documentation full length photograph of a carved wooden ancestral female figure, in profile. The wood is worn and aged. There is cord tied around the neck and remains of a cloth wrapper around the waist. The head is etched with diagonal lines. There is a single hair crest. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171583.GIJ to P.171585.GIJ are mounted on card.\n\nImages P.171583.GIJ to P.171585.GIJ are of the same figure.\n\nFM:312305\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171585_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144865_P.171585.GIJ_001.jpg"}, {"file_name": "P_171585_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144866_P.171585.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.35333.ACH2", "source_url": "https://collections.maa.cam.ac.uk/photographs/328605", "metadata": {"title": "Untitled", "idno": "N.35333.ACH2", "description": "On Catalogue Card: Native of Ekong.", "place": "W Africa; Nigeria; south eastern Nigeria; Ekong", "cultural_affliation": "", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Unmounted Haddon Collection", "source": "", "format": "Film Negative", "primary_documentation": "", "other_information": "The negative was previously stored in an envelope now numbered C106/102/ which was in a wooden box now marked C106/. The envelope (C106/102/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.", "raw_text_dump": "IDNO\n\nN.35333.ACH2\n\nDescription\n\nOn Catalogue Card: Native of Ekong.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; Ekong\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nUnmounted Haddon Collection\n\nSource\n\nFormat\n\nFilm Negative\n\nPrimary Documentation\n\nOther Information\n\nThe negative was previously stored in an envelope now numbered C106/102/ which was in a wooden box now marked C106/. The envelope (C106/102/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.\n\nFM:169983\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_35333_ACH2_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/607092_cat.P.7046.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.170270.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464331", "metadata": {"title": "Untitled", "idno": "P.170270.GIJ", "description": "Close up view of Ekpo face mask. Face with rimmed head, high forehead with almond shaped eyes, pointed nose, shallow cheeks, closed mouth, and ears indicated by triangular ridges. Plant fibres surround the mask. The mask is highly polished darkened wood. [PB 03/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Nung Idio Edieke Itak village", "cultural_affliation": "Anang; Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.", "raw_text_dump": "IDNO\n\nP.170270.GIJ\n\nDescription\n\nClose up view of Ekpo face mask. Face with rimmed head, high forehead with almond shaped eyes, pointed nose, shallow cheeks, closed mouth, and ears indicated by triangular ridges. Plant fibres surround the mask. The mask is highly polished darkened wood. [PB 03/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Nung Idio Edieke Itak village\n\nCultural Affliation\n\nAnang; Ibibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.\n\nFM:310828\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170270_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131706_P.170270.GIJ_001.png"}, {"file_name": "P_170270_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131707_P.170270.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171265.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465326", "metadata": {"title": "Untitled", "idno": "P.171265.GIJ", "description": "An object documentation photograph of two carved wooden female figures. The shorter figure on the left has a central crest on top the head, eyes painted with light pigment which runs down the lower cheeks. There are several things around her neck and right forearm. Her hand is bare and reaching forward. There is a loin cloth around her waist. The figure on the taller figure on the right has carved hair braids, a necklet, and a loin cloth. The eyes are painted in light pigment which runs down the lower cheeks. Both hands are raised and reaching forward with palms down. [PB 12/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767188.GIJ - P.767190.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171265.GIJ\n\nDescription\n\nAn object documentation photograph of two carved wooden female figures. The shorter figure on the left has a central crest on top the head, eyes painted with light pigment which runs down the lower cheeks. There are several things around her neck and right forearm. Her hand is bare and reaching forward. There is a loin cloth around her waist. The figure on the taller figure on the right has carved hair braids, a necklet, and a loin cloth. The eyes are painted in light pigment which runs down the lower cheeks. Both hands are raised and reaching forward with palms down. [PB 12/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767188.GIJ - P.767190.GIJ are mounted together on card.\n\nFM:311956\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171265_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144481_P.171265.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169849.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463862", "metadata": {"title": "Untitled", "idno": "P.169849.GIJ", "description": "A man, possibly a drummer?, viewed from the back as he attends a masquerade. He is wearing woven materials around his waist and legs. He has a cloth head band with a feather? tucked into the front. Over his right shoulder and down to his left waist is a narrow band of material, possibly leather. His elbows are bent as if holding a drum. [PB 05/01/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo {Ibo]; South Ikwerri", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169849.GIJ\n\nDescription\n\nA man, possibly a drummer?, viewed from the back as he attends a masquerade. He is wearing woven materials around his waist and legs. He has a cloth head band with a feather? tucked into the front. Over his right shoulder and down to his left waist is a narrow band of material, possibly leather. His elbows are bent as if holding a drum. [PB 05/01/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo {Ibo]; South Ikwerri\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310336\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169849_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127790_P.169849.GIJ_001.png"}, {"file_name": "P_169849_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127792_P.169849.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169887.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463906", "metadata": {"title": "Untitled", "idno": "P.169887.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts a figure, probably a policeman, standing with his hand stretched out holding his belt. He is dressed in white top and trousers, high socks and a black hat. Around him are geometric designs. [Description from record N.13206.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River Area; Umuajatta village; Okwu", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169887.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts a figure, probably a policeman, standing with his hand stretched out holding his belt. He is dressed in white top and trousers, high socks and a black hat. Around him are geometric designs. [Description from record N.13206.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River Area; Umuajatta village; Okwu\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310374\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169887_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127855_P.169887.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.13273.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306545", "metadata": {"title": "Untitled", "idno": "N.13273.GIJ", "description": "An Awka stool which consists of a rounded, saucer-like seat and a pedestal base. The stool is incised with geometric patterns on the legs and around the seat.", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha province; ?near Awka; ?Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: See Jones, 1989, p.29 which depicts a variety of Ibo Stools. The same stool in the photograph is labelled \u201cB\u201d with the caption Awka pedestal stool carved in Awka town.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Other Igbo cultural items\n3. \"Awka\" stool Amobia Village, Nri-Awka (14th image).\n\nContext: The Akwa stool consisted of the usual saucer like seat, which was supported on a narrow pedestal splayed out at the base into four feet. Another Akwa variant resembled in profile is an Ashanti stool, but the top and bottom were oval and pointed and not rectangular like the Ashanti one. These and other stools were part of the regalia of the members of the Ozo title society and their carving was developed into a fine art unmatched anywhere in the region (Jones, 1984, p.117).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989 Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/12/2007]", "raw_text_dump": "IDNO\n\nN.13273.GIJ\n\nDescription\n\nAn Awka stool which consists of a rounded, saucer-like seat and a pedestal base. The stool is incised with geometric patterns on the legs and around the seat.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha province; ?near Awka; ?Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: See Jones, 1989, p.29 which depicts a variety of Ibo Stools. The same stool in the photograph is labelled \u201cB\u201d with the caption Awka pedestal stool carved in Awka town.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Other Igbo cultural items\n3. \"Awka\" stool Amobia Village, Nri-Awka (14th image).\n\nContext: The Akwa stool consisted of the usual saucer like seat, which was supported on a narrow pedestal splayed out at the base into four feet. Another Akwa variant resembled in profile is an Ashanti stool, but the top and bottom were oval and pointed and not rectangular like the Ashanti one. These and other stools were part of the regalia of the members of the Ozo title society and their carving was developed into a fine art unmatched anywhere in the region (Jones, 1984, p.117).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989 Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/12/2007]\n\nFM:147923\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13273_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000536_N.13273.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171516.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465577", "metadata": {"title": "Untitled", "idno": "P.171516.GIJ", "description": "Close up documentation photograph of the heads of two uxurhe ancestral figures. The figure on the left is of a woman with high hair crest, holding a child. The figure on the right of a man wearing a conical cap. Both figures and child have long necks, with several neck rings carved in the wood. [PB 04/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171511.GIJ - P.171522.GIJ were located in a brown folder, now numbered C768/6.", "raw_text_dump": "IDNO\n\nP.171516.GIJ\n\nDescription\n\nClose up documentation photograph of the heads of two uxurhe ancestral figures. The figure on the left is of a woman with high hair crest, holding a child. The figure on the right of a man wearing a conical cap. Both figures and child have long necks, with several neck rings carved in the wood. [PB 04/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171511.GIJ - P.171522.GIJ were located in a brown folder, now numbered C768/6.\n\n\nFM:312217\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171516_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144733_P.171516.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171445.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465506", "metadata": {"title": "Untitled", "idno": "P.171445.GIJ", "description": "A carved standing ikenga figure, with buildings in the background. [PB 20/09/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Western Isuama", "cultural_affliation": "Igbo [historically Ibo]; Orsu", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171349.GIJ - P.171457.GIJ were located in a 'Duplex' folder, now numbered C768/3.\n\nP.768103.GIJ to P.768106.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171445.GIJ\n\nDescription\n\nA carved standing ikenga figure, with buildings in the background. [PB 20/09/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Western Isuama\n\nCultural Affliation\n\nIgbo [historically Ibo]; Orsu\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171349.GIJ - P.171457.GIJ were located in a 'Duplex' folder, now numbered C768/3.\n\nP.768103.GIJ to P.768106.GIJ are mounted on card.\n\nFM:312146\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171445_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144661_P.171445.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169742.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463751", "metadata": {"title": "Untitled", "idno": "P.169742.GIJ", "description": "A half-length portrait of a young woman in profile. She is wearing a loose cord around her neck. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169742.GIJ\n\nDescription\n\nA half-length portrait of a young woman in profile. She is wearing a loose cord around her neck. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310229\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169742_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127578_P.169742.GIJ_001.png"}, {"file_name": "P_169742_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127579_P.169742.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71453.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364724", "metadata": {"title": "Untitled", "idno": "N.71453.GIJ", "description": "A side view of a seated Ikenga figure holding a staff in one hand and another object in the other. The head of the Ikenga has the characteristic two horns which are curled at the top. The face of the figure has distinctive human markings of defined eyes, nose, mouth and ears. On the side of the cheek are swirled designs, the neck has incised striation markings,;the figure is wearing a costume carved from the wood. There are coil markings around the ankles. He is seated on a tripod stool. In the background are buildings with thatched roofs.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Achalla", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "P.71450.GIJ to P.71456.GIJ were wrapped in paper, now numbered C302/8/ and were presumed to have come from box 5, now numbered C302/.\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d In reference to Ikenga figures, he writes, \u201c The best known Ibo personal cult and the one that has given rise to the greatest number of carvings is that of Ikenga, a Lower Niger cult of a man\u2019s right arm and of success associated with it, which the Edo shared with the Western, Northern, most of the Southern Ibo and with Igala groups. The Ohuhu-Ngwa, Cross River and Northeastern Ibo did not participate in it. Most Ibo and Edo had a small cylindrical object with some geometrical carving on it and ending in a pair of pointed horns. Some Western Ibo increased the size so that it looked more like a circular stool . Other Ibo and Edo added a head and some carved a whole figure. The Nri-Akwa Ibo produced the most elaborate cult objects and in the greatest number. Older examples carved by them elaborated the horns and the head, which was shown smoking a pipe. Later ones consisted of complete figures which were shown standing or more usually seated on a circular stool with a cutlass in one hand and a human head in the other or, alternatively, holding a tusk horn and an ornamental staff (Jones, 1989, p.40). Also, see Jones, 1984, pp. 141-142.\n\nContext: Cole and Aniakor write in detail about Ikenga (see Chapter Two). They show that the concept of Ikenga reverberates throughout much of Igbo life . These images are found in the shrines of individual diviners and corporate tutelary cults and as representatives of age-grades and communities. ...They continue to describe that the basic Igbo Ikenga image is a human with horns, sometimes rendered very simply as an abstract head and horns base. Larger, more elaborate examples include fully realized males seated on stools, holding and wearing various symbols, and with more or less complex headdresses determined in part by horns and often including several other motifs (Cole and Aniakor, 1984, p.24).\n\nPublications: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]", "raw_text_dump": "IDNO\n\nN.71453.GIJ\n\nDescription\n\nA side view of a seated Ikenga figure holding a staff in one hand and another object in the other. The head of the Ikenga has the characteristic two horns which are curled at the top. The face of the figure has distinctive human markings of defined eyes, nose, mouth and ears. On the side of the cheek are swirled designs, the neck has incised striation markings,;the figure is wearing a costume carved from the wood. There are coil markings around the ankles. He is seated on a tripod stool. In the background are buildings with thatched roofs.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Achalla\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71450.GIJ to P.71456.GIJ were wrapped in paper, now numbered C302/8/ and were presumed to have come from box 5, now numbered C302/.\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d In reference to Ikenga figures, he writes, \u201c The best known Ibo personal cult and the one that has given rise to the greatest number of carvings is that of Ikenga, a Lower Niger cult of a man\u2019s right arm and of success associated with it, which the Edo shared with the Western, Northern, most of the Southern Ibo and with Igala groups. The Ohuhu-Ngwa, Cross River and Northeastern Ibo did not participate in it. Most Ibo and Edo had a small cylindrical object with some geometrical carving on it and ending in a pair of pointed horns. Some Western Ibo increased the size so that it looked more like a circular stool . Other Ibo and Edo added a head and some carved a whole figure. The Nri-Akwa Ibo produced the most elaborate cult objects and in the greatest number. Older examples carved by them elaborated the horns and the head, which was shown smoking a pipe. Later ones consisted of complete figures which were shown standing or more usually seated on a circular stool with a cutlass in one hand and a human head in the other or, alternatively, holding a tusk horn and an ornamental staff (Jones, 1989, p.40). Also, see Jones, 1984, pp. 141-142.\n\nContext: Cole and Aniakor write in detail about Ikenga (see Chapter Two). They show that the concept of Ikenga reverberates throughout much of Igbo life . These images are found in the shrines of individual diviners and corporate tutelary cults and as representatives of age-grades and communities. ...They continue to describe that the basic Igbo Ikenga image is a human with horns, sometimes rendered very simply as an abstract head and horns base. Larger, more elaborate examples include fully realized males seated on stools, holding and wearing various symbols, and with more or less complex headdresses determined in part by horns and often including several other motifs (Cole and Aniakor, 1984, p.24).\n\nPublications: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]\n\n\nFM:206103\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71453_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656598_N.71453.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169665.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463669", "metadata": {"title": "Untitled", "idno": "P.169665.GIJ", "description": "Onu Kamma (Mouth stronger than sword) masquerade showing three masqueraders wearing large conical shaped faceless masks made of layers of fibre and with a cloth panel in the front. The masqueraders are wearing tie-dyed/batik? tops and striped woven cloth trousers adorned with fibre skirts around the waist. One of the masqueraders is holding a metal gong. Behind the masqueraders is an attendant and a large crowd of bystanders in the background. [Description from record P.71567.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169665.GIJ\n\nDescription\n\nOnu Kamma (Mouth stronger than sword) masquerade showing three masqueraders wearing large conical shaped faceless masks made of layers of fibre and with a cloth panel in the front. The masqueraders are wearing tie-dyed/batik? tops and striped woven cloth trousers adorned with fibre skirts around the waist. One of the masqueraders is holding a metal gong. Behind the masqueraders is an attendant and a large crowd of bystanders in the background. [Description from record P.71567.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\n\nFM:310152\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169665_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127435_P.169665.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.71967.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365238", "metadata": {"title": "Untitled", "idno": "N.71967.GIJ", "description": "A Ngbagba Ikoro masquerade with the masquerade character called Otiri the principle dancer in the play performing in front of a crowd of spectators. Otiri wears a mask on top of his head stuck full of long feathers, his face is shrouded in a raffia bag, and he wears a shirt of raffia sacking and a grass skirt. His right arm and left leg were painted in Nzu (white chalk) and the other arm and leg in Odo (yellow pigment). He is holding large white plumes in his hands and seed anklets. In the background is a crowd of spectators and a thatched pitched roof building.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 31 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Otiri Ngbagba Ikoro, Abiriba. (6th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71967.GIJ\n\nDescription\n\nA Ngbagba Ikoro masquerade with the masquerade character called Otiri the principle dancer in the play performing in front of a crowd of spectators. Otiri wears a mask on top of his head stuck full of long feathers, his face is shrouded in a raffia bag, and he wears a shirt of raffia sacking and a grass skirt. His right arm and left leg were painted in Nzu (white chalk) and the other arm and leg in Odo (yellow pigment). He is holding large white plumes in his hands and seed anklets. In the background is a crowd of spectators and a thatched pitched roof building.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 31 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Otiri Ngbagba Ikoro, Abiriba. (6th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206617\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71967_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657071_N.71967.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71627.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364898", "metadata": {"title": "Untitled", "idno": "N.71627.GIJ", "description": "Omuko (very old elder) sitting with an attendant standing behind him. The masked character is wearing a white cloth covering the entire body and face. Attached to the cloth is a wooden face mask with slit eyes and mouth, painted dark with white paint accentuating the eyes, nose, and ears, attached to the chin is a black beard. On top of the head is a white sun helmet. A dark shawl is draped around the shoulders, and in front of him is a long staff. In the background are spectators, trees and vegetation.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 22 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Omuko (very old elder) Amuobia village (12th image).\n\nContext: Jones provides a detailed description of the various characters in this masquerade in Amobia Village which he had observed and photographed in the field, \u201cA performance in the Northern Ibo village of Amobia was opened by a hooded character called \u201cGovernment\u201d. He had no face and was crowned with a Homburg hat; an elephant tusk horn, symbol of authority, was laid on the ground in front of him and he read in ghostly gibberish from an important-looking document. He and his acolyte withdrew and were succeeded by a parade of ghostly policemen and court messengers wearing imitations of police and messenger uniforms and with cloth masks over their faces and head. They performed a spirited guard drill before being posted by their commander to their stations to control the crowd. Their followed a supercilious white-faced sun-helmeted figure in white drill jacket and trousers called Oyibo (White Man), who inspected the audience and then took his seat amongst the places reserved for the distinguished visitors who had come to watch the play. After him came a succession of characters, some white-faced, representing female spirits, some black or multi-coloured fierce and masculine creatures with masks that combined animal and human features; others again, mainly harmless or comic or benign, representing antelopes, or other animal spirits or characters drawn from village life. Each had his or her special role to play and having acted it withdrew to the secret enclosure or sat on seats at the ringside waiting to repeat his performance. \u201c Jones also writes that this masquerade was \u201c a large concerted display which included characters contributed by all the local societies.\u201d (Jones, 1984, pp.59-60.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71627.GIJ\n\nDescription\n\nOmuko (very old elder) sitting with an attendant standing behind him. The masked character is wearing a white cloth covering the entire body and face. Attached to the cloth is a wooden face mask with slit eyes and mouth, painted dark with white paint accentuating the eyes, nose, and ears, attached to the chin is a black beard. On top of the head is a white sun helmet. A dark shawl is draped around the shoulders, and in front of him is a long staff. In the background are spectators, trees and vegetation.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 22 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Omuko (very old elder) Amuobia village (12th image).\n\nContext: Jones provides a detailed description of the various characters in this masquerade in Amobia Village which he had observed and photographed in the field, \u201cA performance in the Northern Ibo village of Amobia was opened by a hooded character called \u201cGovernment\u201d. He had no face and was crowned with a Homburg hat; an elephant tusk horn, symbol of authority, was laid on the ground in front of him and he read in ghostly gibberish from an important-looking document. He and his acolyte withdrew and were succeeded by a parade of ghostly policemen and court messengers wearing imitations of police and messenger uniforms and with cloth masks over their faces and head. They performed a spirited guard drill before being posted by their commander to their stations to control the crowd. Their followed a supercilious white-faced sun-helmeted figure in white drill jacket and trousers called Oyibo (White Man), who inspected the audience and then took his seat amongst the places reserved for the distinguished visitors who had come to watch the play. After him came a succession of characters, some white-faced, representing female spirits, some black or multi-coloured fierce and masculine creatures with masks that combined animal and human features; others again, mainly harmless or comic or benign, representing antelopes, or other animal spirits or characters drawn from village life. Each had his or her special role to play and having acted it withdrew to the secret enclosure or sat on seats at the ringside waiting to repeat his performance. \u201c Jones also writes that this masquerade was \u201c a large concerted display which included characters contributed by all the local societies.\u201d (Jones, 1984, pp.59-60.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206277\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71627_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656737_N.71627.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "T.170111.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464172", "metadata": {"title": "Untitled", "idno": "T.170111.GIJ", "description": "The Obugulu Mau masquerade, with a grandmother mask character. The masquerader is performing in front of an audience. The mask consists of a white face with black markings around the eyes, nose and three linear markings on the forehead. The top of the mask consists of cone-shaped headdress (coiffure) with a curved structure in the centre, painted white and black. There is woven cloth attached to the mask, a scarf tied around the neck and a harlequin-like costume, the sleeves are white covering the hands. In one hand there is a fly whisk and around the ankles are very thick ivory anklets. In the background are spectators and trees. [Description from record P.71517.GIJ, PB 22/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; October 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170111.GIJ\n\nDescription\n\nThe Obugulu Mau masquerade, with a grandmother mask character. The masquerader is performing in front of an audience. The mask consists of a white face with black markings around the eyes, nose and three linear markings on the forehead. The top of the mask consists of cone-shaped headdress (coiffure) with a curved structure in the centre, painted white and black. There is woven cloth attached to the mask, a scarf tied around the neck and a harlequin-like costume, the sleeves are white covering the hands. In one hand there is a fly whisk and around the ankles are very thick ivory anklets. In the background are spectators and trees. [Description from record P.71517.GIJ, PB 22/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; October 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310639\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170111_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128345_T.170111.GIJ_001.png"}, {"file_name": "T_170111_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128346_T.170111.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171233.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465294", "metadata": {"title": "Untitled", "idno": "P.171233.GIJ", "description": "An object documentation image of several ikenga figures on display in a museum. [PB 05/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767157.GIJ is mounted on paper.", "raw_text_dump": "IDNO\n\nP.171233.GIJ\n\nDescription\n\nAn object documentation image of several ikenga figures on display in a museum. [PB 05/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767157.GIJ is mounted on paper.\n\nFM:311924\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171233_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144449_P.171233.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.61172.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/354443", "metadata": {"title": "Untitled", "idno": "P.61172.GIJ", "description": "Six ceremonial objects from a shrine made with influences from Benin.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?Benin City", "cultural_affliation": "Ibibio; Edo [historically Bini]", "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.61128.GIJ to P.61278.GIJ were kept in box 13, now numbered C294/.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 29/1/2008]", "raw_text_dump": "IDNO\n\nP.61172.GIJ\n\nDescription\n\nSix ceremonial objects from a shrine made with influences from Benin.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?Benin City\n\nCultural Affliation\n\nIbibio; Edo [historically Bini]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.61128.GIJ to P.61278.GIJ were kept in box 13, now numbered C294/.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 29/1/2008]\n\nFM:195822\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_61172_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1028535_P.61172.GIJ_001.png"}, {"file_name": "P_61172_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1028536_P.61172.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171562.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465623", "metadata": {"title": "Untitled", "idno": "P.171562.GIJ", "description": "A documentation photograph of an ekpu ancestral figure representing the deceased head of a family lineage. [PB 23/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Oron; Ebughu", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171562.GIJ and P.171563.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171562.GIJ\n\nDescription\n\nA documentation photograph of an ekpu ancestral figure representing the deceased head of a family lineage. [PB 23/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Oron; Ebughu\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171562.GIJ and P.171563.GIJ are mounted on card.\n\nFM:312282\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171562_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144818_P.171562.GIJ_001.jpg"}, {"file_name": "P_171562_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144819_P.171562.GIJ_002_1.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.170263.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464324", "metadata": {"title": "Untitled", "idno": "P.170263.GIJ", "description": "A carved wooden Ekpo face mask, with sacking attached to cover the wearer's head. The face has a protruding forehead, almond shaped holes for eyes, nose, open mouth with two teeth, ears with serrated pattern of scarification along inner edge, two small pointed designs on forehead, and a tear-shaped protruding decoration in centre of forehead. The mask is propped on a chair. [PB 03/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Ukana", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.", "raw_text_dump": "IDNO\n\nP.170263.GIJ\n\nDescription\n\nA carved wooden Ekpo face mask, with sacking attached to cover the wearer's head. The face has a protruding forehead, almond shaped holes for eyes, nose, open mouth with two teeth, ears with serrated pattern of scarification along inner edge, two small pointed designs on forehead, and a tear-shaped protruding decoration in centre of forehead. The mask is propped on a chair. [PB 03/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Ukana\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.\n\nFM:310821\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170263_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131691_P.170263.GIJ_001.png"}, {"file_name": "P_170263_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131692_P.170263.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13253.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306525", "metadata": {"title": "Untitled", "idno": "N.13253.GIJ", "description": "A mau (ghost) masquerade which shows a close up view of Iro Ekpetu (\u2018Merciless\u2019). The masquerader, is sitting on a chair and wearing a fierce-looking black carved mask with incised decorative design along the lower forehead, white? painted eyes, pointed nose, bulging mouth with protruding teeth painted ?white, and a raffia hairpiece, and a cloth top. The masquerader is holding a stick in the left hand. Behind the masquerader is a walled compound with mud hut, thatched roof, trees and vegetation.", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "Iro Ekpetu; Merciless [names of mask character]", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nP.71504.GIJ to P.71662.GIJ were kept in box 4, now numbered C301/.\nP.71531.GIJ to P.71546.GIJ were found wrapped in paper, now numbered C301/2/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Iro Ekpetu (Merciless) Mmau masquerade, Amuda village, Isu Ochi (3rd image)..\n\nContext: Jones describes a masquerade performance in Amobia in which there were many different characters and one of the masqueraders was a black fierce and masculine creature with masks that combined animal and human features (p.59).\n\nAniakor and Cole discuss the differences between beauty and beast; good and bad etc.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 17/10/2007]", "raw_text_dump": "IDNO\n\nN.13253.GIJ\n\nDescription\n\nA mau (ghost) masquerade which shows a close up view of Iro Ekpetu (\u2018Merciless\u2019). The masquerader, is sitting on a chair and wearing a fierce-looking black carved mask with incised decorative design along the lower forehead, white? painted eyes, pointed nose, bulging mouth with protruding teeth painted ?white, and a raffia hairpiece, and a cloth top. The masquerader is holding a stick in the left hand. Behind the masquerader is a walled compound with mud hut, thatched roof, trees and vegetation.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nIro Ekpetu; Merciless [names of mask character]\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nP.71504.GIJ to P.71662.GIJ were kept in box 4, now numbered C301/.\nP.71531.GIJ to P.71546.GIJ were found wrapped in paper, now numbered C301/2/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Iro Ekpetu (Merciless) Mmau masquerade, Amuda village, Isu Ochi (3rd image)..\n\nContext: Jones describes a masquerade performance in Amobia in which there were many different characters and one of the masqueraders was a black fierce and masculine creature with masks that combined animal and human features (p.59).\n\nAniakor and Cole discuss the differences between beauty and beast; good and bad etc.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 17/10/2007]\n\n\n\nFM:147903\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13253_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000516_N.13253.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171101.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465162", "metadata": {"title": "Untitled", "idno": "P.171101.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nThe masqueraders, Oji (Eju) Onu (Long Mouth) and Iro Ekpetu (merciless) performing in a masquerade, crowd seated and standing by a building at right. Oji Enu (Long Mouth) dancing in centre of image, wearing a carved and painted wooden head mask attached to a woven cloth top, cloth tights and a raffia skirt. The mask is carved with two horns, eyes, nose, ears, and a muzzle with teeth. It is painted with dark pigment, on to which pale spots and lines have been added. In background is Iro Ekpetu (\u2018Merciless\u2019), a character wearing a fierce black carved face mask with white paint? accentuating the eyes and protruding teeth, cloth top and tights, a raffia skirt, and holding a stick. In the background are buildings and vegetation. [Description from record N.13252.GIJ, PB 14/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767019.GIJ - P.767028.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\n\nAbout the character Iro Ekpetu (Merciless), G.I. Jones writes in the notes: \"There were two of these fierce masks, black with fang-like teeth, wearing a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia, and carrying a wand or a stick with which to threaten the crowd.\"\n\nAbout the character Eju Onu (long mouth), G.I. Jones writes in the notes: \"There were two of these both typical \"Awka\" type antelope masks worn on top of the actor head, facing upward and wearing a loose gown of blue and white patterned \"Yoruba\" cloth with sleeves and trouser-legs of the same type of cloth but white with narrow blue stripes. In most Northern Ibo masquerades the role of Eju Onu is a comic and stupid oaf-like one. On this play they carried wands and behaved like the fierce characters (only less fiercely) and thgey wore the same raffia aprons.\"", "raw_text_dump": "IDNO\n\nP.171101.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nThe masqueraders, Oji (Eju) Onu (Long Mouth) and Iro Ekpetu (merciless) performing in a masquerade, crowd seated and standing by a building at right. Oji Enu (Long Mouth) dancing in centre of image, wearing a carved and painted wooden head mask attached to a woven cloth top, cloth tights and a raffia skirt. The mask is carved with two horns, eyes, nose, ears, and a muzzle with teeth. It is painted with dark pigment, on to which pale spots and lines have been added. In background is Iro Ekpetu (\u2018Merciless\u2019), a character wearing a fierce black carved face mask with white paint? accentuating the eyes and protruding teeth, cloth top and tights, a raffia skirt, and holding a stick. In the background are buildings and vegetation. [Description from record N.13252.GIJ, PB 14/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767019.GIJ - P.767028.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\n\nAbout the character Iro Ekpetu (Merciless), G.I. Jones writes in the notes: \"There were two of these fierce masks, black with fang-like teeth, wearing a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia, and carrying a wand or a stick with which to threaten the crowd.\"\n\nAbout the character Eju Onu (long mouth), G.I. Jones writes in the notes: \"There were two of these both typical \"Awka\" type antelope masks worn on top of the actor head, facing upward and wearing a loose gown of blue and white patterned \"Yoruba\" cloth with sleeves and trouser-legs of the same type of cloth but white with narrow blue stripes. In most Northern Ibo masquerades the role of Eju Onu is a comic and stupid oaf-like one. On this play they carried wands and behaved like the fierce characters (only less fiercely) and thgey wore the same raffia aprons.\"\n\nFM:311792\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171101_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144317_P.171101.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169750.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463759", "metadata": {"title": "Untitled", "idno": "P.169750.GIJ", "description": "Half-length portrait of a man in profile. In the background the inside of a roof of a house. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169750.GIJ\n\nDescription\n\nHalf-length portrait of a man in profile. In the background the inside of a roof of a house. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310237\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169750_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127594_P.169750.GIJ_001.png"}, {"file_name": "P_169750_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127595_P.169750.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171140.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465201", "metadata": {"title": "Untitled", "idno": "P.171140.GIJ", "description": "A mau (ghost) face mask painted white with black paint consisting of slit eyes, elongated nose, mouth with teeth and ears. It is carved and painted in darker colour(s) in extended triangles underneath the eyes and on the forehead. In the centre of the forehead and the near the temples are etched markings. There are additional areas of darkly painted incised decorations on the chin and above the main panel on the forehead. The holes for attaching the mask are visible.\n\nObject documentation photograph of a face mask. [Description from record P.61519.GIJ, PB 20/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River area", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767062.GIJ - P.767066.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171140.GIJ\n\nDescription\n\nA mau (ghost) face mask painted white with black paint consisting of slit eyes, elongated nose, mouth with teeth and ears. It is carved and painted in darker colour(s) in extended triangles underneath the eyes and on the forehead. In the centre of the forehead and the near the temples are etched markings. There are additional areas of darkly painted incised decorations on the chin and above the main panel on the forehead. The holes for attaching the mask are visible.\n\nObject documentation photograph of a face mask. [Description from record P.61519.GIJ, PB 20/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River area\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767062.GIJ - P.767066.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311831\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171140_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144356_P.171140.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171207.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465268", "metadata": {"title": "Untitled", "idno": "P.171207.GIJ", "description": "An object documentation image of three face masks on display in a museum, resting on a dais. The mask on the left is painted black. It has three high hair prongs. The mask in the centre is painted brown, with a block crest on top of the head, prominent eye brown ridge, narrow eye slits, and an open mouth with notched teeth. The mask on the right is painted white with black hairline, with a central horn of hair. The nose and lips are prominent, with an open mouth showing notched teeth. [PB 04/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Colour Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767129.GIJ - P.767132.GIJ are mounted together on paper.\n\nThese masks are in the Simon Ottenberg collection.", "raw_text_dump": "IDNO\n\nP.171207.GIJ\n\nDescription\n\nAn object documentation image of three face masks on display in a museum, resting on a dais. The mask on the left is painted black. It has three high hair prongs. The mask in the centre is painted brown, with a block crest on top of the head, prominent eye brown ridge, narrow eye slits, and an open mouth with notched teeth. The mask on the right is painted white with black hairline, with a central horn of hair. The nose and lips are prominent, with an open mouth showing notched teeth. [PB 04/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Colour Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767129.GIJ - P.767132.GIJ are mounted together on paper.\n\nThese masks are in the Simon Ottenberg collection.\n\nFM:311898\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171207_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144423_P.171207.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.170069.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464111", "metadata": {"title": "Untitled", "idno": "T.170069.GIJ", "description": "Obugulu Mau (Ghost) masquerade. A gathering of characters in front of thatched buildings.\n\nOn the left of the image stands masquerader, Nwabogho Ehi, (Heifer), wearing a helmet mask (painted white and with v-shaped markings above and below the eyes)dressed in a brightly coloured harlequin-like/appliqu\u00e9 costume. Cloth cloak tied around the neck, over ?woven or ?net cloth which is attached to the mask, wrappers around the waist and ankle-rattles, made of ?seeds. Mud and thatch houses and trees and vegetation in the background.[Description from record P.71536.GIJ, PB 15/09/2023].\n\nTo the right various other characters including two Iro Ekpetu (Merciless) masqueraders. These masqueraders are wearing a fierce mask, black with fang-like teeth, and a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia. He is carrying a wand or a stick with which to threaten the crowd. Thatched buildings are in the background. [Description from record P.71541.GIJ, PB 15/09/2023]\n\nIn the centre of the image stands Udo Ezuo is standing in the foreground, wearing a white (painted in white clay or gypsum?) head-mask to the top of the head attached to a geometric patterned cloth top, striped leggings, raffia skirt, and ankle-rattles. The mask appears to be similar to a female helmet mask, though the face is above the head of the wearer. [Description from record P.71541.GIJ, PB 15/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170069.GIJ\n\nDescription\n\nObugulu Mau (Ghost) masquerade. A gathering of characters in front of thatched buildings.\n\nOn the left of the image stands masquerader, Nwabogho Ehi, (Heifer), wearing a helmet mask (painted white and with v-shaped markings above and below the eyes)dressed in a brightly coloured harlequin-like/appliqu\u00e9 costume. Cloth cloak tied around the neck, over ?woven or ?net cloth which is attached to the mask, wrappers around the waist and ankle-rattles, made of ?seeds. Mud and thatch houses and trees and vegetation in the background.[Description from record P.71536.GIJ, PB 15/09/2023].\n\nTo the right various other characters including two Iro Ekpetu (Merciless) masqueraders. These masqueraders are wearing a fierce mask, black with fang-like teeth, and a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia. He is carrying a wand or a stick with which to threaten the crowd. Thatched buildings are in the background. [Description from record P.71541.GIJ, PB 15/09/2023]\n\nIn the centre of the image stands Udo Ezuo is standing in the foreground, wearing a white (painted in white clay or gypsum?) head-mask to the top of the head attached to a geometric patterned cloth top, striped leggings, raffia skirt, and ankle-rattles. The mask appears to be similar to a female helmet mask, though the face is above the head of the wearer. [Description from record P.71541.GIJ, PB 15/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310597\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170069_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128222_T.170069.GIJ_001.png"}, {"file_name": "T_170069_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128223_T.170069.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71661.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364932", "metadata": {"title": "Untitled", "idno": "N.71661.GIJ", "description": "A wood carver carving an Ikenga figure. The figure is placed on its front and there is a piece of wood to balance it. The base of the figure is circular. The carver is sitting on the ground with a metal tool (knife?) which he is using to carve the figure. Around him are wood shavings and metal tools. The carver is wearing a cotton loin cloth. There are two people seated on steps in the background.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "P.71660.GIJ to P.71662.GIJ were found wrapped in paper, now numbered C301/16/. and were presumed to come from box 4 now numbered C301/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Wood carver Carving Ikenga (10th image).\n\nContext: In reference to wood carving techniques, Jones writes that \u201cWood-carving techniques began with roughing out the object by hacking and slashing it into the required shape with cutlass, axe and adze. It was then finished off by whittling and cutting with smaller knives and chisels or , in the case of harder woods, by the use of a short heavy-headed knife and a mallet. In cases where a smooth finish was required, it was rubbed down with abrasive leaves specially dried for such purposes or, in these days, with imported sandpaper (Jones, 1984, p.112) In particular reference to masks, figures and sculpture he notes that various approaches by carver were used In some areas it was a matter-of-fact profane occupation, to others a \u2018sacred\u2019 and secret one surrounded by special rituals and prohibitions. The methods used in carving masks and figures naturally differed in minor details from artist to artist and were also governed to some extent by the kinds of wood and other materials that were available and by the different attitudes towards such work evinced by the people for whom and amongst whom they worked (Jones, 1984, pp.123-124).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d In reference to Ikenga figures, he writes, \u201c The best known Ibo personal cult and the one that has given rise to the greatest number of carvings is that of Ikenga, a Lower Niger cult of a man\u2019s right arm and of success associated with it, which the Edo shared with the Western, Northern, most of the Southern Ibo and with Igala groups. The Ohuhu-Ngwa, Cross River and Northeastern Ibo did not participate in it. Most Ibo and Edo had a small cylindrical object with some geometrical carving on it and ending in a pair of pointed horns. Some Western Ibo increased the size so that it looked more like a circular stool . Other Ibo and Edo added a head and some carved a whole figure. The Nri-Akwa Ibo produced the most elaborate cult objects and in the greatest number. Older examples carved by them elaborated the horns and the head, which was shown smoking a pipe. Later ones consisted of complete figures which were shown standing or more usually seated on a circular stool with a cutlass in one hand and a human head in the other or, alternatively, holding a tusk horn and an ornamental staff (Jones, 1989, p.40). Also, see Jones, 1984, pp. 141-142.\n\nContext: Cole and Aniakor write in detail about Ikenga (see Chapter Two). They show that the concept of Ikenga reverberates throughout much of Igbo life . These images are found in the shrines of individual diviners and corporate tutelary cults and as representatives of age-grades and communities. ...They continue to describe that the basic Igbo Ikenga image is a human with horns, sometimes rendered very simply as an abstract head and horns base. Larger, more elaborate examples include fully realized males seated on stools, holding and wearing various symbols, and with more or less complex headdresses determined in part by horns and often including several other motifs (Cole and Aniakor, 1984, p.24).\n\nPublications: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989 Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71661.GIJ\n\nDescription\n\nA wood carver carving an Ikenga figure. The figure is placed on its front and there is a piece of wood to balance it. The base of the figure is circular. The carver is sitting on the ground with a metal tool (knife?) which he is using to carve the figure. Around him are wood shavings and metal tools. The carver is wearing a cotton loin cloth. There are two people seated on steps in the background.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71660.GIJ to P.71662.GIJ were found wrapped in paper, now numbered C301/16/. and were presumed to come from box 4 now numbered C301/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Wood carver Carving Ikenga (10th image).\n\nContext: In reference to wood carving techniques, Jones writes that \u201cWood-carving techniques began with roughing out the object by hacking and slashing it into the required shape with cutlass, axe and adze. It was then finished off by whittling and cutting with smaller knives and chisels or , in the case of harder woods, by the use of a short heavy-headed knife and a mallet. In cases where a smooth finish was required, it was rubbed down with abrasive leaves specially dried for such purposes or, in these days, with imported sandpaper (Jones, 1984, p.112) In particular reference to masks, figures and sculpture he notes that various approaches by carver were used In some areas it was a matter-of-fact profane occupation, to others a \u2018sacred\u2019 and secret one surrounded by special rituals and prohibitions. The methods used in carving masks and figures naturally differed in minor details from artist to artist and were also governed to some extent by the kinds of wood and other materials that were available and by the different attitudes towards such work evinced by the people for whom and amongst whom they worked (Jones, 1984, pp.123-124).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d In reference to Ikenga figures, he writes, \u201c The best known Ibo personal cult and the one that has given rise to the greatest number of carvings is that of Ikenga, a Lower Niger cult of a man\u2019s right arm and of success associated with it, which the Edo shared with the Western, Northern, most of the Southern Ibo and with Igala groups. The Ohuhu-Ngwa, Cross River and Northeastern Ibo did not participate in it. Most Ibo and Edo had a small cylindrical object with some geometrical carving on it and ending in a pair of pointed horns. Some Western Ibo increased the size so that it looked more like a circular stool . Other Ibo and Edo added a head and some carved a whole figure. The Nri-Akwa Ibo produced the most elaborate cult objects and in the greatest number. Older examples carved by them elaborated the horns and the head, which was shown smoking a pipe. Later ones consisted of complete figures which were shown standing or more usually seated on a circular stool with a cutlass in one hand and a human head in the other or, alternatively, holding a tusk horn and an ornamental staff (Jones, 1989, p.40). Also, see Jones, 1984, pp. 141-142.\n\nContext: Cole and Aniakor write in detail about Ikenga (see Chapter Two). They show that the concept of Ikenga reverberates throughout much of Igbo life . These images are found in the shrines of individual diviners and corporate tutelary cults and as representatives of age-grades and communities. ...They continue to describe that the basic Igbo Ikenga image is a human with horns, sometimes rendered very simply as an abstract head and horns base. Larger, more elaborate examples include fully realized males seated on stools, holding and wearing various symbols, and with more or less complex headdresses determined in part by horns and often including several other motifs (Cole and Aniakor, 1984, p.24).\n\nPublications: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989 Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206311\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71661_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656764_N.71661.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71806.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365077", "metadata": {"title": "Untitled", "idno": "N.71806.GIJ", "description": "A Lughulu \u2018beautiful\u2019 female mask; the mask is carved in oval shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long triangular shaped nose, open mouth with teeth painted white, elliptical shaped ears, circular design on temples, and linear markings in the centre of the forehead adorned. The mask was painted with white pigment, but it is fading. The top part of the mask is missing. Attached to the mask are strands of raffia.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Alayi", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 15 of the negative album now numbered C17/.\n\nP.71728.GIJ to P.71831.GIJ were kept in box 14, now numbered C300/.\nP.71789.GIJ to P.71815.GIJ were found wrapped in paper, now numbered C300/3/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Alayi Igbo (Isu-Ikem)\n3. Mask (top missing) Ugwu Eke village (2nd image)..\n\nPublication: Similar images are found in Jones, 1989, p.16, Figure 8. The caption reads: \u201cLughulu masquerade, Ugwueke Alayi town, Isu-Item Ibo. Mask representing a beautiful female spirit.\u201d and in Jones, 1973, Figure 3, p.59.\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that it conforms to a stylized mode which converts the salient features to geometrical forms. In the Isu-Item maskerade, the beautiful female masks are carved in either a rounded or naturalistic mode while the fierce or comic male masks are stylized(Jones, 1973, pp. 60-61).\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]", "raw_text_dump": "IDNO\n\nN.71806.GIJ\n\nDescription\n\nA Lughulu \u2018beautiful\u2019 female mask; the mask is carved in oval shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long triangular shaped nose, open mouth with teeth painted white, elliptical shaped ears, circular design on temples, and linear markings in the centre of the forehead adorned. The mask was painted with white pigment, but it is fading. The top part of the mask is missing. Attached to the mask are strands of raffia.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Alayi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 15 of the negative album now numbered C17/.\n\nP.71728.GIJ to P.71831.GIJ were kept in box 14, now numbered C300/.\nP.71789.GIJ to P.71815.GIJ were found wrapped in paper, now numbered C300/3/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Alayi Igbo (Isu-Ikem)\n3. Mask (top missing) Ugwu Eke village (2nd image)..\n\nPublication: Similar images are found in Jones, 1989, p.16, Figure 8. The caption reads: \u201cLughulu masquerade, Ugwueke Alayi town, Isu-Item Ibo. Mask representing a beautiful female spirit.\u201d and in Jones, 1973, Figure 3, p.59.\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that it conforms to a stylized mode which converts the salient features to geometrical forms. In the Isu-Item maskerade, the beautiful female masks are carved in either a rounded or naturalistic mode while the fierce or comic male masks are stylized(Jones, 1973, pp. 60-61).\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]\n\nFM:206456\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71806_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656906_N.71806.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169755.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463764", "metadata": {"title": "Untitled", "idno": "P.169755.GIJ", "description": "Half length portrait of a man standing in front of a thatched building. There is a man in the background on the right hand side. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169755.GIJ\n\nDescription\n\nHalf length portrait of a man standing in front of a thatched building. There is a man in the background on the right hand side. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310242\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169755_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127604_P.169755.GIJ_001.png"}, {"file_name": "P_169755_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127605_P.169755.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169860.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463879", "metadata": {"title": "Untitled", "idno": "P.169860.GIJ", "description": "Musicians playing drums and other musical instruments during a masquerade. The musicians are playing in an open space with spectators and houses in the background. Two drummers are in the foreground and the other musicians and dancers form a line behind them which forms a semicircle leading to the right.\n[PB 12/01/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Ekpeya", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169860.GIJ\n\nDescription\n\nMusicians playing drums and other musical instruments during a masquerade. The musicians are playing in an open space with spectators and houses in the background. Two drummers are in the foreground and the other musicians and dancers form a line behind them which forms a semicircle leading to the right.\n[PB 12/01/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ekpeya\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310347\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169860_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127820_P.169860.GIJ_001.png"}, {"file_name": "P_169860_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127821_P.169860.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71923.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365194", "metadata": {"title": "Untitled", "idno": "N.71923.GIJ", "description": "A man sitting on a chair with a headpiece consisting of curled horn-like proejctions with a knitted hat on top.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 28 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nN.71923.GIJ\n\nDescription\n\nA man sitting on a chair with a headpiece consisting of curled horn-like proejctions with a knitted hat on top.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 28 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nFM:206573\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71923_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657018_N.71923.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.71966.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365237", "metadata": {"title": "Untitled", "idno": "P.71966.GIJ", "description": "A Ngbagba Ikoro masquerade with the masquerade character called Otiri the principle dancer in the play performing in front of a crowd of spectators. Otiri wears a mask on top of his head stuck full of long feathers, his face is shrouded in a raffia bag, and he wears a shirt of raffia sacking and a grass skirt. His right arm and left leg were painted in Nzu (white chalk) and the other arm and leg in Odo (yellow pigment). He is holding large white plumes in his hands and seed anklets. n the background is a crowd of spectators and a thatched pitched roof building.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71946.GIJ to P.71968.GIJ were found wrapped in paper, now numbered C298/9/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Otiri Ngbagba Ikoro, Abiriba. (6th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nP.71966.GIJ\n\nDescription\n\nA Ngbagba Ikoro masquerade with the masquerade character called Otiri the principle dancer in the play performing in front of a crowd of spectators. Otiri wears a mask on top of his head stuck full of long feathers, his face is shrouded in a raffia bag, and he wears a shirt of raffia sacking and a grass skirt. His right arm and left leg were painted in Nzu (white chalk) and the other arm and leg in Odo (yellow pigment). He is holding large white plumes in his hands and seed anklets. n the background is a crowd of spectators and a thatched pitched roof building.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71946.GIJ to P.71968.GIJ were found wrapped in paper, now numbered C298/9/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Otiri Ngbagba Ikoro, Abiriba. (6th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nFM:206616\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_71966_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657070_N.71967.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169686.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463695", "metadata": {"title": "Untitled", "idno": "P.169686.GIJ", "description": "A group of human remains, including three skulls. The remains are clustered in the leafy undergrowth of a tree. [PB 24/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169680.GIJ - P.169690.GIJ were located in a brown envelope now numbered C754/3/.", "raw_text_dump": "IDNO\n\nP.169686.GIJ\n\nDescription\n\nA group of human remains, including three skulls. The remains are clustered in the leafy undergrowth of a tree. [PB 24/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169680.GIJ - P.169690.GIJ were located in a brown envelope now numbered C754/3/.\n\nFM:310173\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169686_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127467_image_not_public.jpg"}, {"file_name": "P_169686_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127468_P.169686.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171517.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465578", "metadata": {"title": "Untitled", "idno": "P.171517.GIJ", "description": "A documentation photograph of a standing figure on a base, carved in wood and part covered in clay. Limbs, and body are simply formed. The facial features are roughly defined, the hair incised with a four-cornered hair cap on the top of the head. [PB 04/10/24]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Eric Peters", "collector_/_expedition": "", "date": "1957", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171511.GIJ - P.171522.GIJ were located in a brown folder, now numbered C768/6.", "raw_text_dump": "IDNO\n\nP.171517.GIJ\n\nDescription\n\nA documentation photograph of a standing figure on a base, carved in wood and part covered in clay. Limbs, and body are simply formed. The facial features are roughly defined, the hair incised with a four-cornered hair cap on the top of the head. [PB 04/10/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nEric Peters\n\nCollector / Expedition\n\nDate\n\n1957\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171511.GIJ - P.171522.GIJ were located in a brown folder, now numbered C768/6.\n\n\nFM:312218\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171517_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144734_P.171517.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13233.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306505", "metadata": {"title": "Untitled", "idno": "N.13233.GIJ", "description": "Object documentation photograph of a stylised carved wooden face mask represnting an animal, with two horns on top of the head the base of which continue down as a protruding ridge from to a small circular ?snout in which there is a small hole, circular holes for eyes.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ogoni", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: Jones writes about the different styles found in Eastern Nigeria and he discusses the unique characteristics of the Ogoni specific style. He notes, \u201cThe Ogoni are an obscure group of people who seem to have become isolated on the Delta margin between the Ijo, Ibibio and Ibo, where they developed their own culture and styles of carving. Little is known about them and no one has studied the masquerades and dramatic plays for which they were made. Their sculpture has been grouped by some with Ibibio, but their masks were very different and although some of the more stylised Anang figures are very similar to some Ogoni ones, most of the figures which I have seen were not. Ogoni masks representing human faces had their own specific, indeed unique style. They were small, covering only the upper part o the wearer\u2019s face, and projecting forward from it. They were coloured white and had a hinged lower jaw and behind it a grille formed of strips of cane which represented the teeth. Some were carved in a bulging, rounded style and looked as though they were intended to be caricatures, others were more graceful and refined. Another form represented a goat or antelope and was carved without a separate lower jaw and designed to fit over the wearer\u2019s face. Two very old ones collected by Murray were small with short horns and were carved in a rounded and highly stylised mode. Others carved more recently were large and in a naturalistic mode representing long-horned antelopes and coloured realistically with brown and white pigments. It is unusual to find antelope heads carved in the form of a face mask.\u201d (Jones, 1984, pp.189-190).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 25/2/2008]", "raw_text_dump": "IDNO\n\nN.13233.GIJ\n\nDescription\n\nObject documentation photograph of a stylised carved wooden face mask represnting an animal, with two horns on top of the head the base of which continue down as a protruding ridge from to a small circular ?snout in which there is a small hole, circular holes for eyes.\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nOgoni\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: Jones writes about the different styles found in Eastern Nigeria and he discusses the unique characteristics of the Ogoni specific style. He notes, \u201cThe Ogoni are an obscure group of people who seem to have become isolated on the Delta margin between the Ijo, Ibibio and Ibo, where they developed their own culture and styles of carving. Little is known about them and no one has studied the masquerades and dramatic plays for which they were made. Their sculpture has been grouped by some with Ibibio, but their masks were very different and although some of the more stylised Anang figures are very similar to some Ogoni ones, most of the figures which I have seen were not. Ogoni masks representing human faces had their own specific, indeed unique style. They were small, covering only the upper part o the wearer\u2019s face, and projecting forward from it. They were coloured white and had a hinged lower jaw and behind it a grille formed of strips of cane which represented the teeth. Some were carved in a bulging, rounded style and looked as though they were intended to be caricatures, others were more graceful and refined. Another form represented a goat or antelope and was carved without a separate lower jaw and designed to fit over the wearer\u2019s face. Two very old ones collected by Murray were small with short horns and were carved in a rounded and highly stylised mode. Others carved more recently were large and in a naturalistic mode representing long-horned antelopes and coloured realistically with brown and white pigments. It is unusual to find antelope heads carved in the form of a face mask.\u201d (Jones, 1984, pp.189-190).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 25/2/2008]\n\nFM:147883\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13233_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000496_N.13233.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71566.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364837", "metadata": {"title": "Untitled", "idno": "N.71566.GIJ", "description": "A masquerader wearing a hood mask. The mask is made of woven cloth and covers the actor\u2019s head and neck. The mask has two eyeholes, and it is decorated in white? stripes and a braided piece or \u201ctassel\u201d on the top of the head; there is a fringe around the bottom of the headpiece. The costume is appliqu\u00e9d and made of several strips of material with fringe around the sleeves and the bottom of the legs. (bare hands and feet). The actor is holding a carved wooden staff. In the background is a compound and buildings of mud and thatch and a few on lookers- children, man in shorts and shirt, women in a wrapper and cap, and a goat.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 56 of the negative album now numbered C15/.\n\nContext: Jones discusses the importance of concealment and the various type of masks. He writes in reference to hood masks, \u201cThe actor wore all-enveloping tights which encased his head, limbs, and body and were made of netted fibre on the Cross River, of raffia cloth in some Cross River Ibo communities, and of cotton cloth decorated with patterns of appliqu\u00e9d strips of brightly coloured cloth in the Northern Ibo area. In the netted costume the actor\u2019s head was completely covered and concealed by the net and he wore no mask or headpiece. In the ones made of cloth the part that went over the actor\u2019s face was sometimes given eyeholes or was worked into a cloth mask; in other cases, it was replaced by a wooden face mask. \u201c (Jones, 1984, p.43)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 22/10/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 31/10/2012]", "raw_text_dump": "IDNO\n\nN.71566.GIJ\n\nDescription\n\nA masquerader wearing a hood mask. The mask is made of woven cloth and covers the actor\u2019s head and neck. The mask has two eyeholes, and it is decorated in white? stripes and a braided piece or \u201ctassel\u201d on the top of the head; there is a fringe around the bottom of the headpiece. The costume is appliqu\u00e9d and made of several strips of material with fringe around the sleeves and the bottom of the legs. (bare hands and feet). The actor is holding a carved wooden staff. In the background is a compound and buildings of mud and thatch and a few on lookers- children, man in shorts and shirt, women in a wrapper and cap, and a goat.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 56 of the negative album now numbered C15/.\n\nContext: Jones discusses the importance of concealment and the various type of masks. He writes in reference to hood masks, \u201cThe actor wore all-enveloping tights which encased his head, limbs, and body and were made of netted fibre on the Cross River, of raffia cloth in some Cross River Ibo communities, and of cotton cloth decorated with patterns of appliqu\u00e9d strips of brightly coloured cloth in the Northern Ibo area. In the netted costume the actor\u2019s head was completely covered and concealed by the net and he wore no mask or headpiece. In the ones made of cloth the part that went over the actor\u2019s face was sometimes given eyeholes or was worked into a cloth mask; in other cases, it was replaced by a wooden face mask. \u201c (Jones, 1984, p.43)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 22/10/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 31/10/2012]\n\n\nFM:206216\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71566_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656670_N.71566.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169653.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463646", "metadata": {"title": "Untitled", "idno": "P.169653.GIJ", "description": "Oganochi, a mgbedike masquerader standing, with legs apart and arms to the side, at an angle to the camera. In the background are spectators seated and standing, a thatched hut and trees. There is an attendant beating a side drum.\n\nThe masquerader is wearing a full length cloth costume with light and dark striped ruffles on body and his upper arms and legs, with porcupine quills hanging from the edges of the ruffles. The masquerader is wearing a dark wooden helmet mask, with white paint accentuating the mouth, teeth and eyes. It is similar to an 'lion elephant mask'. There are two feathers held in the front of the band at the bottom of the horns. On the top of the mask are four carved horns curling inwards, with a carved animal finial joining the tips of the horns. [PB 24/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo (town)", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169653.GIJ\n\nDescription\n\nOganochi, a mgbedike masquerader standing, with legs apart and arms to the side, at an angle to the camera. In the background are spectators seated and standing, a thatched hut and trees. There is an attendant beating a side drum.\n\nThe masquerader is wearing a full length cloth costume with light and dark striped ruffles on body and his upper arms and legs, with porcupine quills hanging from the edges of the ruffles. The masquerader is wearing a dark wooden helmet mask, with white paint accentuating the mouth, teeth and eyes. It is similar to an 'lion elephant mask'. There are two feathers held in the front of the band at the bottom of the horns. On the top of the mask are four carved horns curling inwards, with a carved animal finial joining the tips of the horns. [PB 24/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo (town)\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\n\nFM:310140\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169653_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127405_P.169653.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.71564.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364835", "metadata": {"title": "Untitled", "idno": "N.71564.GIJ", "description": "Agu Necheni (lion-elephant) or Mbdekike masquerade in which the masquerader is dressed in a bulky fibrous quill studded costume with a large, wooden mask standing in front of a barrier?/fence? The mask is comprised of large, curved horns and in between the horns is a carved figure also adorned with horns. The \u2018face\u2019 of the mask shows bulging eyes encircled in white? paint, long triangular nose, and oversized mouth with large teeth. In the background are bystanders, huts, and trees. [Alicia Fentiman 22/10/2007]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 13 of the negative album now numbered C15/.\n\nContext: Jones discusses the various types of masks and mentions that some are quite elaborate superstructures. In particular, \u201cNrii/Akwa and some other carvers also made emblem head-dresses in which small human figures were grouped together in a tableau, or more elaborate openwork constructions in which human, animal, bird, and reptile forms were intertwined to form a conical structure brought together at the apex by an animal figure whose legs straddled and held it together.\u201d (Jones, 1984, p. 126)\n\nCole and Aniakor write about the power of Mgbedike masks and describe them as horns, smelly medicines, animal skins, seeds and many other adapted natural ingredients combine to embody single or multiple spirit essences of \u201cheavy\u201d threatening masks worn or deputized by elders. A similar image to this photograph taken by GI Jones is found in Aniakor and Cole, plate 213, p.114.\n\nThey continue, in depth about the specific characteristics of the Mgbedike or \u2018Time of Brave\u2019 masks. These spirit \u201cheads\u201d are large in size, dark coloration; bold outsized figures such as open mouth with large, menacing teeth; and elaborate, integrally carved head-dresses always displaying horns. Their bulky costumes are studded with quills. Many individually named spirits of Mgbedike type exist, their titles crystallizing the character of the spirits...Mystery, aggression, bravado fearlessness, stubbornness, and medicinal power belong to these spirits.\n\nChorus singers, other escorts,and the masker himself are the strong men of middle age - farmers who are now taking titles or becoming well-known as diviners, wrestlers, and hunters, and in the old days, as intrepid warriors...They have physical strength supported by spiritual power enabling them to wrestle with the mysterious forces of the forest and aggressive medicines directed against them. While these are not the most powerful masked spirits in the community, they often carry strong medicines and can be destructive and wild. The spirits are the ideals of middle aged men in a theatrical context.\n\nIn reference to the appearance of the masquerader, masks and costumes of Mgebedike spirits are comprised of visual, aural, and sometimes olfactory material powers dramatically composed for maximum impact. Heads are at least twice life-sized and sometimes four or five times as large, and features are typically exaggerated - particularly eyes and mouths. The latter are usually agape, with snaggled, ovesized teeth, The usual diagnostic feature of such masks is an elaboration of horns...On carved examples, horns are often agrandized and extended into openwork superstructures featuring carved animals and human beings. These sometimes become quite elaborate tableaux with as many as ten or twelve creatures, and they are analogous to community ikenga superstructures... Costumes are usually composite with seedpods and porcupine quills and, more recently, pieces of metal sewn to enveloping cloth or fiber costumes, bulking out the wearer to superhuman size. Medicinal charms are normally present, along with young palm leaves, omu, both being evidence of the spiritual power and potential danger of such characters. (Cole and Aniakor,1984, pp. 131-132)\n\nBibliographical References:\n\nBoston, J.S. 1960 \u201cSome Northern Ibo Masquerades.\u201d Journal of the Royal Anthropological Institute, 90: 54-65.\n\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nMurray, K.C. 1948 Ibo Headdresses Combining Human and Animal Features, Man 48 (1): 1-2.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 22/10/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71564.GIJ\n\nDescription\n\nAgu Necheni (lion-elephant) or Mbdekike masquerade in which the masquerader is dressed in a bulky fibrous quill studded costume with a large, wooden mask standing in front of a barrier?/fence? The mask is comprised of large, curved horns and in between the horns is a carved figure also adorned with horns. The \u2018face\u2019 of the mask shows bulging eyes encircled in white? paint, long triangular nose, and oversized mouth with large teeth. In the background are bystanders, huts, and trees. [Alicia Fentiman 22/10/2007]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 13 of the negative album now numbered C15/.\n\nContext: Jones discusses the various types of masks and mentions that some are quite elaborate superstructures. In particular, \u201cNrii/Akwa and some other carvers also made emblem head-dresses in which small human figures were grouped together in a tableau, or more elaborate openwork constructions in which human, animal, bird, and reptile forms were intertwined to form a conical structure brought together at the apex by an animal figure whose legs straddled and held it together.\u201d (Jones, 1984, p. 126)\n\nCole and Aniakor write about the power of Mgbedike masks and describe them as horns, smelly medicines, animal skins, seeds and many other adapted natural ingredients combine to embody single or multiple spirit essences of \u201cheavy\u201d threatening masks worn or deputized by elders. A similar image to this photograph taken by GI Jones is found in Aniakor and Cole, plate 213, p.114.\n\nThey continue, in depth about the specific characteristics of the Mgbedike or \u2018Time of Brave\u2019 masks. These spirit \u201cheads\u201d are large in size, dark coloration; bold outsized figures such as open mouth with large, menacing teeth; and elaborate, integrally carved head-dresses always displaying horns. Their bulky costumes are studded with quills. Many individually named spirits of Mgbedike type exist, their titles crystallizing the character of the spirits...Mystery, aggression, bravado fearlessness, stubbornness, and medicinal power belong to these spirits.\n\nChorus singers, other escorts,and the masker himself are the strong men of middle age - farmers who are now taking titles or becoming well-known as diviners, wrestlers, and hunters, and in the old days, as intrepid warriors...They have physical strength supported by spiritual power enabling them to wrestle with the mysterious forces of the forest and aggressive medicines directed against them. While these are not the most powerful masked spirits in the community, they often carry strong medicines and can be destructive and wild. The spirits are the ideals of middle aged men in a theatrical context.\n\nIn reference to the appearance of the masquerader, masks and costumes of Mgebedike spirits are comprised of visual, aural, and sometimes olfactory material powers dramatically composed for maximum impact. Heads are at least twice life-sized and sometimes four or five times as large, and features are typically exaggerated - particularly eyes and mouths. The latter are usually agape, with snaggled, ovesized teeth, The usual diagnostic feature of such masks is an elaboration of horns...On carved examples, horns are often agrandized and extended into openwork superstructures featuring carved animals and human beings. These sometimes become quite elaborate tableaux with as many as ten or twelve creatures, and they are analogous to community ikenga superstructures... Costumes are usually composite with seedpods and porcupine quills and, more recently, pieces of metal sewn to enveloping cloth or fiber costumes, bulking out the wearer to superhuman size. Medicinal charms are normally present, along with young palm leaves, omu, both being evidence of the spiritual power and potential danger of such characters. (Cole and Aniakor,1984, pp. 131-132)\n\nBibliographical References:\n\nBoston, J.S. 1960 \u201cSome Northern Ibo Masquerades.\u201d Journal of the Royal Anthropological Institute, 90: 54-65.\n\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nMurray, K.C. 1948 Ibo Headdresses Combining Human and Animal Features, Man 48 (1): 1-2.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 22/10/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206214\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71564_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656669_N.71564.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169782.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463791", "metadata": {"title": "Untitled", "idno": "P.169782.GIJ", "description": "Close up of canoes moored by the riverbank. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169780.GIJ - P.169790.GIJ were located in an brown envelope now numbered C754/7/.", "raw_text_dump": "IDNO\n\nP.169782.GIJ\n\nDescription\n\nClose up of canoes moored by the riverbank. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169780.GIJ - P.169790.GIJ were located in an brown envelope now numbered C754/7/.\n\nFM:310269\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169782_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127658_P.169782.GIJ_001.png"}, {"file_name": "P_169782_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127659_P.169782.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171549.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465610", "metadata": {"title": "Untitled", "idno": "P.171549.GIJ", "description": "A documentation photograph in profile of three face masks for the Okorosie masquerade. They portray female characters, with white painted faces, round eye holes, open mouths with bared teeth, and elaborate coiffures of hair bunches and horns painted black. The holes to attach the masks to the masquerader's head covering are shown. [PB 22/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Omoku", "cultural_affliation": "Igbo [historically Ibo]; Oba", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171547.GIJ to P.171549.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171549.GIJ\n\nDescription\n\nA documentation photograph in profile of three face masks for the Okorosie masquerade. They portray female characters, with white painted faces, round eye holes, open mouths with bared teeth, and elaborate coiffures of hair bunches and horns painted black. The holes to attach the masks to the masquerader's head covering are shown. [PB 22/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Omoku\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oba\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171547.GIJ to P.171549.GIJ are mounted on card.\n\nFM:312269\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171549_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144792_P.171549.GIJ_001.jpg"}, {"file_name": "P_171549_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144793_P.171549.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169748.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463757", "metadata": {"title": "Untitled", "idno": "P.169748.GIJ", "description": "Half-length portrait of a man in profile. There is striped material in the background. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169748.GIJ\n\nDescription\n\nHalf-length portrait of a man in profile. There is striped material in the background. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310235\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169748_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127590_P.169748.GIJ_001.png"}, {"file_name": "P_169748_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127591_P.169748.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71327.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364598", "metadata": {"title": "Untitled", "idno": "N.71327.GIJ", "description": "A frontal, partial view of a maquerader in an Ikem Play. The mask consists of a naturalistic female face that depicts inset eyes, arched black eyebrows, nose, open painted mouth and ears. The hairstyle is an elaborate coiffure painted black and consisting of three elongated braids that project upward and outward in bold curves from the top of the head. The face is varnished. Around the body is square shaped form that is covered ina light cloth. Attendants surround the masquerader.", "place": "W Africa; Nigeria; South Eastern Nigeria; Umuahia", "cultural_affliation": "Ibibio; 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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 83 of the negative album now numbered C21/.\n\nPublication: Same mask in Jones, 1984, p. 185, Figure 93 with the caption, \u201cModern Anang mask\u201d.\n\nContext: Jones writes about the Cross River Style and the Modern Anang (Ibibio) style . He notes, \u201cThe Cross River masquerade called Ikem spread from Old Calabar to the Ibibio country in the early decades of the twentieth century and Anang carvers were producing by the 1930s, if not well before this, skin-covered heads in this style equal to the best that had been made in Ejagham country and in Old Calabar. There were certain minor differences that distinguished these Anang heads, the most obvious being their drooping upper eyelids. The Ikem masquerade and heads in this modified Cross River diffused into the Umuahia area and as far north as Ozu Item. But the Ikem masquerade seems to have inspired the Akang to produce similar masquerades and their own variant of these heads in what was locally held to be a completely naturalistic style. The hair, eyes and lips were painted in natural colours and in place of the covering of skin the face and neck were painted with clear varnish(as in the photograph). The associated masquerade, which received different names in different areas, was spread widely to their Ibibio and Ibo neighbours. During the colonial period there was an increasing demand for Anang sculpture but primarily for masks, heads and figures in this modern naturalistic style. For it was a very successful compromise between the Traditional Anang (Ibibio) and the \u2018traditional European\u2019 style, meaning by the latter term Victorian naturalism and the classical Greek sculpture which inspired it. Europeans bought this sculpture because it looked sufficiently African but not too African. Nigerians bought it because it looked sufficiently modern and European. In response to this demand Anang carvers developed a minor local industry in the Ikot Ekpene district mass-producing inferior masks, heads, and dolls. The inferiority was due primarily for the buyers\u2019 reluctance to pay for something better (Jones, 1984, pp. 184-185).\u201d\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nExhibition: Digital reproduction of photograph exhibited in \u2018Afrique, mille vies d\u2019objects / Africa, a thousand lives of objects\u2019 at Mus\u00e9e de Confluences, Lyon, France, from June 2023 \u2013 February 2024. See www.museedesconfluences.fr/en. [JD 25/01/2023]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 16/1/2008]", "raw_text_dump": "IDNO\n\nN.71327.GIJ\n\nDescription\n\nA frontal, partial view of a maquerader in an Ikem Play. The mask consists of a naturalistic female face that depicts inset eyes, arched black eyebrows, nose, open painted mouth and ears. The hairstyle is an elaborate coiffure painted black and consisting of three elongated braids that project upward and outward in bold curves from the top of the head. The face is varnished. Around the body is square shaped form that is covered ina light cloth. Attendants surround the masquerader.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Umuahia\n\nCultural Affliation\n\nIbibio; Anang\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 83 of the negative album now numbered C21/.\n\nPublication: Same mask in Jones, 1984, p. 185, Figure 93 with the caption, \u201cModern Anang mask\u201d.\n\nContext: Jones writes about the Cross River Style and the Modern Anang (Ibibio) style . He notes, \u201cThe Cross River masquerade called Ikem spread from Old Calabar to the Ibibio country in the early decades of the twentieth century and Anang carvers were producing by the 1930s, if not well before this, skin-covered heads in this style equal to the best that had been made in Ejagham country and in Old Calabar. There were certain minor differences that distinguished these Anang heads, the most obvious being their drooping upper eyelids. The Ikem masquerade and heads in this modified Cross River diffused into the Umuahia area and as far north as Ozu Item. But the Ikem masquerade seems to have inspired the Akang to produce similar masquerades and their own variant of these heads in what was locally held to be a completely naturalistic style. The hair, eyes and lips were painted in natural colours and in place of the covering of skin the face and neck were painted with clear varnish(as in the photograph). The associated masquerade, which received different names in different areas, was spread widely to their Ibibio and Ibo neighbours. During the colonial period there was an increasing demand for Anang sculpture but primarily for masks, heads and figures in this modern naturalistic style. For it was a very successful compromise between the Traditional Anang (Ibibio) and the \u2018traditional European\u2019 style, meaning by the latter term Victorian naturalism and the classical Greek sculpture which inspired it. Europeans bought this sculpture because it looked sufficiently African but not too African. Nigerians bought it because it looked sufficiently modern and European. In response to this demand Anang carvers developed a minor local industry in the Ikot Ekpene district mass-producing inferior masks, heads, and dolls. The inferiority was due primarily for the buyers\u2019 reluctance to pay for something better (Jones, 1984, pp. 184-185).\u201d\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nExhibition: Digital reproduction of photograph exhibited in \u2018Afrique, mille vies d\u2019objects / Africa, a thousand lives of objects\u2019 at Mus\u00e9e de Confluences, Lyon, France, from June 2023 \u2013 February 2024. See www.museedesconfluences.fr/en. [JD 25/01/2023]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 16/1/2008]\n\nFM:205977\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71327_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656558_N.71327.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71574.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364845", "metadata": {"title": "Untitled", "idno": "N.71574.GIJ", "description": "Onyema Agadia, a boy\u2019s mask on a masquerader. The mask is painted white with black markings to accentuate the eyebrows, nose, and mouth. There are black crisscross designs underneath the eyed and black circles dotted along the forehead vertically and horizontally, and the top of the mask is painted black. The mask has two black incised horns pointing out from the top and is covered in long raffia \u201chair\u201d. The masquerader is wearing a striped, woven top. In the background are spectators. a building and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 53 of the negative album now numbered C15/.\n\nContext: Jones writes about boys masquerades and says that \u201cuninitiated boys were expected to \u2018play at masquerading\u2019 and had their own masquerades, which were either imitations of those of their elders, like the Anang (Ibibio) Ekpo ntoke eyen (small boy\u2019s Ekpo), or masquerades which had \u2018died\u2019, that is, had been discarded by their seniors and been replaced by others. For their masks and costumes boys made use of anything they could get hold of or make. Many of the cruder masks in European collections were probably made by boys for their masquerades; on the other hand I have seen them using very old ones discarded by their elders. The secrets from which the uninitiated were excluded, usually on pain of death, included the privacy attached to society meetings and information abut its rituals, masks, instruments for making ghostly noises and other property of the society. These were revealed to members during their initiation, together with instructions and training in their use\u201d (Jones, 1984, pp.61-62)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71574.GIJ\n\nDescription\n\nOnyema Agadia, a boy\u2019s mask on a masquerader. The mask is painted white with black markings to accentuate the eyebrows, nose, and mouth. There are black crisscross designs underneath the eyed and black circles dotted along the forehead vertically and horizontally, and the top of the mask is painted black. The mask has two black incised horns pointing out from the top and is covered in long raffia \u201chair\u201d. The masquerader is wearing a striped, woven top. In the background are spectators. a building and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 53 of the negative album now numbered C15/.\n\nContext: Jones writes about boys masquerades and says that \u201cuninitiated boys were expected to \u2018play at masquerading\u2019 and had their own masquerades, which were either imitations of those of their elders, like the Anang (Ibibio) Ekpo ntoke eyen (small boy\u2019s Ekpo), or masquerades which had \u2018died\u2019, that is, had been discarded by their seniors and been replaced by others. For their masks and costumes boys made use of anything they could get hold of or make. Many of the cruder masks in European collections were probably made by boys for their masquerades; on the other hand I have seen them using very old ones discarded by their elders. The secrets from which the uninitiated were excluded, usually on pain of death, included the privacy attached to society meetings and information abut its rituals, masks, instruments for making ghostly noises and other property of the society. These were revealed to members during their initiation, together with instructions and training in their use\u201d (Jones, 1984, pp.61-62)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206224\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71574_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656679_N.71574.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171226.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465287", "metadata": {"title": "Untitled", "idno": "P.171226.GIJ", "description": "An object documentation image of an ikenga figure. It is seated on a stool with a large horn and drinking palm wine through a straw. [PB 04/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767150.GIJ - P.767152.GIJ are mounted together on paper.\n\nPublication: the figures in P.767150.GIJ - P.767152.GIJ are a collage image in Jones, 1984, Plate 36, p. 42 with the caption: \u201cIkenga figures. Nimo town. Nri-Awka Ibo. The one in the centre has a cutlass and a human head; the one on the left is drinking palm wine through a straw.\"", "raw_text_dump": "IDNO\n\nP.171226.GIJ\n\nDescription\n\nAn object documentation image of an ikenga figure. It is seated on a stool with a large horn and drinking palm wine through a straw. [PB 04/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767150.GIJ - P.767152.GIJ are mounted together on paper.\n\nPublication: the figures in P.767150.GIJ - P.767152.GIJ are a collage image in Jones, 1984, Plate 36, p. 42 with the caption: \u201cIkenga figures. Nimo town. Nri-Awka Ibo. The one in the centre has a cutlass and a human head; the one on the left is drinking palm wine through a straw.\"\n\nFM:311917\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171226_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144442_P.171226.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13330.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306602", "metadata": {"title": "Untitled", "idno": "N.13330.GIJ", "description": "A close up view of a Mau helmet mask. The face of the mask is painted white with darker paint / pigments to accentuate the etched and raised eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with painted white teeth. There are painted and incised designs on the forehead, around the eyes, and three circular etched markings on the temples (raised markings representative of keloids). The top of the mask consists of swirled, incised designs representing uli with horns jutting out and a carved animal.", "place": "W Africa; Nigeria; South Eastern Nigeria; Niger River area", "cultural_affliation": "Nri-Awka Igbo; Northern Igbo; Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "Prior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\nContext: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The white-faced helmut type was confined to part of the Northern Ibo area and and to some of the Northern Edo. In the majority of examples the crested area, when scene in profile formed a curve which reached from the back of the head to the top of the forehead, while the mask section was flat and set at an angle to it, either coming down vertically over the actor\u2019s face or being extended forward at an angle (Jones, 1984, p.139)\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984, p.143)\n\nContext: Cole and Aniakor provide further in-depth description about the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]", "raw_text_dump": "IDNO\n\nN.13330.GIJ\n\nDescription\n\nA close up view of a Mau helmet mask. The face of the mask is painted white with darker paint / pigments to accentuate the etched and raised eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with painted white teeth. There are painted and incised designs on the forehead, around the eyes, and three circular etched markings on the temples (raised markings representative of keloids). The top of the mask consists of swirled, incised designs representing uli with horns jutting out and a carved animal.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Niger River area\n\nCultural Affliation\n\nNri-Awka Igbo; Northern Igbo; Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPrior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\nContext: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The white-faced helmut type was confined to part of the Northern Ibo area and and to some of the Northern Edo. In the majority of examples the crested area, when scene in profile formed a curve which reached from the back of the head to the top of the forehead, while the mask section was flat and set at an angle to it, either coming down vertically over the actor\u2019s face or being extended forward at an angle (Jones, 1984, p.139)\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984, p.143)\n\nContext: Cole and Aniakor provide further in-depth description about the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]\n\n\nFM:147980\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13330_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000593_N.13330.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169883.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463902", "metadata": {"title": "Untitled", "idno": "P.169883.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts a figure, standing frontal holding an object in one hand. He is dressed in a striped tunic and with a plaited hair style. Surround him are geometric patterns and designs. [Description from record N.13205.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River Area; Umuajatta village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169883.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts a figure, standing frontal holding an object in one hand. He is dressed in a striped tunic and with a plaited hair style. Surround him are geometric patterns and designs. [Description from record N.13205.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River Area; Umuajatta village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310370\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169883_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127851_P.169883.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.13209.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306481", "metadata": {"title": "Untitled", "idno": "N.13209.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two Ekpe (Egbo) figures in their masuqerade costumes bending at the waist and with two curved designs on the top of their heads and a tail. Underneath the paintings is a border of geometric designs.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: This image is reproduced in Jones, 1984, p.107, Figure 32 with the caption, Ekpe (Egbo) figures.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13209.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two Ekpe (Egbo) figures in their masuqerade costumes bending at the waist and with two curved designs on the top of their heads and a tail. Underneath the paintings is a border of geometric designs.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: This image is reproduced in Jones, 1984, p.107, Figure 32 with the caption, Ekpe (Egbo) figures.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147859\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13209_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000471_N.13209.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169640.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463621", "metadata": {"title": "Untitled", "idno": "P.169640.GIJ", "description": "Three Obugulu mau masqueraders standing. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appliqued costumes with pointed breasts; their hands and feet are covered with cloth.\n\nObugulu mau masquerade depicting four masqueraders sitting down. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appliqued costumes with pointed breasts; their hands and feet are covered with cloth. [Description from record N.71526.GIJ, PB 20/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka; Amobia Village", "cultural_affliation": "Ibo [historically Igbo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nPublication: Similar image in Jones, 1984, p. 62, Figure 12 with the caption, \u201cOgbugulu Mau masks; waiting their turn to play, Nri/Awka Ibo\u201d.\n\nDescription from record N,71528.GIJ, PB 20/10/2022]", "raw_text_dump": "IDNO\n\nP.169640.GIJ\n\nDescription\n\nThree Obugulu mau masqueraders standing. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appliqued costumes with pointed breasts; their hands and feet are covered with cloth.\n\nObugulu mau masquerade depicting four masqueraders sitting down. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appliqued costumes with pointed breasts; their hands and feet are covered with cloth. [Description from record N.71526.GIJ, PB 20/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka; Amobia Village\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nPublication: Similar image in Jones, 1984, p. 62, Figure 12 with the caption, \u201cOgbugulu Mau masks; waiting their turn to play, Nri/Awka Ibo\u201d.\n\nDescription from record N,71528.GIJ, PB 20/10/2022]\n\nFM:310127\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169640_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127358_P.169640.GIJ_001.png"}, {"file_name": "P_169640_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127360_P.169640.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171218.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465279", "metadata": {"title": "Untitled", "idno": "P.171218.GIJ", "description": "A documentation image of an ikenga figure. [PB 04/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Colour Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767141.GIJ - P.7670143.GIJ are mounted together on paper.\n\nThis figure is in the Simon Ottenberg collection.", "raw_text_dump": "IDNO\n\nP.171218.GIJ\n\nDescription\n\nA documentation image of an ikenga figure. [PB 04/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Colour Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767141.GIJ - P.7670143.GIJ are mounted together on paper.\n\nThis figure is in the Simon Ottenberg collection.\n\nFM:311909\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171218_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144434_P.171218.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.30456.NWT", "source_url": "https://collections.maa.cam.ac.uk/photographs/323728", "metadata": {"title": "Untitled", "idno": "P.30456.NWT", "description": "On Negative Listing: \"2033. 21. do do [ditto - 2032. 20. Okike.\nKilling of sheep]. [Thomas' manuscript on RAI MS 467-2(1801-2475)]\n\nIn Blench and Alexander Catalogue for N. W. Thomas photograph collection: \u201c2033 location: Amobia; associations: religion?;\u201d [printed text]", "place": "W Africa; Nigeria; south eastern Nigeria; near Awka; Amobia village", "cultural_affliation": "", "named_person": "", "photographer": "Thomas, Northcote Whitridge", "collector_/_expedition": "", "date": "1909 - 1913", "collection_name": "Northcote Thomas Collection", "source": "Thomas, Northcote Whitridge", "format": "Print Black & White", "primary_documentation": "", "other_information": "This print was previously stored in a box in the fourth drawer of a container which has four drawers. The cataloguer has marked the container C70/, the fourth drawer C70/4/ and the box in which this print was kept C70/4/6/.\n\nNo Blench and Alexander record for this photographic print. Transcriber suggests location is Amobia as this print is a similar image to P.30455.NWT and P.30457.NWT which are securely provenanced to Amobia.", "raw_text_dump": "IDNO\n\nP.30456.NWT\n\nDescription\n\nOn Negative Listing: \"2033. 21. do do [ditto - 2032. 20. Okike.\nKilling of sheep]. [Thomas' manuscript on RAI MS 467-2(1801-2475)]\n\nIn Blench and Alexander Catalogue for N. W. Thomas photograph collection: \u201c2033 location: Amobia; associations: religion?;\u201d [printed text]\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; near Awka; Amobia village\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nThomas, Northcote Whitridge\n\nCollector / Expedition\n\nDate\n\n1909 - 1913\n\nCollection Name\n\nNorthcote Thomas Collection\n\nSource\n\nThomas, Northcote Whitridge\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis print was previously stored in a box in the fourth drawer of a container which has four drawers. The cataloguer has marked the container C70/, the fourth drawer C70/4/ and the box in which this print was kept C70/4/6/.\n\nNo Blench and Alexander record for this photographic print. Transcriber suggests location is Amobia as this print is a similar image to P.30455.NWT and P.30457.NWT which are securely provenanced to Amobia.\n\nFM:165106\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_30456_NWT_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/860112_P.30456.NWT_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.71959.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365230", "metadata": {"title": "Untitled", "idno": "N.71959.GIJ", "description": "A Ngbagba Ikoro masquerade with the chorus and band. They are seated on the ground and some are holding wooden clappers. Other members are wearing dark wooden face masks with woven cloth shrouding their faces; some wear masks covering their faces other have the masks on top of their heads.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 36 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Older woman touching Otiri Ngbagba Ikoro, Abiriba. (4th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71959.GIJ\n\nDescription\n\nA Ngbagba Ikoro masquerade with the chorus and band. They are seated on the ground and some are holding wooden clappers. Other members are wearing dark wooden face masks with woven cloth shrouding their faces; some wear masks covering their faces other have the masks on top of their heads.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 36 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Older woman touching Otiri Ngbagba Ikoro, Abiriba. (4th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206609\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71959_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657061_N.71959.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171329.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465390", "metadata": {"title": "Untitled", "idno": "P.171329.GIJ", "description": "An object documentation photograph of a mau helmet mask. The base of the mask as a pattern of rows of notches with a triangle incised in the centre front. On top of a long neck, the main head has a face painted white, with a vertical row of three black circles on each temple, a circle in the forehead and eyebrows painted black. The eyes are narrow slits outlined in black. A black line runs from the top of the nose to the chin. The mouth is painted black with white teeth. On top of the head are four inward curving thick horns. On either side of the head, two smaller heads look outwards to the side. Each has hair painted black with a central crest decorated with white circles. A large black circle in each temple, face painted white with features outlined in black. [PB 02/08/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767253.GIJ and P.767254.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171329.GIJ\n\nDescription\n\nAn object documentation photograph of a mau helmet mask. The base of the mask as a pattern of rows of notches with a triangle incised in the centre front. On top of a long neck, the main head has a face painted white, with a vertical row of three black circles on each temple, a circle in the forehead and eyebrows painted black. The eyes are narrow slits outlined in black. A black line runs from the top of the nose to the chin. The mouth is painted black with white teeth. On top of the head are four inward curving thick horns. On either side of the head, two smaller heads look outwards to the side. Each has hair painted black with a central crest decorated with white circles. A large black circle in each temple, face painted white with features outlined in black. [PB 02/08/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767253.GIJ and P.767254.GIJ are mounted together on card.\n\nFM:312020\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171329_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144545_P.171329.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169696.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463705", "metadata": {"title": "Untitled", "idno": "P.169696.GIJ", "description": "A fishing village along the creeks and waterways. There are two wooden canoes along the embankment unloading produce, with four people standing nearby. [Description from record LS.51061.GIJ, PB 03/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169691.GIJ - P.169718.GIJ were located in an Agfa envelope now numbered C754/4/.", "raw_text_dump": "IDNO\n\nP.169696.GIJ\n\nDescription\n\nA fishing village along the creeks and waterways. There are two wooden canoes along the embankment unloading produce, with four people standing nearby. [Description from record LS.51061.GIJ, PB 03/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169691.GIJ - P.169718.GIJ were located in an Agfa envelope now numbered C754/4/.\n\nFM:310183\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169696_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127486_P.169696.GIJ_001.png"}, {"file_name": "P_169696_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127487_P.169696.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169634.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463608", "metadata": {"title": "Untitled", "idno": "P.169634.GIJ", "description": "Boys\u2019 initiation dance in the Nri Awka area. The male initiates are dancing around a pole held by an elder, and they are wearing layers of short pieces of cloth around their waist and around the knees are bands made of seeds? or metal? which will sound as they dance. The heads are covered with cloth kerchiefs and they are holding feathers. In the background are spectators. [Description from record P.71492.GIJ, PB 20/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nContext: For a detailed discussion of initiation rites see Jones, 1962. Cole and Aniakor also discuss the importance of initiation rites. \u201cAdolescent initiation inot th serious business of manhood in Igboland is normally marked by entry into a masked organization. Several regional variations exist (Cole and Anaikor, 1984, p.112).\n\nContext: Green in her ethnographic study of the Igbo discusses the complexity of initiation rites. She writes, \u201cThe question of initiation rites is not an easy one to deal with. Those of the boys have gone underground to a considerable extent from fear of European disapproval and tend now to be held in connection with the initiation of a dibea. None were held in Umueke while I was living there, though when a dibea was initiated in the neighbouring village-group of Umunuma, we saw boys in initiation dress going to market with him in his public inception as a diviner and they had probably been passing through a period of initiation at the same time as he did his own. I obtained a number of descriptions of the normal boys\u2019 initiation rites, which used to be held every few years and through which most of the boys in the village except the quite young ones had passed. The boys of part of the next door Agbaja village also participated. The chief feature of the rites was described as being the acquiring of aggressive medicine or magic rather than the receiving of instruction. This medicine could only be used against people who had not themselves acquired it, against strangers that is to say, and more particularly against women because the latter never acquired it. The medicine was put into the boys\u2019 eyes and into cuts in the skin over a period of eight days. In so far as they were not supposed to cry it may be said that hardihood was inculcated. \u201c She continues to say that the initiation rites were important for group solidarity and a certain code of morality. (Green, 1947, pp.80-81.)\n\nBibliographical Reference: Jones, G.I. 1962, \u201cIbo Age Organization, with Special Reference to the Cross River and North-eastern Ibo.\u201d The Journal of the Royal Anthropological Institute of Great Britain and Ireland, Vol. 92, No. 2, pp.191-211.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\nGreen, M.M. 1964 (second edition) Igbo Village Affairs (Frank Cass and Co.).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]", "raw_text_dump": "IDNO\n\nP.169634.GIJ\n\nDescription\n\nBoys\u2019 initiation dance in the Nri Awka area. The male initiates are dancing around a pole held by an elder, and they are wearing layers of short pieces of cloth around their waist and around the knees are bands made of seeds? or metal? which will sound as they dance. The heads are covered with cloth kerchiefs and they are holding feathers. In the background are spectators. [Description from record P.71492.GIJ, PB 20/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nContext: For a detailed discussion of initiation rites see Jones, 1962. Cole and Aniakor also discuss the importance of initiation rites. \u201cAdolescent initiation inot th serious business of manhood in Igboland is normally marked by entry into a masked organization. Several regional variations exist (Cole and Anaikor, 1984, p.112).\n\nContext: Green in her ethnographic study of the Igbo discusses the complexity of initiation rites. She writes, \u201cThe question of initiation rites is not an easy one to deal with. Those of the boys have gone underground to a considerable extent from fear of European disapproval and tend now to be held in connection with the initiation of a dibea. None were held in Umueke while I was living there, though when a dibea was initiated in the neighbouring village-group of Umunuma, we saw boys in initiation dress going to market with him in his public inception as a diviner and they had probably been passing through a period of initiation at the same time as he did his own. I obtained a number of descriptions of the normal boys\u2019 initiation rites, which used to be held every few years and through which most of the boys in the village except the quite young ones had passed. The boys of part of the next door Agbaja village also participated. The chief feature of the rites was described as being the acquiring of aggressive medicine or magic rather than the receiving of instruction. This medicine could only be used against people who had not themselves acquired it, against strangers that is to say, and more particularly against women because the latter never acquired it. The medicine was put into the boys\u2019 eyes and into cuts in the skin over a period of eight days. In so far as they were not supposed to cry it may be said that hardihood was inculcated. \u201c She continues to say that the initiation rites were important for group solidarity and a certain code of morality. (Green, 1947, pp.80-81.)\n\nBibliographical Reference: Jones, G.I. 1962, \u201cIbo Age Organization, with Special Reference to the Cross River and North-eastern Ibo.\u201d The Journal of the Royal Anthropological Institute of Great Britain and Ireland, Vol. 92, No. 2, pp.191-211.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\nGreen, M.M. 1964 (second edition) Igbo Village Affairs (Frank Cass and Co.).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]\n\n\nFM:310121\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169634_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127334_P.169634.GIJ_001.png"}, {"file_name": "P_169634_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127335_P.169634.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71472.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364743", "metadata": {"title": "Untitled", "idno": "N.71472.GIJ", "description": "A documentation photograph of a dark wooden face mask with an arched crest on top.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 88 of the negative album now numbered C16/.This catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/3/2008]", "raw_text_dump": "IDNO\n\nN.71472.GIJ\n\nDescription\n\nA documentation photograph of a dark wooden face mask with an arched crest on top.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 88 of the negative album now numbered C16/.This catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/3/2008]\n\nFM:206122\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71472_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656605_N.71472.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169776.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463785", "metadata": {"title": "Untitled", "idno": "P.169776.GIJ", "description": "Bushland on the side of a hill with the roof of a building in the right. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169771.GIJ - P.169779.GIJ were located in an brown envelope now numbered C754/6/.", "raw_text_dump": "IDNO\n\nP.169776.GIJ\n\nDescription\n\nBushland on the side of a hill with the roof of a building in the right. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169771.GIJ - P.169779.GIJ were located in an brown envelope now numbered C754/6/.\n\nFM:310263\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169776_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127646_P.169776.GIJ_001.png"}, {"file_name": "P_169776_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127647_P.169776.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71427.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364698", "metadata": {"title": "Untitled", "idno": "N.71427.GIJ", "description": "Two carved wooden figures, one figure is Alose and the other is a supporting spirit. The Alose figure is standing, in the left hand side of the photo and it is a \u201cside view\u201d. The face of the figure is humanised and the top of the head consists of a curved crest with pronounced striations, defined brow lines, slit eyes, pointed nose, and mouth with scarification marks in a crescent design near the ears. The neck of the figure is thick and elongated, the torso is elaborately decorated with raised on the side of the abdomen. The arms are bent and slightly away from the body, the knees are slightly bent. There is a leather necklace around the figure and pieces of cloth at the bottom of its feet. The other figure appears smaller and humanised. It consists of a curved crescent top with incised decorations, a human face, its arms are to its side, two marks depicting breasts? a protruding umbilicus, and slightly bent knees. In the background is a crowd of children, some wearing wrappers.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "Publication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Alusi or Arunsi (shrines)\n3. One of a group of Alusi figures Nri-Awka Igbo (18th image).\n\nContext: In relation to the Alusi figures, Cole and Aniakor write that, \u201cthe dead are conceived as part of the everyday world, and just as clearly, their presence can hold a positive or negative valence for the living; exactly the same is true of the tutelary deities, alusi. These forces, however, are neither personal (chi or ancestors) nor universal (Chineke, Chukwu). Rather, they are in part specific, usually tangible phenomena such as: Earth, the Niger or Imo river, Eke, Afo, Orie/Oye, or Nkwo market, an extraordinary tree, a binding oath at a particular shrine, or the canyon of erosion in Agulu. The preeminence of Ala/Ani does not eclipse the vitality of these other deities, especially those associated with water, or of Amadioha, god of thunder and lightening and, by extension, rain. These anthropomorphic male and female deities have priests and often elaborate cult apparatus, symbolic works of art, and finely decorated compounds. Each has general and specific powers, and although their priesthoods may be held by certain lineages, the more commanding of these cults have constituencies cutting across lines of kinship and stressing communal worship. Such tutelary deities are close to people, fast-acting (for good or ill), and often capricious, thus requiring frequent attention and sacrifice. ...(Cole and Aniakor, 1984, p.16).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1984, p.54)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71427.GIJ\n\nDescription\n\nTwo carved wooden figures, one figure is Alose and the other is a supporting spirit. The Alose figure is standing, in the left hand side of the photo and it is a \u201cside view\u201d. The face of the figure is humanised and the top of the head consists of a curved crest with pronounced striations, defined brow lines, slit eyes, pointed nose, and mouth with scarification marks in a crescent design near the ears. The neck of the figure is thick and elongated, the torso is elaborately decorated with raised on the side of the abdomen. The arms are bent and slightly away from the body, the knees are slightly bent. There is a leather necklace around the figure and pieces of cloth at the bottom of its feet. The other figure appears smaller and humanised. It consists of a curved crescent top with incised decorations, a human face, its arms are to its side, two marks depicting breasts? a protruding umbilicus, and slightly bent knees. In the background is a crowd of children, some wearing wrappers.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Alusi or Arunsi (shrines)\n3. One of a group of Alusi figures Nri-Awka Igbo (18th image).\n\nContext: In relation to the Alusi figures, Cole and Aniakor write that, \u201cthe dead are conceived as part of the everyday world, and just as clearly, their presence can hold a positive or negative valence for the living; exactly the same is true of the tutelary deities, alusi. These forces, however, are neither personal (chi or ancestors) nor universal (Chineke, Chukwu). Rather, they are in part specific, usually tangible phenomena such as: Earth, the Niger or Imo river, Eke, Afo, Orie/Oye, or Nkwo market, an extraordinary tree, a binding oath at a particular shrine, or the canyon of erosion in Agulu. The preeminence of Ala/Ani does not eclipse the vitality of these other deities, especially those associated with water, or of Amadioha, god of thunder and lightening and, by extension, rain. These anthropomorphic male and female deities have priests and often elaborate cult apparatus, symbolic works of art, and finely decorated compounds. Each has general and specific powers, and although their priesthoods may be held by certain lineages, the more commanding of these cults have constituencies cutting across lines of kinship and stressing communal worship. Such tutelary deities are close to people, fast-acting (for good or ill), and often capricious, thus requiring frequent attention and sacrifice. ...(Cole and Aniakor, 1984, p.16).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1984, p.54)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206077\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71427_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656578_N.71427.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71943.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365214", "metadata": {"title": "Untitled", "idno": "N.71943.GIJ", "description": "A wooden female face mask. The mask is oval in shape and consists of a delicate white face with two open holes for the eye. On top of the mask is a coiffure consisting of a central white parting and two pointed bunches of hair. The face is painted white but with black to accentuate the eyebrows, frame of the eyes, nostrils and on the chin is a black and white chequered design. The mask appears to be hanging on a wall.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 25 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nN.71943.GIJ\n\nDescription\n\nA wooden female face mask. The mask is oval in shape and consists of a delicate white face with two open holes for the eye. On top of the mask is a coiffure consisting of a central white parting and two pointed bunches of hair. The face is painted white but with black to accentuate the eyebrows, frame of the eyes, nostrils and on the chin is a black and white chequered design. The mask appears to be hanging on a wall.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 25 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nFM:206593\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71943_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657036_N.71943.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71639.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364910", "metadata": {"title": "Untitled", "idno": "N.71639.GIJ", "description": "Ghost policemen walking in single file carrying wooden guns; the sergeant or more senior police official is on the left hand side holding a stick. The policemen are wearing dark uniforms which consist of black shirts with rank markings in white, pockets, cropped trousers and socks. Belted around the waist are pouches. Their heads are covered with dark knitted face masks outlining the facial features in white with a cap on top. The \u2018sergeant\u2019 is also wearing a dark uniform but with three v shaped markings on the sleeve to denote his superior rank; the face is covered with a black knitted head mask. In the background are spectators, thatched buildings and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 4 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Ghost Police, Amuobia village (13th image).\n\nContext: Jones provides a detailed description of the various characters in this masquerade which he had observed and photographed in the field, \u201cA performance in the Northern Ibo village of Amobia was opened by a hooded character called \u201cGovernment\u201d. He had no face and was crowned with a Homburg hat; an elephant tusk horn, symbol of authority, was laid on the ground in front of him and he read in ghostly gibberish from an important-looking document. He and his acolyte withdrew and were succeeded by a parade of ghostly policemen and court messengers wearing imitations of police and messenger uniforms and with cloth masks over their faces and head. They performed a spirited guard drill before being posted by their commander to their stations to control the crowd. Their followed a supercilious white-faced sun-helmeted figure in white drill jacket and trousers called Oyibo (White Man), who inspected the audience and then took his seat amongst the places reserved for the distinguished visitors who had come to watch the play. After him came a succession of characters, some white-faced, representing female spirits, some black or multi-coloured fierce and masculine creatures with masks that combined animal and human features; others again, mainly harmless or comic or benign, representing antelopes, or other animal spirits or characters drawn from village life. Each had his or her special role to play and having acted it withdrew to the secret enclosure or sat on seats at the ringside waiting to repeat his performance. \u201c Jones also writes that this masquerade was \u201c a large concerted display which included characters contributed by all the local societies.\u201d (Jones, 1984, pp.59-60.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71639.GIJ\n\nDescription\n\nGhost policemen walking in single file carrying wooden guns; the sergeant or more senior police official is on the left hand side holding a stick. The policemen are wearing dark uniforms which consist of black shirts with rank markings in white, pockets, cropped trousers and socks. Belted around the waist are pouches. Their heads are covered with dark knitted face masks outlining the facial features in white with a cap on top. The \u2018sergeant\u2019 is also wearing a dark uniform but with three v shaped markings on the sleeve to denote his superior rank; the face is covered with a black knitted head mask. In the background are spectators, thatched buildings and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 4 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Ghost Police, Amuobia village (13th image).\n\nContext: Jones provides a detailed description of the various characters in this masquerade which he had observed and photographed in the field, \u201cA performance in the Northern Ibo village of Amobia was opened by a hooded character called \u201cGovernment\u201d. He had no face and was crowned with a Homburg hat; an elephant tusk horn, symbol of authority, was laid on the ground in front of him and he read in ghostly gibberish from an important-looking document. He and his acolyte withdrew and were succeeded by a parade of ghostly policemen and court messengers wearing imitations of police and messenger uniforms and with cloth masks over their faces and head. They performed a spirited guard drill before being posted by their commander to their stations to control the crowd. Their followed a supercilious white-faced sun-helmeted figure in white drill jacket and trousers called Oyibo (White Man), who inspected the audience and then took his seat amongst the places reserved for the distinguished visitors who had come to watch the play. After him came a succession of characters, some white-faced, representing female spirits, some black or multi-coloured fierce and masculine creatures with masks that combined animal and human features; others again, mainly harmless or comic or benign, representing antelopes, or other animal spirits or characters drawn from village life. Each had his or her special role to play and having acted it withdrew to the secret enclosure or sat on seats at the ringside waiting to repeat his performance. \u201c Jones also writes that this masquerade was \u201c a large concerted display which included characters contributed by all the local societies.\u201d (Jones, 1984, pp.59-60.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206289\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71639_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656749_N.71639.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171519.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465580", "metadata": {"title": "Untitled", "idno": "P.171519.GIJ", "description": "A documentation photograph from an angle of a figure standing on a base, carved in wood and part covered in clay. Limbs, and body are simply formed. The facial features are roughly defined, the hair incised with a four-cornered hair cap on the top of the head. [PB 04/10/24]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Eric Peters", "collector_/_expedition": "", "date": "1957", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171511.GIJ - P.171522.GIJ were located in a brown folder, now numbered C768/6.", "raw_text_dump": "IDNO\n\nP.171519.GIJ\n\nDescription\n\nA documentation photograph from an angle of a figure standing on a base, carved in wood and part covered in clay. Limbs, and body are simply formed. The facial features are roughly defined, the hair incised with a four-cornered hair cap on the top of the head. [PB 04/10/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nEric Peters\n\nCollector / Expedition\n\nDate\n\n1957\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171511.GIJ - P.171522.GIJ were located in a brown folder, now numbered C768/6.\n\n\nFM:312220\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171519_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144736_P.171519.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.170241.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464302", "metadata": {"title": "Untitled", "idno": "P.170241.GIJ", "description": "An Ibibio mask rectangular in shape and in \"animal form\u201d representing a buffalo. The mask has large round eyes, lower lids, pointed snout like nose and moveable lower jaw. Ohter distinguishing features include a braided design around the forehead, two curled horns, and rectangular keloid markings on the side. The mask has raffia attached to the back with rough woven cloth around the base of the mask. [Description from record N.13171.GIJ, PB 02/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Abak division", "cultural_affliation": "Anang; Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170232.GIJ - P.170243.GIJ were located in a brown envelope, now numbered C759/1.\n\nPublication: Image published in Jones G.I. The art of eastern Nigeria. 1984 Cambridge: CUP. Fig 89 p 179, and captioned: \"Mask represewnting a buffalo: Ekpo masquerade (N.M.). Anang (Ibibio).\" [PB 03/11/2023]", "raw_text_dump": "IDNO\n\nP.170241.GIJ\n\nDescription\n\nAn Ibibio mask rectangular in shape and in \"animal form\u201d representing a buffalo. The mask has large round eyes, lower lids, pointed snout like nose and moveable lower jaw. Ohter distinguishing features include a braided design around the forehead, two curled horns, and rectangular keloid markings on the side. The mask has raffia attached to the back with rough woven cloth around the base of the mask. [Description from record N.13171.GIJ, PB 02/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Abak division\n\nCultural Affliation\n\nAnang; Ibibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170232.GIJ - P.170243.GIJ were located in a brown envelope, now numbered C759/1.\n\nPublication: Image published in Jones G.I. The art of eastern Nigeria. 1984 Cambridge: CUP. Fig 89 p 179, and captioned: \"Mask represewnting a buffalo: Ekpo masquerade (N.M.). Anang (Ibibio).\" [PB 03/11/2023]\n\nFM:310799\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170241_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131583_P.170241.GIJ_001.png"}, {"file_name": "P_170241_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131584_P.170241.GIJ_002.png"}, {"file_name": "P_170241_GIJ_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131585_P.170241.GIJ_003.png"}], "source_id": "maa_cambridge"}
{"id": "N.71839.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365110", "metadata": {"title": "Untitled", "idno": "N.71839.GIJ", "description": "A group of children sitting on the ground and one of the children is wearing a discarded mask. The mask consists of a large oval shaped face with large eyes, nose, open mouth with two teeth, pointed chin and palm fronds. A white or light paint accentuates the eyebrows and the face of the mask. The young boy wearing the mask is seated and is holding a stick in one hand and a touching his chin with the other. Five other children are seated and one boy is standing behind the masked character. In the background is a fence or walled area made of bamboo panels.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 92 of the negative album now numbered C27/.\n\nPublication: Same image in Jones, 1984, p.32, Figure 24 with the caption, \u201cSmall boys\u2019 masquerade, Abiriba town, Cross River Ibo. They are using an old discarded mask.\u201d\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Igbo\n3. Boys masquerade (Ibibio style mask), Abiriba. (6th image).\n\nContext: In reference to the mask in this photograph, Jones writes, \u201c Masquerades, ceremonial performances in which actors impersonating supernatural beings were paraded and displayed to the public, were an exclusively male domain from which women and children were strictly excluded, though uninitiated small boys were encouraged \u201cto play at masquerading\u201d. (Jones, 1988, p. 31)\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire).\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 17/12/2007]", "raw_text_dump": "IDNO\n\nN.71839.GIJ\n\nDescription\n\nA group of children sitting on the ground and one of the children is wearing a discarded mask. The mask consists of a large oval shaped face with large eyes, nose, open mouth with two teeth, pointed chin and palm fronds. A white or light paint accentuates the eyebrows and the face of the mask. The young boy wearing the mask is seated and is holding a stick in one hand and a touching his chin with the other. Five other children are seated and one boy is standing behind the masked character. In the background is a fence or walled area made of bamboo panels.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 92 of the negative album now numbered C27/.\n\nPublication: Same image in Jones, 1984, p.32, Figure 24 with the caption, \u201cSmall boys\u2019 masquerade, Abiriba town, Cross River Ibo. They are using an old discarded mask.\u201d\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Igbo\n3. Boys masquerade (Ibibio style mask), Abiriba. (6th image).\n\nContext: In reference to the mask in this photograph, Jones writes, \u201c Masquerades, ceremonial performances in which actors impersonating supernatural beings were paraded and displayed to the public, were an exclusively male domain from which women and children were strictly excluded, though uninitiated small boys were encouraged \u201cto play at masquerading\u201d. (Jones, 1988, p. 31)\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire).\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 17/12/2007]\n\nFM:206489\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71839_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656931_N.71839.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "T.169986.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464005", "metadata": {"title": "Untitled", "idno": "T.169986.GIJ", "description": "A close up image of an Obugulu Mau helmet mask displayed on a stand. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is closed. There is a cross design on the cheek and a diamond shape on the forehead. The top of the mask depicts an elaborate crested coiffure painted black. Ogbugulu Mau Mask Series. [PB 24/08/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.169986.GIJ\n\nDescription\n\nA close up image of an Obugulu Mau helmet mask displayed on a stand. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is closed. There is a cross design on the cheek and a diamond shape on the forehead. The top of the mask depicts an elaborate crested coiffure painted black. Ogbugulu Mau Mask Series. [PB 24/08/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310514\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_169986_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128011_T.169986.GIJ_001.png"}, {"file_name": "T_169986_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128012_T.169986.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169741.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463750", "metadata": {"title": "Untitled", "idno": "P.169741.GIJ", "description": "A half-length portrait of a young woman in profile. She is wearing an earring in her left ear. The earring has a short chain leading to a looped drop made of wire in the shape of a circle held between an inverted V. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169741.GIJ\n\nDescription\n\nA half-length portrait of a young woman in profile. She is wearing an earring in her left ear. The earring has a short chain leading to a looped drop made of wire in the shape of a circle held between an inverted V. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310228\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169741_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127576_P.169741.GIJ_001.png"}, {"file_name": "P_169741_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127577_P.169741.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169734.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463743", "metadata": {"title": "Untitled", "idno": "P.169734.GIJ", "description": "A half-length portrait of a man in profile. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169734.GIJ\n\nDescription\n\nA half-length portrait of a man in profile. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310221\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169734_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127562_P.169734.GIJ_001.png"}, {"file_name": "P_169734_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127563_P.169734.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171166.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465227", "metadata": {"title": "Untitled", "idno": "P.171166.GIJ", "description": "An unfinished mask of a Policeman modelled by a man sitting down. The head mask is carved and clearly shows the sections or defined areas of the mask. The face is bordered by an oval area and within this area are arched brows, slit eyes, long nose, mouth and rounded ears. The top of the mask is decorated with a scalloped border with a circular \u201chat\u2019 on top. The model is wearing a piece of cloth. In the background is another unfinished mask with horns, pointed projections and an animal on top. In the background are mud and thatch houses. [Description from record N.71588.GIJ, PB 21/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767088.GIJ - P.767090.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171166.GIJ\n\nDescription\n\nAn unfinished mask of a Policeman modelled by a man sitting down. The head mask is carved and clearly shows the sections or defined areas of the mask. The face is bordered by an oval area and within this area are arched brows, slit eyes, long nose, mouth and rounded ears. The top of the mask is decorated with a scalloped border with a circular \u201chat\u2019 on top. The model is wearing a piece of cloth. In the background is another unfinished mask with horns, pointed projections and an animal on top. In the background are mud and thatch houses. [Description from record N.71588.GIJ, PB 21/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767088.GIJ - P.767090.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311857\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171166_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144382_P.171166.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171221.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465282", "metadata": {"title": "Untitled", "idno": "P.171221.GIJ", "description": "Two wooden Ikenga figures. The figure on the left is seated on a stool and is holding a staff in one hand and another object in the other. The figure has a stylised human face painted white with black markings accentuating the eyebrows, eyes, nose and mouth, the two horns are curled. The figure is sitting and around the neck are coiled rings, the torso is painted white and black and he is wearing a painted ruffled tunic, there are coils around the ankles. The figure on the right is also seated on a stool. The figure has a painted white face with distinctive markings for eyes, nose and mouth, there are etched markings on the side, and there are two pointed horns painted black and white. The figure is holding a head in one hand and a cutlass in the other (the head and cutlass are also painted white.) There is a gourd attached to the figure with a piece of twine. There are also coiled markings around the ankles. [Description from record P.71456.GIJ, PB 04/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767145.GIJ is mounted together on card.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Two Ikenga Nri-Awka Igbo (8th image).", "raw_text_dump": "IDNO\n\nP.171221.GIJ\n\nDescription\n\nTwo wooden Ikenga figures. The figure on the left is seated on a stool and is holding a staff in one hand and another object in the other. The figure has a stylised human face painted white with black markings accentuating the eyebrows, eyes, nose and mouth, the two horns are curled. The figure is sitting and around the neck are coiled rings, the torso is painted white and black and he is wearing a painted ruffled tunic, there are coils around the ankles. The figure on the right is also seated on a stool. The figure has a painted white face with distinctive markings for eyes, nose and mouth, there are etched markings on the side, and there are two pointed horns painted black and white. The figure is holding a head in one hand and a cutlass in the other (the head and cutlass are also painted white.) There is a gourd attached to the figure with a piece of twine. There are also coiled markings around the ankles. [Description from record P.71456.GIJ, PB 04/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767145.GIJ is mounted together on card.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Two Ikenga Nri-Awka Igbo (8th image).\n\nFM:311912\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171221_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144437_P.171221.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171111.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465172", "metadata": {"title": "Untitled", "idno": "P.171111.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nClose up portrait of a masquerader, Egu Agu, (\u2018Money Finish\u2019) , wearing a helmet mask with a superstructure decorated with cloth and tassels, and brightly coloured harlequin-like costume. Cloth cloak tied around the neck, over woven? or net? cloth which is attached to the mask. Male onlookers to the right. [Description from record N.13257.GIJ, PB 14/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767033.GIJ - P.767038.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\" [PB 13/06/24]\n\nAbout the character Egu Agu (money finish), G.I. Jones writes in the notes: \"A white faced \"Awka\" type of mask with an openwork superstructure of wire or cane covered with coloured wools and wearing a tight fitting costume of cloth covered with appliqued geometric patterns in red, green, blue and other coloured strands of cloth of the typical \"Awka\" Obugulu Mau type. \"Money finish\" indicated the costliness of her maintenance. She had rattles on her ankles and she danced and stamped before the first band, supported by the singing and clapping chorus and led by the piper on his whistle. When she had finished she sat on a chair near by.\" [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171111.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nClose up portrait of a masquerader, Egu Agu, (\u2018Money Finish\u2019) , wearing a helmet mask with a superstructure decorated with cloth and tassels, and brightly coloured harlequin-like costume. Cloth cloak tied around the neck, over woven? or net? cloth which is attached to the mask. Male onlookers to the right. [Description from record N.13257.GIJ, PB 14/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767033.GIJ - P.767038.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\" [PB 13/06/24]\n\nAbout the character Egu Agu (money finish), G.I. Jones writes in the notes: \"A white faced \"Awka\" type of mask with an openwork superstructure of wire or cane covered with coloured wools and wearing a tight fitting costume of cloth covered with appliqued geometric patterns in red, green, blue and other coloured strands of cloth of the typical \"Awka\" Obugulu Mau type. \"Money finish\" indicated the costliness of her maintenance. She had rattles on her ankles and she danced and stamped before the first band, supported by the singing and clapping chorus and led by the piper on his whistle. When she had finished she sat on a chair near by.\" [PB 13/06/24]\n\n\nFM:311802\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171111_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144327_P.171111.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.170258.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464319", "metadata": {"title": "Untitled", "idno": "P.170258.GIJ", "description": "Portrait of an Ekpo mask character, wearing a face mask (representation of a face with ears, nose, protruding cheeks, almond shaped slits for eyes, open mouth with carved white? teeth and whiskers on cheeks), with plant fibres covering his head and torso. Holding up a machete in one hand. The face mask is of highly polished darkened wood. There is vegetaion in the background. [Description from record N.13182.GIJ, PB 03/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene; ?Ikot Abia village", "cultural_affliation": "Ibibio; Otoro", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.\n\nPublication: Image published in Jones G.I. The art of eastern Nigeria. 1984 Cambridge: CUP. Fig 37 p 121, and captioned: \"Ekpo figure: Ekpo masquerade (N.M.). Anang (Ibibio).\" [PB 03/11/2023]", "raw_text_dump": "IDNO\n\nP.170258.GIJ\n\nDescription\n\nPortrait of an Ekpo mask character, wearing a face mask (representation of a face with ears, nose, protruding cheeks, almond shaped slits for eyes, open mouth with carved white? teeth and whiskers on cheeks), with plant fibres covering his head and torso. Holding up a machete in one hand. The face mask is of highly polished darkened wood. There is vegetaion in the background. [Description from record N.13182.GIJ, PB 03/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene; ?Ikot Abia village\n\nCultural Affliation\n\nIbibio; Otoro\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.\n\nPublication: Image published in Jones G.I. The art of eastern Nigeria. 1984 Cambridge: CUP. Fig 37 p 121, and captioned: \"Ekpo figure: Ekpo masquerade (N.M.). Anang (Ibibio).\" [PB 03/11/2023]\n\nFM:310816\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170258_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131680_P.170258.GIJ_001.png"}, {"file_name": "P_170258_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131681_P.170258.GIJ_002.png"}, {"file_name": "P_170258_GIJ_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131682_P.170258.GIJ_003.png"}], "source_id": "maa_cambridge"}
{"id": "N.13293.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306565", "metadata": {"title": "Untitled", "idno": "N.13293.GIJ", "description": "Portrait of two women and a man; all seated with hands on laps. Woman at left has ?uli body decoration patterns around her arms and torso, man wears a shirt, head-gear (woolly hat) and waist cloth, woman at right wears a waist cloth and leg-ornaments (?rings below knees).", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13293.GIJ\n\nDescription\n\nPortrait of two women and a man; all seated with hands on laps. Woman at left has ?uli body decoration patterns around her arms and torso, man wears a shirt, head-gear (woolly hat) and waist cloth, woman at right wears a waist cloth and leg-ornaments (?rings below knees).\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147943\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13293_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000556_N.13293.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171268.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465329", "metadata": {"title": "Untitled", "idno": "P.171268.GIJ", "description": "An object documentation photograph of an ikenga figure. The figure is sitting on a stool. It has a human face, with horns. In its right hand is a club and in its left a human head. [PB 12/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra state; Idemili", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767191.GIJ - P.767192.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171268.GIJ\n\nDescription\n\nAn object documentation photograph of an ikenga figure. The figure is sitting on a stool. It has a human face, with horns. In its right hand is a club and in its left a human head. [PB 12/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra state; Idemili\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767191.GIJ - P.767192.GIJ are mounted together on card.\n\nFM:311959\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171268_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144484_P.171268.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171303.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465364", "metadata": {"title": "Untitled", "idno": "P.171303.GIJ", "description": "A Mau helmet mask. The face of the mask is painted white with darker paint / pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open and outlined in black. On the temple are two circular etched and raised markings (resembling keloids?) and an etched marking in the centre of the forehead. The arched crest is striated with diagonal incisions and there are round white markings adorning the side of the crest and in the centre. The side of the mask consists of swirled, incised designs representing uli and two etched combs are attached to the \u201chair\u201d. [Description from record N.13331.GIJ, PB 30/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767227.GIJ is mounted on card.", "raw_text_dump": "IDNO\n\nP.171303.GIJ\n\nDescription\n\nA Mau helmet mask. The face of the mask is painted white with darker paint / pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open and outlined in black. On the temple are two circular etched and raised markings (resembling keloids?) and an etched marking in the centre of the forehead. The arched crest is striated with diagonal incisions and there are round white markings adorning the side of the crest and in the centre. The side of the mask consists of swirled, incised designs representing uli and two etched combs are attached to the \u201chair\u201d. [Description from record N.13331.GIJ, PB 30/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767227.GIJ is mounted on card.\n\nFM:311994\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171303_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144519_P.171303.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.170122.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464183", "metadata": {"title": "Untitled", "idno": "T.170122.GIJ", "description": "A documentation image of a wooden face mask on display in an exhibition. The mask has a wide mouth and deep-set eye slits. There are two faces carved into the top of the mask under a ridge of rectangular block shapes. There is a a necklace of nutshells on a plaited cord draped around the mask. [PB 26/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170122.GIJ\n\nDescription\n\nA documentation image of a wooden face mask on display in an exhibition. The mask has a wide mouth and deep-set eye slits. There are two faces carved into the top of the mask under a ridge of rectangular block shapes. There is a a necklace of nutshells on a plaited cord draped around the mask. [PB 26/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310650\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170122_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128367_T.170122.GIJ_001.png"}, {"file_name": "T_170122_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128368_T.170122.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169662.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463664", "metadata": {"title": "Untitled", "idno": "P.169662.GIJ", "description": "Masquerade character called \u2018Government\u2019 and attendant. The masquerader is a faceless character with a piece of cloth covering his face, dressed in patterned cloth, wearing a Homburg hat with a feather tucked into the side. \u2018Government\u2019 is holding a piece of paper in his hand, symbolising authority. His \u2018attendant\u2019 is to his side holding a large metal gong. The attendant is wearing a cloth tunic and on his head is a Homburg hat. Placed in front of \u2018government\u2019 is a staff or walking stick that is placed in the ground. In the background are spectators and thatched houses.[Description from record P.71618.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Ibo [historically Igbo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169662.GIJ\n\nDescription\n\nMasquerade character called \u2018Government\u2019 and attendant. The masquerader is a faceless character with a piece of cloth covering his face, dressed in patterned cloth, wearing a Homburg hat with a feather tucked into the side. \u2018Government\u2019 is holding a piece of paper in his hand, symbolising authority. His \u2018attendant\u2019 is to his side holding a large metal gong. The attendant is wearing a cloth tunic and on his head is a Homburg hat. Placed in front of \u2018government\u2019 is a staff or walking stick that is placed in the ground. In the background are spectators and thatched houses.[Description from record P.71618.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\n\n\nFM:310149\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169662_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127430_P.169662.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171194.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465255", "metadata": {"title": "Untitled", "idno": "P.171194.GIJ", "description": "Ogbugulu mau masquerade. A close up view of the masquerader wearing a white and black painted 'daughter Mau' face mask adorned with an elaborate superstructure. The top of the mask consists of pieces of cloth, ribbon, felt, tassels, carvings, and mirrors. The carving on the top is wearing a white pith helmet and European clothing. The costume is harlequin-like appliqued material. [Description from record P.71529.GIJ, PB 02/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767117.GIJ - P.767120.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171194.GIJ\n\nDescription\n\nOgbugulu mau masquerade. A close up view of the masquerader wearing a white and black painted 'daughter Mau' face mask adorned with an elaborate superstructure. The top of the mask consists of pieces of cloth, ribbon, felt, tassels, carvings, and mirrors. The carving on the top is wearing a white pith helmet and European clothing. The costume is harlequin-like appliqued material. [Description from record P.71529.GIJ, PB 02/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767117.GIJ - P.767120.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311885\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171194_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144410_P.171194.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.170213.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464274", "metadata": {"title": "Untitled", "idno": "P.170213.GIJ", "description": "A carved wooden food bowl consisting of a rectangular base with cut out designs and two round food bowls. A young boy is sitting next to the bowl. He is wearing a printed wrapper and he is leaning against the wall of a house with a wooden door. [Description from record P.71894.GIJ, PB 20/10/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.758001.GIJ - P.758022.GIJ were located together in a green \"Guildhall\" folder, now numbered C758/.", "raw_text_dump": "IDNO\n\nP.170213.GIJ\n\nDescription\n\nA carved wooden food bowl consisting of a rectangular base with cut out designs and two round food bowls. A young boy is sitting next to the bowl. He is wearing a printed wrapper and he is leaning against the wall of a house with a wooden door. [Description from record P.71894.GIJ, PB 20/10/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.758001.GIJ - P.758022.GIJ were located together in a green \"Guildhall\" folder, now numbered C758/.\n\nFM:310768\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170213_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131526_P.170213.GIJ_001.png"}, {"file_name": "P_170213_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131527_P.170213.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "T.170123.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464184", "metadata": {"title": "Untitled", "idno": "T.170123.GIJ", "description": "Two ekpu (ancestor) figures, representing the deceased head of a family lineage. [PB 29/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibibio [historically Anang]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170123.GIJ\n\nDescription\n\nTwo ekpu (ancestor) figures, representing the deceased head of a family lineage. [PB 29/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbibio [historically Anang]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310651\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170123_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128369_T.170123.GIJ_001.png"}, {"file_name": "T_170123_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128370_T.170123.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171272.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465333", "metadata": {"title": "Untitled", "idno": "P.171272.GIJ", "description": "A documentation photograph of a wooden ikenga figure. The figure is sitting on a stool, holding in right hand a matchet and in the left a human face. The figure's head has six inward curving curled horns. [PB 16/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767196.GIJ - P.767198.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171272.GIJ\n\nDescription\n\nA documentation photograph of a wooden ikenga figure. The figure is sitting on a stool, holding in right hand a matchet and in the left a human face. The figure's head has six inward curving curled horns. [PB 16/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767196.GIJ - P.767198.GIJ are mounted together on card.\n\nFM:311963\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171272_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144488_P.171272.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171572.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465633", "metadata": {"title": "Untitled", "idno": "P.171572.GIJ", "description": "A documentation photograph of three face masks. The masks on the left and right are wide oval shaped, with shallow features, including rectangular eyeholes and mouths. The mask on the left has a crest shaped like a palm tree, the mask on the right a crest shaped like a tall stool. The mask in the centre is narrow, with hair, nose and features highlighted in dark pigment on a white background. The crest is the head of a woman, also with a white face and features highlighted in dark pigment. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171572.GIJ and P.171573.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171572.GIJ\n\nDescription\n\nA documentation photograph of three face masks. The masks on the left and right are wide oval shaped, with shallow features, including rectangular eyeholes and mouths. The mask on the left has a crest shaped like a palm tree, the mask on the right a crest shaped like a tall stool. The mask in the centre is narrow, with hair, nose and features highlighted in dark pigment on a white background. The crest is the head of a woman, also with a white face and features highlighted in dark pigment. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171572.GIJ and P.171573.GIJ are mounted on card.\n\nFM:312292\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171572_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144839_P.171572.GIJ_001.jpg"}, {"file_name": "P_171572_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144840_P.171572.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171547.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465608", "metadata": {"title": "Untitled", "idno": "P.171547.GIJ", "description": "A documentation photograph of two wooden face masks for the Owu masquerade. Both are white-painted female masks, with round eye holes and open mouths with bared teeth. The mask on the left has a ridged coiffure painted black with a single horn. The mask on the right has a coiffure of bunches and several horns. [PB 22/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Omoku", "cultural_affliation": "Igbo [historically Ibo]; Oba", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171547.GIJ to P.171549.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171547.GIJ\n\nDescription\n\nA documentation photograph of two wooden face masks for the Owu masquerade. Both are white-painted female masks, with round eye holes and open mouths with bared teeth. The mask on the left has a ridged coiffure painted black with a single horn. The mask on the right has a coiffure of bunches and several horns. [PB 22/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Omoku\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oba\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171547.GIJ to P.171549.GIJ are mounted on card.\n\nFM:312267\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171547_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144788_P.171547.GIJ_001.jpg"}, {"file_name": "P_171547_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144789_P.171547.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169802.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463811", "metadata": {"title": "Untitled", "idno": "P.169802.GIJ", "description": "A youth performing a somersault. He is in mid air with hid head pointing downwards and his knees bent with the soles of his feet facing the camera. There are shadows of onlookers in the sand in the foreground. In the background to the left is a large tree trunk and a line of trees and bushes, with several children to the right. [PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169791.GIJ - P.169803.GIJ were located in an brown envelope now numbered C754/8/.", "raw_text_dump": "IDNO\n\nP.169802.GIJ\n\nDescription\n\nA youth performing a somersault. He is in mid air with hid head pointing downwards and his knees bent with the soles of his feet facing the camera. There are shadows of onlookers in the sand in the foreground. In the background to the left is a large tree trunk and a line of trees and bushes, with several children to the right. [PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169791.GIJ - P.169803.GIJ were located in an brown envelope now numbered C754/8/.\n\nFM:310289\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169802_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127697_P.169802.GIJ_001.png"}, {"file_name": "P_169802_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127698_P.169802.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.71878.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365149", "metadata": {"title": "Untitled", "idno": "P.71878.GIJ", "description": "The interior of an Obu House with the close up view of a group of wooden figures and a central pillar. The figure on the left has an abstract black face, with a decorated rounded plate behind and with raffia around the neck, the second figure is tall with humanised facial features, a black crest on the top of the head, an elongated torso wearing a striped cloth wrapper; the third figure is standing upright and his head consists of a rounded face with facial features accentuated with large arched eyebrows, white painted eyes, nose, white lips and three square geometric designs on the side of the face. The torso is rounded in the shoulders with an elongated upper torso decorated with a white line running down the centre, around the waist is a striped cloth wrapper. The figure at the bottom of the pillar shows a full figure with a rounded face with a distinctive hairline and squarish carved incised object on the top of the head. The upper torso is decorated with a dark paint in a triangular pattern adorning the centre of the chest, a striped wrapper around the waist. The figure on the upper half of the pillar is painted white, wearing a pattered cloth and holding a machete in one hand. The figure is standing on a round incised base. Attached to the side of the pillar are pieces of twine and the pillar is decorated in semicircle designs. A partial view of a man is in the far right of the photograph.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71872.GIJ to P.71878.GIJ were found wrapped in paper, now numbered C298/6/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. figures in Obu Abiriba. (1st image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]", "raw_text_dump": "IDNO\n\nP.71878.GIJ\n\nDescription\n\nThe interior of an Obu House with the close up view of a group of wooden figures and a central pillar. The figure on the left has an abstract black face, with a decorated rounded plate behind and with raffia around the neck, the second figure is tall with humanised facial features, a black crest on the top of the head, an elongated torso wearing a striped cloth wrapper; the third figure is standing upright and his head consists of a rounded face with facial features accentuated with large arched eyebrows, white painted eyes, nose, white lips and three square geometric designs on the side of the face. The torso is rounded in the shoulders with an elongated upper torso decorated with a white line running down the centre, around the waist is a striped cloth wrapper. The figure at the bottom of the pillar shows a full figure with a rounded face with a distinctive hairline and squarish carved incised object on the top of the head. The upper torso is decorated with a dark paint in a triangular pattern adorning the centre of the chest, a striped wrapper around the waist. The figure on the upper half of the pillar is painted white, wearing a pattered cloth and holding a machete in one hand. The figure is standing on a round incised base. Attached to the side of the pillar are pieces of twine and the pillar is decorated in semicircle designs. A partial view of a man is in the far right of the photograph.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71872.GIJ to P.71878.GIJ were found wrapped in paper, now numbered C298/6/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. figures in Obu Abiriba. (1st image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\n\nFM:206528\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_71878_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656969_N.71879.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169637.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463615", "metadata": {"title": "Untitled", "idno": "P.169637.GIJ", "description": "A masquerader in an Ikem Play sitting on a chair. The mask consists of a naturalistic female face that depicts inset eyes, arched black eyebrows, nose, open painted mouth and ears. The hairstyle is an elaborate coiffure painted black and consisting of three elongated braids that project upward and outward in bold curves from the top of the head. The face is varnished. Around the upper body is square shaped form that is covered in a light cloth. The masquerader is wearing trousers and several pieces of plaid cloth around the waist and seed anklets. He is holding a decorated stick in one hand. Next to him is an attendant dressed in a white shirt, scarf and plaid wrapper. In the background are spectators and thatch and mud buildings. [Description from record N.71335.GIJ, PB 20/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Umuahia", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ibibio, Ijo and Ogoni\n2. Ibibio\n3. Ikem Masquerade (7th image).\n\nContext: Jones writes about the Cross River Style and the Modern Anang (Ibibio) style . He notes, \u201cThe Cross River masquerade called Ikem spread from Old Calabar to the Ibibio country in the early decades of the twentieth century and Anang carvers were producing by the 1930s, if not well before this, skin-covered heads in this style equal to the best that had been made in Ejagham country and in Old Calabar. There were certain minor differences that distinguished these Anang heads, the most obvious being their drooping upper eyelids. The Ikem masquerade and heads in this modified Cross River diffused into the Umuahia area and as far north as Ozu Item. But the Ikem masquerade seems to have inspired the Akang to produce similar masquerades and their own variant of these heads in what was locally held to be a completely naturalistic style. The hair, eyes and lips were painted in natural colours and in place of the covering of skin the face and neck were painted with clear varnish(as in the photograph). The associated masquerade, which received different names in different areas, was spread widely to their Ibibio and Ibo neighbours. During the colonial period there was an increasing demand for Anang sculpture but primarily for masks, heads and figures in this modern naturalistic style. For it was a very successful compromise between the Traditional Anang (Ibibio) and the \u2018traditional European\u2019 style, meaning by the latter term Victorian naturalism and the classical Greek sculpture which inspired it. Europeans bought this sculpture because it looked sufficiently African but not too African. Nigerians bought it because it looked sufficiently modern and European. In response to this demand Anang carvers developed a minor local industry in the Ikot Ekpene district mass-producing inferior masks, heads, and dolls. The inferiority was due primarily for the buyers\u2019 reluctance to pay for something better (Jones, 1984, pp. 184-185).\u201d\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 16/1/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nP.169637.GIJ\n\nDescription\n\nA masquerader in an Ikem Play sitting on a chair. The mask consists of a naturalistic female face that depicts inset eyes, arched black eyebrows, nose, open painted mouth and ears. The hairstyle is an elaborate coiffure painted black and consisting of three elongated braids that project upward and outward in bold curves from the top of the head. The face is varnished. Around the upper body is square shaped form that is covered in a light cloth. The masquerader is wearing trousers and several pieces of plaid cloth around the waist and seed anklets. He is holding a decorated stick in one hand. Next to him is an attendant dressed in a white shirt, scarf and plaid wrapper. In the background are spectators and thatch and mud buildings. [Description from record N.71335.GIJ, PB 20/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Umuahia\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ibibio, Ijo and Ogoni\n2. Ibibio\n3. Ikem Masquerade (7th image).\n\nContext: Jones writes about the Cross River Style and the Modern Anang (Ibibio) style . He notes, \u201cThe Cross River masquerade called Ikem spread from Old Calabar to the Ibibio country in the early decades of the twentieth century and Anang carvers were producing by the 1930s, if not well before this, skin-covered heads in this style equal to the best that had been made in Ejagham country and in Old Calabar. There were certain minor differences that distinguished these Anang heads, the most obvious being their drooping upper eyelids. The Ikem masquerade and heads in this modified Cross River diffused into the Umuahia area and as far north as Ozu Item. But the Ikem masquerade seems to have inspired the Akang to produce similar masquerades and their own variant of these heads in what was locally held to be a completely naturalistic style. The hair, eyes and lips were painted in natural colours and in place of the covering of skin the face and neck were painted with clear varnish(as in the photograph). The associated masquerade, which received different names in different areas, was spread widely to their Ibibio and Ibo neighbours. During the colonial period there was an increasing demand for Anang sculpture but primarily for masks, heads and figures in this modern naturalistic style. For it was a very successful compromise between the Traditional Anang (Ibibio) and the \u2018traditional European\u2019 style, meaning by the latter term Victorian naturalism and the classical Greek sculpture which inspired it. Europeans bought this sculpture because it looked sufficiently African but not too African. Nigerians bought it because it looked sufficiently modern and European. In response to this demand Anang carvers developed a minor local industry in the Ikot Ekpene district mass-producing inferior masks, heads, and dolls. The inferiority was due primarily for the buyers\u2019 reluctance to pay for something better (Jones, 1984, pp. 184-185).\u201d\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 16/1/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:310124\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169637_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127346_P.169637.GIJ_001.png"}, {"file_name": "P_169637_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127347_P.169637.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171520.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465581", "metadata": {"title": "Untitled", "idno": "P.171520.GIJ", "description": "A documentation photograph of two figures carved in dark wood of the same height and style.\n\nThe figure on the left is male. It has thick legs, short arms by the side of the body, with bent elbows, a ridge collar with a necklet of four drops. The face is carved onto the thick neck, with defined facial features, including a straight closed mouth, almond-shaped eyes and ears jutting outwards. The figure has a round cap on top of the head.\n\nThe figure on the right is female. It has thick legs, short arms by the side of the body, with bent elbows, a ridged collar with a necklet of two drops. The neck has a horizontal raised bar just above the collar. The face is carved onto the thick neck, with defined facial features, including a straight closed mouth, almond-shaped eyes and ears jutting outwards. The figure has a conical cap on top of the head. [PB 04/10/24]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1987", "collection_name": "Jones Collection", "source": "", "format": "Print Colour Mounted", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171511.GIJ - P.171522.GIJ were located in a brown folder, now numbered C768/6.", "raw_text_dump": "IDNO\n\nP.171520.GIJ\n\nDescription\n\nA documentation photograph of two figures carved in dark wood of the same height and style.\n\nThe figure on the left is male. It has thick legs, short arms by the side of the body, with bent elbows, a ridge collar with a necklet of four drops. The face is carved onto the thick neck, with defined facial features, including a straight closed mouth, almond-shaped eyes and ears jutting outwards. The figure has a round cap on top of the head.\n\nThe figure on the right is female. It has thick legs, short arms by the side of the body, with bent elbows, a ridged collar with a necklet of two drops. The neck has a horizontal raised bar just above the collar. The face is carved onto the thick neck, with defined facial features, including a straight closed mouth, almond-shaped eyes and ears jutting outwards. The figure has a conical cap on top of the head. [PB 04/10/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1987\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Colour Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171511.GIJ - P.171522.GIJ were located in a brown folder, now numbered C768/6.\n\n\nFM:312221\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171520_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144737_P.171520.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71425.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364696", "metadata": {"title": "Untitled", "idno": "N.71425.GIJ", "description": "A carved wooden Alose figure. The figure is standing; the face of the figure is humanised and the top of the head is a curved crest with striations, defined brow lines, slit eyes, pointed nose, and mouth with scarification marks in a crescent design near the ears. The neck of the figure is thick and elongated, the torso is elaborately decorated with raised scarification marks in the centre of the chest and on the side of the abdomen. The arms are bent and slightly away from the body, the knees are slightly bent. There is a leather necklace around the figure and pieces of cloth at the bottom of its feet. In the background is a mud wall of a house and three people. One woman is pregnant and wearing a printed wrapper around her waist. Behind the figure are pots and calabashes.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "P.71400.GIJ to P.71498.GIJ were kept in box 5, now numbered C302/.\nP.71424 to P.71438 were found wrapped in paper, now numbered C302/6/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Alusi or Arunsi (shrines)\n3. One of a group of Alusi figures Nri-Awka Igbo (18th image).\n\nContext: In relation to the Alusi figures, Cole and Aniakor write that, \u201cthe dead are conceived as part of the everyday world, and just as clearly, their presence can hold a positive or negative valence for the living; exactly the same is true of the tutelary deities, alusi. These forces, however, are neither personal (chi or ancestors) nor universal (Chineke, Chukwu). Rather, they are in part specific, usually tangible phenomena such as: Earth, the Niger or Imo river, Eke, Afo, Orie/Oye, or Nkwo market, an extraordinary tree, a binding oath at a particular shrine, or the canyon of erosion in Agulu. The preeminence of Ala/Ani does not eclipse the vitality of these other deities, especially those associated with water, or of Amadioha, god of thunder and lightening and, by extension, rain. These anthropomorphic male and female deities have priests and often elaborate cult apparatus, symbolic works of art, and finely decorated compounds. Each has general and specific powers, and although their priesthoods may be held by certain lineages, the more commanding of these cults have constituencies cutting across lines of kinship and stressing communal worship. Such tutelary deities are close to people, fast-acting (for good or ill), and often capricious, thus requiring frequent attention and sacrifice. ...(Cole and Aniakor, 1984, p.16).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1984, p.54)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]", "raw_text_dump": "IDNO\n\nN.71425.GIJ\n\nDescription\n\nA carved wooden Alose figure. The figure is standing; the face of the figure is humanised and the top of the head is a curved crest with striations, defined brow lines, slit eyes, pointed nose, and mouth with scarification marks in a crescent design near the ears. The neck of the figure is thick and elongated, the torso is elaborately decorated with raised scarification marks in the centre of the chest and on the side of the abdomen. The arms are bent and slightly away from the body, the knees are slightly bent. There is a leather necklace around the figure and pieces of cloth at the bottom of its feet. In the background is a mud wall of a house and three people. One woman is pregnant and wearing a printed wrapper around her waist. Behind the figure are pots and calabashes.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71400.GIJ to P.71498.GIJ were kept in box 5, now numbered C302/.\nP.71424 to P.71438 were found wrapped in paper, now numbered C302/6/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Alusi or Arunsi (shrines)\n3. One of a group of Alusi figures Nri-Awka Igbo (18th image).\n\nContext: In relation to the Alusi figures, Cole and Aniakor write that, \u201cthe dead are conceived as part of the everyday world, and just as clearly, their presence can hold a positive or negative valence for the living; exactly the same is true of the tutelary deities, alusi. These forces, however, are neither personal (chi or ancestors) nor universal (Chineke, Chukwu). Rather, they are in part specific, usually tangible phenomena such as: Earth, the Niger or Imo river, Eke, Afo, Orie/Oye, or Nkwo market, an extraordinary tree, a binding oath at a particular shrine, or the canyon of erosion in Agulu. The preeminence of Ala/Ani does not eclipse the vitality of these other deities, especially those associated with water, or of Amadioha, god of thunder and lightening and, by extension, rain. These anthropomorphic male and female deities have priests and often elaborate cult apparatus, symbolic works of art, and finely decorated compounds. Each has general and specific powers, and although their priesthoods may be held by certain lineages, the more commanding of these cults have constituencies cutting across lines of kinship and stressing communal worship. Such tutelary deities are close to people, fast-acting (for good or ill), and often capricious, thus requiring frequent attention and sacrifice. ...(Cole and Aniakor, 1984, p.16).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1984, p.54)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]\n\n\nFM:206075\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71425_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656577_N.71425.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "T.170050.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464072", "metadata": {"title": "Untitled", "idno": "T.170050.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two figures; the one on the left is wearing a printed tunic and hlding something in his hand; the figure on the right is a policeman and is holding a rifle. A geometric border is underneath the two figures and at the right side is a swirled snake-like design on the wall Igbo [historically Ibo][Description from record N.13210.GIJ, PB 14/09/2023]N.13210.GIJ", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village", "cultural_affliation": "", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170050.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two figures; the one on the left is wearing a printed tunic and hlding something in his hand; the figure on the right is a policeman and is holding a rifle. A geometric border is underneath the two figures and at the right side is a swirled snake-like design on the wall Igbo [historically Ibo][Description from record N.13210.GIJ, PB 14/09/2023]N.13210.GIJ\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310578\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170050_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128146_T.170050.GIJ_001.png"}, {"file_name": "T_170050_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128148_T.170050.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.71964.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365235", "metadata": {"title": "Untitled", "idno": "P.71964.GIJ", "description": "Nbanga Ikoro band consisting of a group of small boys sitting on the ground wearing masks on top of their heads; they are playing gongs and clappers.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71946.GIJ to P.71968.GIJ were found wrapped in paper, now numbered C298/9/.\n\nPublication: Same image published in Jones, 1984, p.63. Fig. 13 with the caption, Nbanga Ikoro band.\n\nPublication: Same image published in Jones, 1988, p.60, Fig. 52 with the caption, Ngbangba Ikoro masquerade. Abiriba twon, Cross River Ibo. Masked band.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Small boys chorus Ngbagba Ikoro, Abiriba. (2nd image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nP.71964.GIJ\n\nDescription\n\nNbanga Ikoro band consisting of a group of small boys sitting on the ground wearing masks on top of their heads; they are playing gongs and clappers.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71946.GIJ to P.71968.GIJ were found wrapped in paper, now numbered C298/9/.\n\nPublication: Same image published in Jones, 1984, p.63. Fig. 13 with the caption, Nbanga Ikoro band.\n\nPublication: Same image published in Jones, 1988, p.60, Fig. 52 with the caption, Ngbangba Ikoro masquerade. Abiriba twon, Cross River Ibo. Masked band.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Small boys chorus Ngbagba Ikoro, Abiriba. (2nd image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nFM:206614\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_71964_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657067_N.71965.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "T.170059.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464090", "metadata": {"title": "Untitled", "idno": "T.170059.GIJ", "description": "A close up portrait in side profile of Onye Ocha or Oybio (white man) masquerade character. The mask consists of a white face with black arched brows, slits for eyes, long nose and mouth with a black moustache. On the top is a white sun helmet with a black brim. The costume consists of a white drill jacket and trousers; the character is posed with one hand on his hip and the other is holding a walking stick. On his feet are white shoes/slippers and his hands are covered in white mittens/gloves. In the background are spectators and trees.[Description from record P.71603.GIJ, PB 14/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; ?Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170059.GIJ\n\nDescription\n\nA close up portrait in side profile of Onye Ocha or Oybio (white man) masquerade character. The mask consists of a white face with black arched brows, slits for eyes, long nose and mouth with a black moustache. On the top is a white sun helmet with a black brim. The costume consists of a white drill jacket and trousers; the character is posed with one hand on his hip and the other is holding a walking stick. On his feet are white shoes/slippers and his hands are covered in white mittens/gloves. In the background are spectators and trees.[Description from record P.71603.GIJ, PB 14/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; ?Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310587\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170059_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128181_T.170059.GIJ_001.png"}, {"file_name": "T_170059_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128184_T.170059.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "T.170059.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464091", "metadata": {"title": "Untitled", "idno": "T.170059.GIJ", "description": "A close up portrait in side profile of Onye Ocha or Oybio (white man) masquerade character. The mask consists of a white face with black arched brows, slits for eyes, long nose and mouth with a black moustache. On the top is a white sun helmet with a black brim. The costume consists of a white drill jacket and trousers; the character is posed with one hand on his hip and the other is holding a walking stick. On his feet are white shoes/slippers and his hands are covered in white mittens/gloves. In the background are spectators and trees.[Description from record P.71603.GIJ, PB 14/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; ?Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170059.GIJ\n\nDescription\n\nA close up portrait in side profile of Onye Ocha or Oybio (white man) masquerade character. The mask consists of a white face with black arched brows, slits for eyes, long nose and mouth with a black moustache. On the top is a white sun helmet with a black brim. The costume consists of a white drill jacket and trousers; the character is posed with one hand on his hip and the other is holding a walking stick. On his feet are white shoes/slippers and his hands are covered in white mittens/gloves. In the background are spectators and trees.[Description from record P.71603.GIJ, PB 14/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; ?Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310587\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170059_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128182_T.170059.GIJ_001.png"}, {"file_name": "T_170059_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128183_T.170059.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171257.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465318", "metadata": {"title": "Untitled", "idno": "P.171257.GIJ", "description": "Young men standing behind two seated masqueraders. Only the tops of the masqueraders heads are in the image (? they have their backs to the camera). The heads are covered in striped material, on top of which is braided cotton strands adorned with cowrie shells, encircling an elaborate carved horizontal crest, comprising various shapes and pegs, painted with geometric patterns. [PB 12/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra state; Nnewi", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767180.GIJ - P.767181.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171257.GIJ\n\nDescription\n\nYoung men standing behind two seated masqueraders. Only the tops of the masqueraders heads are in the image (? they have their backs to the camera). The heads are covered in striped material, on top of which is braided cotton strands adorned with cowrie shells, encircling an elaborate carved horizontal crest, comprising various shapes and pegs, painted with geometric patterns. [PB 12/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra state; Nnewi\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767180.GIJ - P.767181.GIJ are mounted together on card.\n\nFM:311948\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171257_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144473_P.171257.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169848.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463859", "metadata": {"title": "Untitled", "idno": "P.169848.GIJ", "description": "Close up from rear view of masquerader's mask. The masquerade character is called Oki. The Oki mask is placed on top of the wearer\u2019s head and consists of a large horizontal wooden structure with coloured fringe around the base of the mask and in the centre of the mask are carved, painted designs and three large pointed fins. The masquerader is wearing different pieces of coloured cloth with long strands of palm fronds around the neck. There are attendants who are wearing printed wrappers around the waist and some are holding metal staffs and sticks. [PB 05/01/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross Rivers", "cultural_affliation": "Igbo {Ibo]; South Ikwerri", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169848.GIJ\n\nDescription\n\nClose up from rear view of masquerader's mask. The masquerade character is called Oki. The Oki mask is placed on top of the wearer\u2019s head and consists of a large horizontal wooden structure with coloured fringe around the base of the mask and in the centre of the mask are carved, painted designs and three large pointed fins. The masquerader is wearing different pieces of coloured cloth with long strands of palm fronds around the neck. There are attendants who are wearing printed wrappers around the waist and some are holding metal staffs and sticks. [PB 05/01/2023]\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross Rivers\n\nCultural Affliation\n\nIgbo {Ibo]; South Ikwerri\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310335\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169848_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127785_P.169848.GIJ_001.png"}, {"file_name": "P_169848_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127787_P.169848.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171270.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465331", "metadata": {"title": "Untitled", "idno": "P.171270.GIJ", "description": "An object documentation photograph of two carved wooden staffs. The staff on the left has a short handle with a head composed of a human face with upstretched arms holding a horizontal bar supporting three bowls. The finial at the bottom of the staff is ring-shaped. The staff on the right is a sword with an ornate carved handle and upper blade. Both staffs are resting on an animal skin blanket. [PB 15/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767193.GIJ - P.767195.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171270.GIJ\n\nDescription\n\nAn object documentation photograph of two carved wooden staffs. The staff on the left has a short handle with a head composed of a human face with upstretched arms holding a horizontal bar supporting three bowls. The finial at the bottom of the staff is ring-shaped. The staff on the right is a sword with an ornate carved handle and upper blade. Both staffs are resting on an animal skin blanket. [PB 15/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767193.GIJ - P.767195.GIJ are mounted together on card.\n\nFM:311961\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171270_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144486_P.171270.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169759.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463768", "metadata": {"title": "Untitled", "idno": "P.169759.GIJ", "description": "Half-length portrait of a man in front of a wall. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169759.GIJ\n\nDescription\n\nHalf-length portrait of a man in front of a wall. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310246\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169759_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127612_P.169759.GIJ_001.png"}, {"file_name": "P_169759_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127613_P.169759.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171131.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465192", "metadata": {"title": "Untitled", "idno": "P.171131.GIJ", "description": "A close up view of a Mau helmet mask. The face of the mask is painted white with darker paint / pigments to accentuate the etched and raised eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with painted white teeth. There are painted and incised designs on the forehead, around the eyes, and three circular etched markings on the temples (raised markings representative of keloids). The top of the mask consists of swirled, incised designs representing uli with horns jutting out and a carved animal. [Description from record N.13330.GIJ, PB 18/06/2024]", "place": "W Africa; Nigeria; Southeastern Nigeria; South Eastern Nigeria; Niger River area", "cultural_affliation": "Nri-Awka Igbo; Northern Igbo; Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767053.GIJ - P.767055.GIJ are mounted together on card.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171131.GIJ\n\nDescription\n\nA close up view of a Mau helmet mask. The face of the mask is painted white with darker paint / pigments to accentuate the etched and raised eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with painted white teeth. There are painted and incised designs on the forehead, around the eyes, and three circular etched markings on the temples (raised markings representative of keloids). The top of the mask consists of swirled, incised designs representing uli with horns jutting out and a carved animal. [Description from record N.13330.GIJ, PB 18/06/2024]\n\nPlace\n\nW Africa; Nigeria; Southeastern Nigeria; South Eastern Nigeria; Niger River area\n\nCultural Affliation\n\nNri-Awka Igbo; Northern Igbo; Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767053.GIJ - P.767055.GIJ are mounted together on card.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311822\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171131_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144347_P.171131.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171144.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465205", "metadata": {"title": "Untitled", "idno": "P.171144.GIJ", "description": "Ogbugulu Mau Mask Series. Documentary photograph of the side view of an Ogbugulu Mau helmet mask. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with painted teeth. There are painted designs above and beneath the eyes and on the cheek. The top of the mask consists of a dark arched crest with painted circles and striated markings with swirled incised designs representing uli on the sides of the crest. Strips of a felt bands are stitched to the mask attached with pieces of fabric and netted cloth.\nThe mask is supported on a shooting stick? for the photogrpah. [Description from record N.13320.GIJ, PB 20/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka", "cultural_affliation": "Igbo [historically Ibo; Nri-Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767068.GIJ is mounted on card.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171144.GIJ\n\nDescription\n\nOgbugulu Mau Mask Series. Documentary photograph of the side view of an Ogbugulu Mau helmet mask. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with painted teeth. There are painted designs above and beneath the eyes and on the cheek. The top of the mask consists of a dark arched crest with painted circles and striated markings with swirled incised designs representing uli on the sides of the crest. Strips of a felt bands are stitched to the mask attached with pieces of fabric and netted cloth.\nThe mask is supported on a shooting stick? for the photogrpah. [Description from record N.13320.GIJ, PB 20/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka\n\nCultural Affliation\n\nIgbo [historically Ibo; Nri-Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767068.GIJ is mounted on card.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311835\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171144_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144360_P.171144.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169657.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463654", "metadata": {"title": "Untitled", "idno": "P.169657.GIJ", "description": "Mau (Ghost) masquerade.\n\nAwo Ohia (Traveller or he who travels through the bush) wearing a striped, netted costume covering the body and head, the netting on the head is black, holding a stick. A rattle is attached to the waist, probably made of seed? or shell?, partially obscured by raffia. In the background are mud and thatched huts, trees and vegetation. [Description from record N.61409.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nAssociated images: N.13239.GIJ; N.13240.GIJ; N.13241.GIJ; N.13242.GIJ; N.13243.GIJ; N.13244.GIJ; N.13245.GIJ; N.13247.GIJ; N.13248.GIJ; N.13249.GIJ; N.13250GIJ; N.13251.GIJ; N.13252.GIJ; N.13253.GIJ; N.13254.GIJ; N.13255.GIJ; N.13256.GIJ; N.13257.GIJ [all images depicting the Obugulu Mau masquerade in Amuda village] [Same scene]", "raw_text_dump": "IDNO\n\nP.169657.GIJ\n\nDescription\n\nMau (Ghost) masquerade.\n\nAwo Ohia (Traveller or he who travels through the bush) wearing a striped, netted costume covering the body and head, the netting on the head is black, holding a stick. A rattle is attached to the waist, probably made of seed? or shell?, partially obscured by raffia. In the background are mud and thatched huts, trees and vegetation. [Description from record N.61409.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nAssociated images: N.13239.GIJ; N.13240.GIJ; N.13241.GIJ; N.13242.GIJ; N.13243.GIJ; N.13244.GIJ; N.13245.GIJ; N.13247.GIJ; N.13248.GIJ; N.13249.GIJ; N.13250GIJ; N.13251.GIJ; N.13252.GIJ; N.13253.GIJ; N.13254.GIJ; N.13255.GIJ; N.13256.GIJ; N.13257.GIJ [all images depicting the Obugulu Mau masquerade in Amuda village] [Same scene]\n\nFM:310144\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169657_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127413_P.169657.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.71648.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364919", "metadata": {"title": "Untitled", "idno": "N.71648.GIJ", "description": "An Alose or t spirit wooden figure standing on the ground. The face of the figure is rounded with incised decorative striation markings along the high forehead, on top of the head is a rounded hat? The torso is painted and is decorated in white and incised markings on the chest, a necklace adorns the neck, a protruding imbilicus, defined knees and round markings around the ankles. The arms are bent and slightly outstretched but the hands appear to be damaged. Behind the figure is a carved wooden circular stool with a round wooden base. In the background are trees, raffia and shrubms.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Orsa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "P.71646.GIJ to P.71650.GIJ were wrapped in paper, now numbered C301/15/ and were presumed to come from box 4 now numbered C301/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Alusi or Arunsi (shrines)\n3. Alusi Orsu, West Isuama Igbo (16th image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d(Jones, 1989, p. 37).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1989, p.54)\n\nContext: In relation to the Alusi figures, Cole and Aniakor write that, \u201cthe dead are conceived as part of the everyday world, and just as clearly, their presence can hold a positive or negative valence for the living; exactly the same is true of the tutelary deities, alusi. These forces, however, are neither personal (chi or ancestors) nor universal (Chineke, Chukwu). Rather, they are in part specific, usually tangible phenomena such as: Earth, the Niger or Imo river, Eke, Afo, Orie/Oye, or Nkwo market, an extraordinary tree, a binding oath at a particular shrine, or the canyon of erosion in Agulu. The preeminence of Ala/Ani does not eclipse the vitality of these other deities, especially those associated with water, or of Amadioha, god of thunder and lightening and, by extension, rain. These anthropomorphic male and female deities have priests and often elaborate cult apparatus, symbolic works of art, and finely decorated compounds. Each has general and specific powers, and although their priesthoods may be held by certain lineages, the more commanding of these cults have constituencies cutting across lines of kinship and stressing communal worship. Such tutelary deities are close to people, fast-acting (for good or ill), and often capricious, thus requiring frequent attention and sacrifice. ...(Cole and Aniakor, 1984, p.16).\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989, Ibo Art (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/11/2007]", "raw_text_dump": "IDNO\n\nN.71648.GIJ\n\nDescription\n\nAn Alose or t spirit wooden figure standing on the ground. The face of the figure is rounded with incised decorative striation markings along the high forehead, on top of the head is a rounded hat? The torso is painted and is decorated in white and incised markings on the chest, a necklace adorns the neck, a protruding imbilicus, defined knees and round markings around the ankles. The arms are bent and slightly outstretched but the hands appear to be damaged. Behind the figure is a carved wooden circular stool with a round wooden base. In the background are trees, raffia and shrubms.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Orsa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71646.GIJ to P.71650.GIJ were wrapped in paper, now numbered C301/15/ and were presumed to come from box 4 now numbered C301/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Alusi or Arunsi (shrines)\n3. Alusi Orsu, West Isuama Igbo (16th image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d(Jones, 1989, p. 37).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1989, p.54)\n\nContext: In relation to the Alusi figures, Cole and Aniakor write that, \u201cthe dead are conceived as part of the everyday world, and just as clearly, their presence can hold a positive or negative valence for the living; exactly the same is true of the tutelary deities, alusi. These forces, however, are neither personal (chi or ancestors) nor universal (Chineke, Chukwu). Rather, they are in part specific, usually tangible phenomena such as: Earth, the Niger or Imo river, Eke, Afo, Orie/Oye, or Nkwo market, an extraordinary tree, a binding oath at a particular shrine, or the canyon of erosion in Agulu. The preeminence of Ala/Ani does not eclipse the vitality of these other deities, especially those associated with water, or of Amadioha, god of thunder and lightening and, by extension, rain. These anthropomorphic male and female deities have priests and often elaborate cult apparatus, symbolic works of art, and finely decorated compounds. Each has general and specific powers, and although their priesthoods may be held by certain lineages, the more commanding of these cults have constituencies cutting across lines of kinship and stressing communal worship. Such tutelary deities are close to people, fast-acting (for good or ill), and often capricious, thus requiring frequent attention and sacrifice. ...(Cole and Aniakor, 1984, p.16).\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989, Ibo Art (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/11/2007]\n\nFM:206298\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71648_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656752_N.71648.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171141.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465202", "metadata": {"title": "Untitled", "idno": "P.171141.GIJ", "description": "A side view of a Mau helmet mask. The face of the mask is painted white with darker paint / pigments to accentuate the etched eyebrows, eyes, mouth. The eyes are small slits and the mouth is open and painted black with white teeth. On the temple is a circular etched and raised marking (resembling a keloid) and etched markings in the centre of the forehead. Around the face are dark swirled, circular designs representing hair (uli designs); there are two carved combs in the hair. On top of the arched crest are round circular carvings. [Description from record N.13332.GIJ, PB 20/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka; Amobia village", "cultural_affliation": "Nri-Awka Igbo; Northern Igbo; Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767062.GIJ - P.767066.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171141.GIJ\n\nDescription\n\nA side view of a Mau helmet mask. The face of the mask is painted white with darker paint / pigments to accentuate the etched eyebrows, eyes, mouth. The eyes are small slits and the mouth is open and painted black with white teeth. On the temple is a circular etched and raised marking (resembling a keloid) and etched markings in the centre of the forehead. Around the face are dark swirled, circular designs representing hair (uli designs); there are two carved combs in the hair. On top of the arched crest are round circular carvings. [Description from record N.13332.GIJ, PB 20/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka; Amobia village\n\nCultural Affliation\n\nNri-Awka Igbo; Northern Igbo; Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767062.GIJ - P.767066.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311832\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171141_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144357_P.171141.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171177.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465238", "metadata": {"title": "Untitled", "idno": "P.171177.GIJ", "description": "A close up of a wooden door, with geometric grooved patterns, including chevrons and circles. [PB 21/06/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767100.GIJ - P.767105.GIJ are mounted together on paper.", "raw_text_dump": "IDNO\n\nP.171177.GIJ\n\nDescription\n\nA close up of a wooden door, with geometric grooved patterns, including chevrons and circles. [PB 21/06/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767100.GIJ - P.767105.GIJ are mounted together on paper.\n\nFM:311868\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171177_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144393_P.171177.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171596.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465657", "metadata": {"title": "Untitled", "idno": "P.171596.GIJ", "description": "A documentation photograph of the head of an ekwe drum. The face has rimmed eyes, mouth and ears, with a bottle shaped stud on the neck. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Umuguma", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171596.GIJ and P.171597.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171596.GIJ\n\nDescription\n\nA documentation photograph of the head of an ekwe drum. The face has rimmed eyes, mouth and ears, with a bottle shaped stud on the neck. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Umuguma\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171596.GIJ and P.171597.GIJ are mounted on card.\n\nFM:312316\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171596_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144887_P.171596.GIJ_001.jpg"}, {"file_name": "P_171596_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144888_P.171596.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.35310.ACH2", "source_url": "https://collections.maa.cam.ac.uk/photographs/328582", "metadata": {"title": "Untitled", "idno": "N.35310.ACH2", "description": "On Catalogue Card: Hunter, Ekoi country.", "place": "W Africa; Nigeria; south eastern Nigeria; Ekoi country", "cultural_affliation": "", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Unmounted Haddon Collection", "source": "", "format": "Film Negative", "primary_documentation": "", "other_information": "The negative was previously stored in an envelope now numbered C106/79/ which was in a wooden box now marked C106/. The envelope (C106/79/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.", "raw_text_dump": "IDNO\n\nN.35310.ACH2\n\nDescription\n\nOn Catalogue Card: Hunter, Ekoi country.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; Ekoi country\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nUnmounted Haddon Collection\n\nSource\n\nFormat\n\nFilm Negative\n\nPrimary Documentation\n\nOther Information\n\nThe negative was previously stored in an envelope now numbered C106/79/ which was in a wooden box now marked C106/. The envelope (C106/79/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.\n\nFM:169960\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_35310_ACH2_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/607061_cat.P.7043.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71751.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365022", "metadata": {"title": "Untitled", "idno": "N.71751.GIJ", "description": "Two Afkipo masks known as Mba. The mask on the left consists of an oval white face with two slit eyes, arched eyebrows, long bridged nose, pouting open mouth, three linear markings on the face, three round circles on the sides of the cheeks, and a scalloped ridged hairline. A darker paint/pigment is used to accentuate the eyebrows, nose, mouth and facial markings. The top of the mask is a flat board, rectangular in form, extending vertically, painted in different colours with a flower-like design. Around the face of the mask is raffia twine. The mask on right consists of an oval white face with two slit eyes, arched eyebrows long bridged nose, open mouth with carved teeth, three diagonal facial scars, four square shaped markings on the temple. scarification markings along the chin, and a scalloped ridged hairline. A darker pigment/paint is used to accentuate the facial features and hair. The top of the mask is a flat board, rectangular in form, extending vertically, painted in different colours with a quatrefoil design.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; ?Northern Bende division; Ngusu Ada", "cultural_affliation": "Igbo [historically Ibo]; Afikpo", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 96 of the negative album now numbered C16/.T\n\nPublication: These two masks are illustrated in Jones, 1939, p. 34, Plates 1 and 2 and identified as Akpara Oba (photographs courtesy of the British Museum).\n\nContext: In reference to the two masks in this photograph, Jones wrote and article, \u201cOn the identity of Two Masks from S.E. Nigeria in the British Museum\u201d. He writes that \u201cthe data about them are vague. They are said to come from S.E. Nigeria and to be probably from Ibo. They can without difficulty be identified as Ibo masks. The long, narrow face, the prominent, narrow nose, the protruding mouth, the slit-like holes, the diagonal cheek scars and the quartre-foil design on their crests are typical of Ibo features of their own - the board-like crest, the absence of ears, and the way in which a narrow belt of woven raffia is attached to the masks. These are all features which occur in the masks of one area of the Ibo country only, namely, that occupied by the Edda (Ada) Afikpo, Unwana, and Nkporo clans of the Afikpo division of the Ogoja province of S.E. Nigeria. The humanised ones are called akpara Oba or nwabogho. They are usually in pairs and are worn by young men, made up as girls, who dance facing each other, and take off the behaviour of young girls admiring themselves.\u201d (Jones, 1939, p.33)\n\nContext: The masks, sculpture, and culture of this area are described in detail by Ottenberg. He writes that, \u201c the Afikpo belong to an Igbo subgroup called Ada or Edda (Forde and Jones 1950, pp.51-56), which includes the Okpoha, Edda, Amaseri, and Unwana village-groups, all of which border on the Afikpo, Nkporo and Akaeze, both short distances away. The Ada have many common features in their history and culture. They have past associations with the famous slave-trading Igbo of Aro Chuku, some forty miles to the south, and their population includes other immigrant groups from various Igbo areas, as well as residue of ancient non-Igbo peoples having Cross-River cultures (the earliest in the Ada area). The Ada are known for the prevalence of double unilineal descent, for well developed age grade organizations, for their military and head-taking activities in the past, and for their characteristic forms of art and rituals. These features differentiate them from other Igbo and from the Cross River groups\u201d (Ottenberg, 1975, p.3) In relation to masquerades, he writes that, \u201cEach village also has a secret society, although it is not really very secret, for it lacks an exclusive character. All males are expected to join it by the time that they are adults, and many become members as children. It thus excludes females and uninitiated boys. The secrecy involves much of the initiation rites, certain titles taken within it, and some other events. The masquerades, which form one of its principal activities, are generally held in public, although there are secrets associated with them.\n\nContext: Afikpo Art and masks are well documented by Ottenberg. He notes that the Afikpo use the same word ihu for mask and for face. Wooden masks are the major sculptural form of the Afikpo. \u201cPutting on a mask turns a person into a sprit or mma. Ottenberg has identified twelve types of wooden mask types at Afikpo. \u201cEach one of the mask has forms of the adult society has its own stylistic features easily recognizable by Afikpo and one or more names by which it is referred to. Many of the masks are associated with particular forms of behavior. A mask is sometimes found with a certain type of costume; sometimes the names of the mask and costume are the same.\u201d(Ottenberg, 1975, p.17)\n\nContext: Jones writes about the Ngusu Ada masks and describes their distinctive characteristics. See Jones, 1939, pp. 33-34.\n\nBibliographical Reference:\nForde and Jones. 1950. \u201cThe Ibo and Ibibio Speaking Peoples of South-Eastern Nigeria\u201d. International African Institute, Ethnographic Survey of Africa, Western Africa, Part III) (London)\nJones, G.I. 1939. \u201cOn the Identity of Two Masks from S.R. Nigeria in the British Museum\u201d, Man, Vol. 39, pp. 33-34.\nJones, G.I. 1955 \u201cA Memoir of Early Field Photography\u201d, African Arts, XVIII, no. 4, pp. 64-67.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nOttenberg, S. 1975. Masked Rituals of Afikpo. (University of Washington Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 28/11/2007]", "raw_text_dump": "IDNO\n\nN.71751.GIJ\n\nDescription\n\nTwo Afkipo masks known as Mba. The mask on the left consists of an oval white face with two slit eyes, arched eyebrows, long bridged nose, pouting open mouth, three linear markings on the face, three round circles on the sides of the cheeks, and a scalloped ridged hairline. A darker paint/pigment is used to accentuate the eyebrows, nose, mouth and facial markings. The top of the mask is a flat board, rectangular in form, extending vertically, painted in different colours with a flower-like design. Around the face of the mask is raffia twine. The mask on right consists of an oval white face with two slit eyes, arched eyebrows long bridged nose, open mouth with carved teeth, three diagonal facial scars, four square shaped markings on the temple. scarification markings along the chin, and a scalloped ridged hairline. A darker pigment/paint is used to accentuate the facial features and hair. The top of the mask is a flat board, rectangular in form, extending vertically, painted in different colours with a quatrefoil design.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; ?Northern Bende division; Ngusu Ada\n\nCultural Affliation\n\nIgbo [historically Ibo]; Afikpo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 96 of the negative album now numbered C16/.T\n\nPublication: These two masks are illustrated in Jones, 1939, p. 34, Plates 1 and 2 and identified as Akpara Oba (photographs courtesy of the British Museum).\n\nContext: In reference to the two masks in this photograph, Jones wrote and article, \u201cOn the identity of Two Masks from S.E. Nigeria in the British Museum\u201d. He writes that \u201cthe data about them are vague. They are said to come from S.E. Nigeria and to be probably from Ibo. They can without difficulty be identified as Ibo masks. The long, narrow face, the prominent, narrow nose, the protruding mouth, the slit-like holes, the diagonal cheek scars and the quartre-foil design on their crests are typical of Ibo features of their own - the board-like crest, the absence of ears, and the way in which a narrow belt of woven raffia is attached to the masks. These are all features which occur in the masks of one area of the Ibo country only, namely, that occupied by the Edda (Ada) Afikpo, Unwana, and Nkporo clans of the Afikpo division of the Ogoja province of S.E. Nigeria. The humanised ones are called akpara Oba or nwabogho. They are usually in pairs and are worn by young men, made up as girls, who dance facing each other, and take off the behaviour of young girls admiring themselves.\u201d (Jones, 1939, p.33)\n\nContext: The masks, sculpture, and culture of this area are described in detail by Ottenberg. He writes that, \u201c the Afikpo belong to an Igbo subgroup called Ada or Edda (Forde and Jones 1950, pp.51-56), which includes the Okpoha, Edda, Amaseri, and Unwana village-groups, all of which border on the Afikpo, Nkporo and Akaeze, both short distances away. The Ada have many common features in their history and culture. They have past associations with the famous slave-trading Igbo of Aro Chuku, some forty miles to the south, and their population includes other immigrant groups from various Igbo areas, as well as residue of ancient non-Igbo peoples having Cross-River cultures (the earliest in the Ada area). The Ada are known for the prevalence of double unilineal descent, for well developed age grade organizations, for their military and head-taking activities in the past, and for their characteristic forms of art and rituals. These features differentiate them from other Igbo and from the Cross River groups\u201d (Ottenberg, 1975, p.3) In relation to masquerades, he writes that, \u201cEach village also has a secret society, although it is not really very secret, for it lacks an exclusive character. All males are expected to join it by the time that they are adults, and many become members as children. It thus excludes females and uninitiated boys. The secrecy involves much of the initiation rites, certain titles taken within it, and some other events. The masquerades, which form one of its principal activities, are generally held in public, although there are secrets associated with them.\n\nContext: Afikpo Art and masks are well documented by Ottenberg. He notes that the Afikpo use the same word ihu for mask and for face. Wooden masks are the major sculptural form of the Afikpo. \u201cPutting on a mask turns a person into a sprit or mma. Ottenberg has identified twelve types of wooden mask types at Afikpo. \u201cEach one of the mask has forms of the adult society has its own stylistic features easily recognizable by Afikpo and one or more names by which it is referred to. Many of the masks are associated with particular forms of behavior. A mask is sometimes found with a certain type of costume; sometimes the names of the mask and costume are the same.\u201d(Ottenberg, 1975, p.17)\n\nContext: Jones writes about the Ngusu Ada masks and describes their distinctive characteristics. See Jones, 1939, pp. 33-34.\n\nBibliographical Reference:\nForde and Jones. 1950. \u201cThe Ibo and Ibibio Speaking Peoples of South-Eastern Nigeria\u201d. International African Institute, Ethnographic Survey of Africa, Western Africa, Part III) (London)\nJones, G.I. 1939. \u201cOn the Identity of Two Masks from S.R. Nigeria in the British Museum\u201d, Man, Vol. 39, pp. 33-34.\nJones, G.I. 1955 \u201cA Memoir of Early Field Photography\u201d, African Arts, XVIII, no. 4, pp. 64-67.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nOttenberg, S. 1975. Masked Rituals of Afikpo. (University of Washington Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 28/11/2007]\n\n\nFM:206401\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71751_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1192694_N.71751.GIJ_001.jpg"}, {"file_name": "N_71751_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1192695_N.71751.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169661.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463662", "metadata": {"title": "Untitled", "idno": "P.169661.GIJ", "description": "Three Obugulu mau masqueraders standing. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appliqued costumes with pointed breasts; their hands and feet are covered with cloth. [Description from record P.71527.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria: Onitsha Province; Nri Awka; Amobia village", "cultural_affliation": "Ibo [historically Igbo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169661.GIJ\n\nDescription\n\nThree Obugulu mau masqueraders standing. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appliqued costumes with pointed breasts; their hands and feet are covered with cloth. [Description from record P.71527.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria: Onitsha Province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nFM:310148\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169661_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127428_P.169661.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171083.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465144", "metadata": {"title": "Untitled", "idno": "P.171083.GIJ", "description": "Young adult males performing in an age set dance, surrounded by crowds. Male in centre is wearing waist ornaments and bands, some of which have bells attached to them, knee-rattles, and head-gear (which appears to be a wig with pale round ornaments sewn onto it). [Description from record N.13259.GIJ, PB 13/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; near Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nIn his notes in the folder about 'Age Set Passage Dance, N. Ibo. (?Nri-Awka Area) , G.I. Jones explains:\n\n\"This is a dance performed by adolescent males age set as it passes from the grade of boys to that of men. The dancers are attired as adolescent females (who until they are married are naked except for a string of beads around their waist and, when they go into seclusion before their marriage, with an elaborate hair do. The dancers have added to their waist strings little harness and other small bells, and have rattles of shells round their legs and they wear wigs representing elaborate hair dos.\n\nIn this dance they produced an acrobatic ballet, dancing together with elaborate leaps and bounds.\n\nIn other dance the players appeared with hand mirrors and mimicked young women at their toilets.\"", "raw_text_dump": "IDNO\n\nP.171083.GIJ\n\nDescription\n\nYoung adult males performing in an age set dance, surrounded by crowds. Male in centre is wearing waist ornaments and bands, some of which have bells attached to them, knee-rattles, and head-gear (which appears to be a wig with pale round ornaments sewn onto it). [Description from record N.13259.GIJ, PB 13/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; near Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nIn his notes in the folder about 'Age Set Passage Dance, N. Ibo. (?Nri-Awka Area) , G.I. Jones explains:\n\n\"This is a dance performed by adolescent males age set as it passes from the grade of boys to that of men. The dancers are attired as adolescent females (who until they are married are naked except for a string of beads around their waist and, when they go into seclusion before their marriage, with an elaborate hair do. The dancers have added to their waist strings little harness and other small bells, and have rattles of shells round their legs and they wear wigs representing elaborate hair dos.\n\nIn this dance they produced an acrobatic ballet, dancing together with elaborate leaps and bounds.\n\nIn other dance the players appeared with hand mirrors and mimicked young women at their toilets.\"\n\nFM:311774\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171083_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144299_P.171083.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71657.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364928", "metadata": {"title": "Untitled", "idno": "N.71657.GIJ", "description": "A wooden Ikenga figure seated on a round circular stool. The figure is holding a cutlass in one hand and a head in the other. The head of the Ikenga figure consists of a white painted face with carved incised striations on the forehead accentuated by black paint, the eyes, nose and mouth are outlined in black paint and there are chevron or v-shaped markings on the cheek. The headdress consists of two large horns which are quite thick and curled at the top. The body of the figure is painted white with black markings and abstract designs around the neck, torso and the knees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "Publication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Ikenga Nimo, Nri-Awka Igbo (Pitt Rivers Museum, Oxford (1938 15 43) (3rd image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d In reference to Ikenga figures, he writes, \u201c The best known Ibo personal cult and the one that has given rise to the greatest number of carvings is that of Ikenga, a Lower Niger cult of a man\u2019s right arm and of success associated with it, which the Edo shared with the Western, Northern, most of the Southern Ibo and with Igala groups. The Ohuhu-Ngwa, Cross River and Northeastern Ibo did not participate in it. Most Ibo and Edo had a small cylindrical object with some geometrical carving on it and ending in a pair of pointed horns. Some Western Ibo increased the size so that it looked more like a circular stool . Other Ibo and Edo added a head and some carved a whole figure. The Nri-Akwa Ibo produced the most elaborate cult objects and in the greatest number. Older examples carved by them elaborated the horns and the head, which was shown smoking a pipe. Later ones consisted of complete figures which were shown standing or more usually seated on a circular stool with a cutlass in one hand and a human head in the other or, alternatively, holding a tusk horn and an ornamental staff (Jones, 1989, p.40). Also, see Jones, 1984, pp. 141-142.\n\nContext: Cole and Aniakor write in detail about Ikenga (see Chapter Two). They show that the concept of Ikenga reverberates throughout much of Igbo life . These images are found in the shrines of individual diviners and corporate tutelary cults and as representatives of age-grades and communities. ...They continue to describe that the basic Igbo Ikenga image is a human with horns, sometimes rendered very simply as an abstract head and horns base. Larger, more elaborate examples include fully realized males seated on stools, holding and wearing various symbols, and with more or less complex headdresses determined in part by horns and often including several other motifs (Cole and Aniakor, 1984, p.24).\n\nPublications: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989 Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/11/2007]", "raw_text_dump": "IDNO\n\nN.71657.GIJ\n\nDescription\n\nA wooden Ikenga figure seated on a round circular stool. The figure is holding a cutlass in one hand and a head in the other. The head of the Ikenga figure consists of a white painted face with carved incised striations on the forehead accentuated by black paint, the eyes, nose and mouth are outlined in black paint and there are chevron or v-shaped markings on the cheek. The headdress consists of two large horns which are quite thick and curled at the top. The body of the figure is painted white with black markings and abstract designs around the neck, torso and the knees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Ikenga Nimo, Nri-Awka Igbo (Pitt Rivers Museum, Oxford (1938 15 43) (3rd image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d In reference to Ikenga figures, he writes, \u201c The best known Ibo personal cult and the one that has given rise to the greatest number of carvings is that of Ikenga, a Lower Niger cult of a man\u2019s right arm and of success associated with it, which the Edo shared with the Western, Northern, most of the Southern Ibo and with Igala groups. The Ohuhu-Ngwa, Cross River and Northeastern Ibo did not participate in it. Most Ibo and Edo had a small cylindrical object with some geometrical carving on it and ending in a pair of pointed horns. Some Western Ibo increased the size so that it looked more like a circular stool . Other Ibo and Edo added a head and some carved a whole figure. The Nri-Akwa Ibo produced the most elaborate cult objects and in the greatest number. Older examples carved by them elaborated the horns and the head, which was shown smoking a pipe. Later ones consisted of complete figures which were shown standing or more usually seated on a circular stool with a cutlass in one hand and a human head in the other or, alternatively, holding a tusk horn and an ornamental staff (Jones, 1989, p.40). Also, see Jones, 1984, pp. 141-142.\n\nContext: Cole and Aniakor write in detail about Ikenga (see Chapter Two). They show that the concept of Ikenga reverberates throughout much of Igbo life . These images are found in the shrines of individual diviners and corporate tutelary cults and as representatives of age-grades and communities. ...They continue to describe that the basic Igbo Ikenga image is a human with horns, sometimes rendered very simply as an abstract head and horns base. Larger, more elaborate examples include fully realized males seated on stools, holding and wearing various symbols, and with more or less complex headdresses determined in part by horns and often including several other motifs (Cole and Aniakor, 1984, p.24).\n\nPublications: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989 Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/11/2007]\n\nFM:206307\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71657_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656759_N.71657.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71794.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365065", "metadata": {"title": "Untitled", "idno": "N.71794.GIJ", "description": "A Lughulu \u2018beautiful\u2019 female mask; the mask is carved in a rounded shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long trianguar shaped nose, open mouth with teeth painted white, elipitical shaped eas and linear markings in the centre of the forehead and to the sides. On top are two carved arches with incised v-markings representing a coiffure. It is adorned with two white buttons. Attached to the mask is a rough woven cloth.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Alayi", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 8 of the negative album now numbered C17/.\n\nPublication: Same image is in Jones, 1989, p.16, Figure 8. The caption reads: \u201cLughulu masquerade, Ugwueke Alayi town, Isu-Item Ibo. Mask representing a beautiful female spirit.\u201d\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that it conforms to a stylized mode which converts the salient features to geometrical forms. In the Isu-Item maskerade, the beautiful female masks are carved in either a rounded or naturalistic mode while the fierce or comic male masks are stylized(Jones, 1973, pp. 60-61).\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]", "raw_text_dump": "IDNO\n\nN.71794.GIJ\n\nDescription\n\nA Lughulu \u2018beautiful\u2019 female mask; the mask is carved in a rounded shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long trianguar shaped nose, open mouth with teeth painted white, elipitical shaped eas and linear markings in the centre of the forehead and to the sides. On top are two carved arches with incised v-markings representing a coiffure. It is adorned with two white buttons. Attached to the mask is a rough woven cloth.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Alayi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 8 of the negative album now numbered C17/.\n\nPublication: Same image is in Jones, 1989, p.16, Figure 8. The caption reads: \u201cLughulu masquerade, Ugwueke Alayi town, Isu-Item Ibo. Mask representing a beautiful female spirit.\u201d\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that it conforms to a stylized mode which converts the salient features to geometrical forms. In the Isu-Item maskerade, the beautiful female masks are carved in either a rounded or naturalistic mode while the fierce or comic male masks are stylized(Jones, 1973, pp. 60-61).\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]\n\nFM:206444\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71794_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656891_N.71794.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.170265.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464326", "metadata": {"title": "Untitled", "idno": "P.170265.GIJ", "description": "A carved wooden Ekpo face mask. The face has a protruding forehead, almond shaped holes for eyes, nose, open mouth with two teeth, ears with serrated pattern of scarification along inner edge, two small pointed designs on forehead, and a tear-shaped protruding decoration in centre of forehead. [Description from record N.13201.GIJ, PB 03/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.", "raw_text_dump": "IDNO\n\nP.170265.GIJ\n\nDescription\n\nA carved wooden Ekpo face mask. The face has a protruding forehead, almond shaped holes for eyes, nose, open mouth with two teeth, ears with serrated pattern of scarification along inner edge, two small pointed designs on forehead, and a tear-shaped protruding decoration in centre of forehead. [Description from record N.13201.GIJ, PB 03/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.\n\nFM:310823\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170265_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131695_P.170265.GIJ_001.png"}, {"file_name": "P_170265_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131696_P.170265.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171292.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465353", "metadata": {"title": "Untitled", "idno": "P.171292.GIJ", "description": "An object documentation photograph of the back of a carved wooden hand mirror. The handle is formed with a ring finial. The mirror is rectangular with flared corned. The surface is incised with geometric patterns with a stylised human figure in the centre. The top of the mirror has an arch supported at its centre by the head of a figure without arms. [PB 30/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767216.GIJ is mounted on card.", "raw_text_dump": "IDNO\n\nP.171292.GIJ\n\nDescription\n\nAn object documentation photograph of the back of a carved wooden hand mirror. The handle is formed with a ring finial. The mirror is rectangular with flared corned. The surface is incised with geometric patterns with a stylised human figure in the centre. The top of the mirror has an arch supported at its centre by the head of a figure without arms. [PB 30/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767216.GIJ is mounted on card.\n\nFM:311983\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171292_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144508_P.171292.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.73826.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/367097", "metadata": {"title": "Untitled", "idno": "N.73826.GIJ", "description": "A documentation photograph of a face mask. The mask consists of a rectangular face with a ridged rim around the forehead and two small protruding horns. The forehead is slightly raised with arched brows, slit eyes, high cheekbones, rectangular nose and protruding snout-like curved, open mouth. The mask is dark wood with the remains of white pigmentation.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; ?Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 90 of the negative album now numbered C17/.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]", "raw_text_dump": "IDNO\n\nN.73826.GIJ\n\nDescription\n\nA documentation photograph of a face mask. The mask consists of a rectangular face with a ridged rim around the forehead and two small protruding horns. The forehead is slightly raised with arched brows, slit eyes, high cheekbones, rectangular nose and protruding snout-like curved, open mouth. The mask is dark wood with the remains of white pigmentation.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; ?Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 90 of the negative album now numbered C17/.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]\n\nFM:208476\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_73826_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/658431_N.73826.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "T.169950.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463969", "metadata": {"title": "Untitled", "idno": "T.169950.GIJ", "description": "A documentation photograph of an image on display in an exhibition. The image is a close up of the same man as in image N.71790.GIJ.\n\nA man modelling a mask. The wooden mask is oval shaped with two curved designs emanating from the top inwards to the centre. The face of the mask is oval shaped an there are defined areas for the hairline, two rounded markings on the forehead, slit eyes with overhanging eyebrows, two keloid markings on either side of the eyes, a long nose, open mouth with teeth. The mask has been smeared in a chalk/white paint which defines some of the facial features and the two curved/curled projections.\nThe mask is attached to the head with twine. [Description from record N.71790.GIJ, PB 27/07/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Alayi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nPublication: Similar image published online on 'Jones Archive', Southern Illonois University, as 'Alayi4. Mask Ugwu Eke village'.\n[Source: https://jonesarchive.siu.edu/photo-indexes/alayi-isu-ikem-igbo/, PB 27/07/23]", "raw_text_dump": "IDNO\n\nT.169950.GIJ\n\nDescription\n\nA documentation photograph of an image on display in an exhibition. The image is a close up of the same man as in image N.71790.GIJ.\n\nA man modelling a mask. The wooden mask is oval shaped with two curved designs emanating from the top inwards to the centre. The face of the mask is oval shaped an there are defined areas for the hairline, two rounded markings on the forehead, slit eyes with overhanging eyebrows, two keloid markings on either side of the eyes, a long nose, open mouth with teeth. The mask has been smeared in a chalk/white paint which defines some of the facial features and the two curved/curled projections.\nThe mask is attached to the head with twine. [Description from record N.71790.GIJ, PB 27/07/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Alayi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nPublication: Similar image published online on 'Jones Archive', Southern Illonois University, as 'Alayi4. Mask Ugwu Eke village'.\n[Source: https://jonesarchive.siu.edu/photo-indexes/alayi-isu-ikem-igbo/, PB 27/07/23]\n\nFM:310478\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_169950_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127939_T.169950.GIJ_001.png"}, {"file_name": "T_169950_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127940_T.169950.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "T.170094.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464155", "metadata": {"title": "Untitled", "idno": "T.170094.GIJ", "description": "A close up view of an Ikem masquerade female head mask on top of a square frame covered in cloth. The mask is very naturalistic and shows refined features and black hair and an elaborate coiffure made of twisted or curved \u201chorns\u201d. The side profile of the face shows dark eyebrows, inset eyes, nose, and lips (outlined in a darker shade). The ears are carved with an earring. [Description from record N.13199.GIJ, PB 22/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Umuahia", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170094.GIJ\n\nDescription\n\nA close up view of an Ikem masquerade female head mask on top of a square frame covered in cloth. The mask is very naturalistic and shows refined features and black hair and an elaborate coiffure made of twisted or curved \u201chorns\u201d. The side profile of the face shows dark eyebrows, inset eyes, nose, and lips (outlined in a darker shade). The ears are carved with an earring. [Description from record N.13199.GIJ, PB 22/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Umuahia\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310622\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170094_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128311_T.170094.GIJ_001.png"}, {"file_name": "T_170094_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128312_T.170094.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171376.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465437", "metadata": {"title": "Untitled", "idno": "P.171376.GIJ", "description": "A documentation photograph of a helmet mask for the Okorosie masquerade. A white mask with an elaborate extending headdress. The mask consists of a face with slit eyes, nose and open (damaged) mouth, horn like coiffure and a figure in the centre at the top. The \u201cwhite\u201d mask is decorated with black dots.[Description from record N.13325.GIJ, PB 06/09/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171349.GIJ - P.171388.GIJ were located in a 'Twin Pocket' folder, now numbered C768/2.\n\nP.768033.GIJ and P.768038.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171376.GIJ\n\nDescription\n\nA documentation photograph of a helmet mask for the Okorosie masquerade. A white mask with an elaborate extending headdress. The mask consists of a face with slit eyes, nose and open (damaged) mouth, horn like coiffure and a figure in the centre at the top. The \u201cwhite\u201d mask is decorated with black dots.[Description from record N.13325.GIJ, PB 06/09/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171349.GIJ - P.171388.GIJ were located in a 'Twin Pocket' folder, now numbered C768/2.\n\nP.768033.GIJ and P.768038.GIJ are mounted on card.\n\nFM:312077\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171376_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144592_P.171376.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71560.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364831", "metadata": {"title": "Untitled", "idno": "N.71560.GIJ", "description": "A Mgbedike or Agu neche enyi masquerade with supporters and onlookers. The mask or head-dress consists of a fierce looking face with white v-shaped marking on the forehead, large eyes, pointed nose, over-sized mouth and menacing teeth painted white?, and crescent shaped ears. Protruding (twisted) horns encircle the top of the head in which there is an elaborate superstructure, with animals, horned figures and European or colonial officers (oyibo) dressed in European clothing with pith helmets. There is a painted serpent with its mouth wide open showing its teeth. The bulky costume of the masquerader is made of cloth, the upper body is adorned with leaves? or v-shaped dark material, a belt made of strands of cowrie shells with a metal bell attached, around the waist is a light coloured cloth, and rattles made of seeds around the legs. The masquerader is holding a club? or machete in one hand. In the left hand side of the photograph, a group of male supporters (wearing feathers in their hair) are next to the masquerader playing instruments - two are playing metal gongs, one is holding a fan?. In the background is a large group of onlookers watching the masquerade and behind them are trees and vegetation.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 33 of the negative album now numbered C15/.\n\nP.71504.GIJ to P.71662.GIJ were kept in box 4, now numbered C301/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Mgbedike or Agu neche Enyi (leopard/elephant) [close-up] Nimo (24th image).\n\nContext: Jones discusses the various types of masks and mentions that some are quite elaborate superstructures. In particular, \u201cNrii/Akwa and some other carvers also made emblem head-dresses in which small human figures were grouped together in a tableau, or more elaborate openwork constructions in which human, animal, bird, and reptile forms were intertwined to form a conical structure brought together at the apex by an animal figure whose legs straddled and held it together.\u201d (Jones, 1984, p. 126)\n\nCole and Aniakor write about the specific characteristics of the Mgbedike or \u2018Time of Brave\u2019 masks. These spirit \u201cheads\u201d are large in size, dark coloration; bold outsized figures such as open mouth with large, menacing teeth; and elaborate, integrally carved head-dresses always displaying horns. Their bulky costumes are studded with quills. Many individually named spirits of Mgbedike type exist, their titles crystallizing the character of the spirits....Mystery, aggression, bravado fearlessness, stubbornness, and medicinal power belong to these spirits (Cole and Aniakor, 1984, p. 131)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nMurray, K.C. 1948 Ibo Headdresses Combining Human and Animal Features, Man 48 (1): 1-2.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 22/10/2007]", "raw_text_dump": "IDNO\n\nN.71560.GIJ\n\nDescription\n\nA Mgbedike or Agu neche enyi masquerade with supporters and onlookers. The mask or head-dress consists of a fierce looking face with white v-shaped marking on the forehead, large eyes, pointed nose, over-sized mouth and menacing teeth painted white?, and crescent shaped ears. Protruding (twisted) horns encircle the top of the head in which there is an elaborate superstructure, with animals, horned figures and European or colonial officers (oyibo) dressed in European clothing with pith helmets. There is a painted serpent with its mouth wide open showing its teeth. The bulky costume of the masquerader is made of cloth, the upper body is adorned with leaves? or v-shaped dark material, a belt made of strands of cowrie shells with a metal bell attached, around the waist is a light coloured cloth, and rattles made of seeds around the legs. The masquerader is holding a club? or machete in one hand. In the left hand side of the photograph, a group of male supporters (wearing feathers in their hair) are next to the masquerader playing instruments - two are playing metal gongs, one is holding a fan?. In the background is a large group of onlookers watching the masquerade and behind them are trees and vegetation.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 33 of the negative album now numbered C15/.\n\nP.71504.GIJ to P.71662.GIJ were kept in box 4, now numbered C301/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Mgbedike or Agu neche Enyi (leopard/elephant) [close-up] Nimo (24th image).\n\nContext: Jones discusses the various types of masks and mentions that some are quite elaborate superstructures. In particular, \u201cNrii/Akwa and some other carvers also made emblem head-dresses in which small human figures were grouped together in a tableau, or more elaborate openwork constructions in which human, animal, bird, and reptile forms were intertwined to form a conical structure brought together at the apex by an animal figure whose legs straddled and held it together.\u201d (Jones, 1984, p. 126)\n\nCole and Aniakor write about the specific characteristics of the Mgbedike or \u2018Time of Brave\u2019 masks. These spirit \u201cheads\u201d are large in size, dark coloration; bold outsized figures such as open mouth with large, menacing teeth; and elaborate, integrally carved head-dresses always displaying horns. Their bulky costumes are studded with quills. Many individually named spirits of Mgbedike type exist, their titles crystallizing the character of the spirits....Mystery, aggression, bravado fearlessness, stubbornness, and medicinal power belong to these spirits (Cole and Aniakor, 1984, p. 131)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nMurray, K.C. 1948 Ibo Headdresses Combining Human and Animal Features, Man 48 (1): 1-2.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 22/10/2007]\n\nFM:206210\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71560_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656667_N.71560.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "T.170063.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464099", "metadata": {"title": "Untitled", "idno": "T.170063.GIJ", "description": "Obugulu Mau masquerade. Several characters in 'mother' and 'daughter' costumes dancing in line. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appiqued costumes with pointed breasts; their hands and feet are covered with cloth. [PB 14/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170063.GIJ\n\nDescription\n\nObugulu Mau masquerade. Several characters in 'mother' and 'daughter' costumes dancing in line. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appiqued costumes with pointed breasts; their hands and feet are covered with cloth. [PB 14/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310591\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170063_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128198_T.170063.GIJ_001.png"}, {"file_name": "T_170063_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128199_T.170063.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13325.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306597", "metadata": {"title": "Untitled", "idno": "N.13325.GIJ", "description": "A documentation photograph of a helmet mask for the Okorosie masquerade. A white mask with an eleborate extending headdress. The mask consists of a face with slit eyes, nose and open (damaged) mouth, horn like coiffure and a figure in the centre at the top. The \u201cwhite\u201d mask is decorated with black dots.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "Prior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nContext: The Western Isuama had developed a local style of face masks and heads representing a range of characters very similar to those of the Nri-Awka masquerades. There was a greater variation and eleaboration of the \u2018beautiful\u2019 white-faced masks, many being carvd as a single peice. The usual name for the masquerade was called Okorosie but it was also called Owu and, more rarely, Okonko.\n\nFurther south among the Egbema and Oba villages the masquerade was called Owu . It had much the smae characters but a greater range of face masks and heads, some carved in the Isu Ama style, some their own invention, and some with hinged lower jaws, twisted mouths and noses and other features borrowed from the Cental Ijo masquerades the use of figures as masks (Jones, 1989 p.56).\n\nBibliographical Reference: Jones, G.I. Ibo Art. 1989. I(Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 5/3/2008]", "raw_text_dump": "IDNO\n\nN.13325.GIJ\n\nDescription\n\nA documentation photograph of a helmet mask for the Okorosie masquerade. A white mask with an eleborate extending headdress. The mask consists of a face with slit eyes, nose and open (damaged) mouth, horn like coiffure and a figure in the centre at the top. The \u201cwhite\u201d mask is decorated with black dots.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPrior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nContext: The Western Isuama had developed a local style of face masks and heads representing a range of characters very similar to those of the Nri-Awka masquerades. There was a greater variation and eleaboration of the \u2018beautiful\u2019 white-faced masks, many being carvd as a single peice. The usual name for the masquerade was called Okorosie but it was also called Owu and, more rarely, Okonko.\n\nFurther south among the Egbema and Oba villages the masquerade was called Owu . It had much the smae characters but a greater range of face masks and heads, some carved in the Isu Ama style, some their own invention, and some with hinged lower jaws, twisted mouths and noses and other features borrowed from the Cental Ijo masquerades the use of figures as masks (Jones, 1989 p.56).\n\nBibliographical Reference: Jones, G.I. Ibo Art. 1989. I(Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 5/3/2008]\n\n\n\nFM:147975\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13325_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000588_N.13325.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171607.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465668", "metadata": {"title": "Untitled", "idno": "P.171607.GIJ", "description": "A documentation photograph of two carved wooden ancestral figures, standing in the yard of a compound, facing the camera. The taller male figure is on the left. The forehead of the figure is incised with lines and petal like decoration, with a domed hat on top of the head. The shorter female figure on the right has a curved hair line with a domed head cap. Both figures have a vertical row of parallel lines of studs, running from neck to abdomen with a raised navel. [PB 05/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Inyogugu", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171606.GIJ and P.171607.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171607.GIJ\n\nDescription\n\nA documentation photograph of two carved wooden ancestral figures, standing in the yard of a compound, facing the camera. The taller male figure is on the left. The forehead of the figure is incised with lines and petal like decoration, with a domed hat on top of the head. The shorter female figure on the right has a curved hair line with a domed head cap. Both figures have a vertical row of parallel lines of studs, running from neck to abdomen with a raised navel. [PB 05/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Inyogugu\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171606.GIJ and P.171607.GIJ are mounted on card.\n\nFM:312327\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171607_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144909_P.171607.GIJ_001.jpg"}, {"file_name": "P_171607_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144910_P.171607.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171078.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465139", "metadata": {"title": "Untitled", "idno": "P.171078.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nIro Ekpetu (\u2018Merciless\u2019), the masquerader, wears a fierce-looking black carved mask (darkened, with white? painted eyes, pointed nose, and protruding teeth (painted white?), and a raffia hairpiece, a cloth top and trousers, and a raffia skirt. The masquerader is holding up both arms. Behind the masquerader are mud huts, a walled area trees and vegetation. [PB 13/06/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nImage used in Jones G.I. The art of Eastern Nigeria. 1984. Cambridge: CUP. Fig 10 p60. Caption: \"Iro Ekpetu : Mau masquerade. Isuochi Ibo\"\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The perfomers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\nAbout the character Iro Ekpetu (Merciless), G.I. Jones writes in the notes: \"There were two of these fierce masks, black with fang-like teeth, wearing a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia, and carrying a wand or a stick with which to threaten the crowd.\"", "raw_text_dump": "IDNO\n\nP.171078.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nIro Ekpetu (\u2018Merciless\u2019), the masquerader, wears a fierce-looking black carved mask (darkened, with white? painted eyes, pointed nose, and protruding teeth (painted white?), and a raffia hairpiece, a cloth top and trousers, and a raffia skirt. The masquerader is holding up both arms. Behind the masquerader are mud huts, a walled area trees and vegetation. [PB 13/06/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nImage used in Jones G.I. The art of Eastern Nigeria. 1984. Cambridge: CUP. Fig 10 p60. Caption: \"Iro Ekpetu : Mau masquerade. Isuochi Ibo\"\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The perfomers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\nAbout the character Iro Ekpetu (Merciless), G.I. Jones writes in the notes: \"There were two of these fierce masks, black with fang-like teeth, wearing a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia, and carrying a wand or a stick with which to threaten the crowd.\"\n\nFM:311769\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171078_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144294_P.171078.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.35496.ACH2", "source_url": "https://collections.maa.cam.ac.uk/photographs/328768", "metadata": {"title": "Untitled", "idno": "N.35496.ACH2", "description": "On Catalogue Card: Ekoi people. No. 21 side face from a village farther N. than the others. He is in a yam stack.", "place": "W Africa; Nigeria; south eastern Nigeria", "cultural_affliation": "", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Unmounted Haddon Collection", "source": "", "format": "Film Negative", "primary_documentation": "", "other_information": "The negative was previously stored in an envelope now numbered C106/105/ which was in a wooden box now marked C106/. The envelope (C106/105/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.", "raw_text_dump": "IDNO\n\nN.35496.ACH2\n\nDescription\n\nOn Catalogue Card: Ekoi people. No. 21 side face from a village farther N. than the others. He is in a yam stack.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nUnmounted Haddon Collection\n\nSource\n\nFormat\n\nFilm Negative\n\nPrimary Documentation\n\nOther Information\n\nThe negative was previously stored in an envelope now numbered C106/105/ which was in a wooden box now marked C106/. The envelope (C106/105/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.\n\nFM:170146\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_35496_ACH2_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/607280_cat.P.7051.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171285.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465346", "metadata": {"title": "Untitled", "idno": "P.171285.GIJ", "description": "View of a painted wooden model of a train inside a building. Electricity pylons run parallel with the track, and in the foreground a man figure wearing a helmet smoking a pipe is sitting on a chair at a table with two glass bottles on it. The interior walls are painted with multi-coloured? patterns. The building has a corrugated iron roof.\nIn the right hand bottom corner of the image the shadow of the tripod, camera and photographer\u2019s arm and body can be seen. [Description from record N.13054.GIJ, PB 18/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Enugu; Nike", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767209.GIJ - P.767210.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171285.GIJ\n\nDescription\n\nView of a painted wooden model of a train inside a building. Electricity pylons run parallel with the track, and in the foreground a man figure wearing a helmet smoking a pipe is sitting on a chair at a table with two glass bottles on it. The interior walls are painted with multi-coloured? patterns. The building has a corrugated iron roof.\nIn the right hand bottom corner of the image the shadow of the tripod, camera and photographer\u2019s arm and body can be seen. [Description from record N.13054.GIJ, PB 18/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Enugu; Nike\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767209.GIJ - P.767210.GIJ are mounted together on card.\n\nFM:311976\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171285_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144501_P.171285.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169858.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463877", "metadata": {"title": "Untitled", "idno": "P.169858.GIJ", "description": "Young men at the front of a crowd of spectators watching a masquerade. [PB 05/01/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Ekpeya", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169858.GIJ\n\nDescription\n\nYoung men at the front of a crowd of spectators watching a masquerade. [PB 05/01/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ekpeya\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310345\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169858_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127817_P.169858.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.170865.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464926", "metadata": {"title": "Untitled", "idno": "P.170865.GIJ", "description": "Head and shoulders portrait of an Igbo man, smiling, and wearing a white collarless shirt. [PB 05/04/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.170860.GIJ - P.170920.GIJ were located in a Derri Boots box, now numbered C765/.P.170865.GIJ", "raw_text_dump": "IDNO\n\nP.170865.GIJ\n\nDescription\n\nHead and shoulders portrait of an Igbo man, smiling, and wearing a white collarless shirt. [PB 05/04/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.170860.GIJ - P.170920.GIJ were located in a Derri Boots box, now numbered C765/.P.170865.GIJ\n\nFM:311523\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170865_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1143907_P.170865.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71501.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364772", "metadata": {"title": "Untitled", "idno": "N.71501.GIJ", "description": "A drawing on a house wall of a \u201cHausa\u201d (zebra style) cow. The drawing is outlined in white and depicts the distinctive hump of the cow, pointed horns, ears, head, three folds of skin on the neck, and long tail. The drawing is on a wall that appears to have a rim around the edge. There is bamboo roofing in a criss-crossed\npattern.\n\nThere is another drawing in the room behind of a horned?man holding a cutlass wearing white? raffia clothing around the wrists, ankles and waist (reminiscent of a masuerade?).", "place": "W Africa; Nigeria; South Eastern Nigeria; near Umuahia; Uzuakoli area", "cultural_affliation": "Ibo [historically Igbo]; Isu Item", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 93 of the negative album now numbered C27/.\n\nContext: Jones discusses different types of wall paintings found in Eastern Nigeria for the Ngwomo ghost houses and the Okwu wall paintings. In the Anna (Western Ibo) area they used to erect monuments for their important dead in the form of conventionalised houses. The clay wall was painted with water-colour frescoes of figures of men, women, animals and objects from everyday life. The cloth \u201cwall\u201d was mainly a display of a bright, gaily patterned cotton print, but in some cases a lighter-coloured cloth was used as a background against which were sewn silhouetted figures cut out of brighter-coloured cloth (Jones, 1984, p.105)\n\nBibliographical Reference: Jones, G.I. 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/11/2007]", "raw_text_dump": "IDNO\n\nN.71501.GIJ\n\nDescription\n\nA drawing on a house wall of a \u201cHausa\u201d (zebra style) cow. The drawing is outlined in white and depicts the distinctive hump of the cow, pointed horns, ears, head, three folds of skin on the neck, and long tail. The drawing is on a wall that appears to have a rim around the edge. There is bamboo roofing in a criss-crossed\npattern.\n\nThere is another drawing in the room behind of a horned?man holding a cutlass wearing white? raffia clothing around the wrists, ankles and waist (reminiscent of a masuerade?).\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Umuahia; Uzuakoli area\n\nCultural Affliation\n\nIbo [historically Igbo]; Isu Item\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 93 of the negative album now numbered C27/.\n\nContext: Jones discusses different types of wall paintings found in Eastern Nigeria for the Ngwomo ghost houses and the Okwu wall paintings. In the Anna (Western Ibo) area they used to erect monuments for their important dead in the form of conventionalised houses. The clay wall was painted with water-colour frescoes of figures of men, women, animals and objects from everyday life. The cloth \u201cwall\u201d was mainly a display of a bright, gaily patterned cotton print, but in some cases a lighter-coloured cloth was used as a background against which were sewn silhouetted figures cut out of brighter-coloured cloth (Jones, 1984, p.105)\n\nBibliographical Reference: Jones, G.I. 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/11/2007]\n\nFM:206151\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71501_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656627_N.71501.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13276.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306548", "metadata": {"title": "Untitled", "idno": "N.13276.GIJ", "description": "A masquerade character called Otili (dancer) performing in the Okwanku masquerade. The masquerader is wearing a wooden round face mask with large round eyes, nose and slit mouth and long raffia hair to the waist. He is wearing shorts, legs are exposed, and anklets. In the background are spectators.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village", "cultural_affliation": "Igbo [historically Ibo]; Ohaffia", "named_person": "Otili; Dancer [names of masque character]", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: This image has been reproduced as a postcard by the University of Cambridge Museum of Archaeology and Anthropology, captioned as follows:\n\u201cNigerian Art\nIbo Masquerades\nNo. 4: Cross River Ibo. Ohaffia Tribe.\n\u2018Okwanku\u2019 Masquerade. Mask called \u2018Otili\u2019.\u201d [JD 11/6/2010]\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ohafia/Abam Igbo\n2. Okwanko masquerade, Akanu Ohafia\n3. Ote Iri mask (2nd image).\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13276.GIJ\n\nDescription\n\nA masquerade character called Otili (dancer) performing in the Okwanku masquerade. The masquerader is wearing a wooden round face mask with large round eyes, nose and slit mouth and long raffia hair to the waist. He is wearing shorts, legs are exposed, and anklets. In the background are spectators.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ohaffia\n\nNamed Person\n\nOtili; Dancer [names of masque character]\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: This image has been reproduced as a postcard by the University of Cambridge Museum of Archaeology and Anthropology, captioned as follows:\n\u201cNigerian Art\nIbo Masquerades\nNo. 4: Cross River Ibo. Ohaffia Tribe.\n\u2018Okwanku\u2019 Masquerade. Mask called \u2018Otili\u2019.\u201d [JD 11/6/2010]\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ohafia/Abam Igbo\n2. Okwanko masquerade, Akanu Ohafia\n3. Ote Iri mask (2nd image).\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\n\n\nFM:147926\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13276_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000539_N.13276.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171579.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465640", "metadata": {"title": "Untitled", "idno": "P.171579.GIJ", "description": "A documentation photograph of the head of an ekwe drum. The head has a roughly craved crest, incised features, and prognathic mouth and jaw. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Emeke Obibi", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171579.GIJ is mounted on card.", "raw_text_dump": "IDNO\n\nP.171579.GIJ\n\nDescription\n\nA documentation photograph of the head of an ekwe drum. The head has a roughly craved crest, incised features, and prognathic mouth and jaw. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Emeke Obibi\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171579.GIJ is mounted on card.\n\nFM:312299\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171579_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144853_P.171579.GIJ_001.jpg"}, {"file_name": "P_171579_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144854_P.171579.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13334.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306606", "metadata": {"title": "Untitled", "idno": "N.13334.GIJ", "description": "An Obugulu mau mask. The mask consists of a side view of an Obugulu Mau helmet mask modelled by a male. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits with rounded pupils, delicate nose, and the mouth is open depicting teeth. There are designs on the cheek and round circles on the side of the face. The top of the mask depicts an elaborate crested coiffure in the central arched area there are pegs which are painted in different colours. The curls or swirled designs are incised to represent hair. The shape of the mask is extended forward at an angle. One can see the holes that were used to sew fabric to the mask. (The masquerader is not wearing a costume which suggests he is not performing). In the background is a thatched area and behind are trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Nsukka division", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "Prior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nsukka Igbo\n3. Masquerader in Nsukka (3rd image).\n\nPublications: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The white-faced helmut type was confined to part of the Northern Ibo area and and to some of the Northern Edo. In the majority of examples the crested area, when scene in profile formed a curve which reached from the back of the head to the top of the forehead, while the mask section was flat and set at an angle to it, either coming down vertically over the actor\u2019s face or being extended forward at an angle (Jones, 1984, p.139)\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nContext: Cole and Aniakor provide further in-depth description about the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 5/12/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13334.GIJ\n\nDescription\n\nAn Obugulu mau mask. The mask consists of a side view of an Obugulu Mau helmet mask modelled by a male. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits with rounded pupils, delicate nose, and the mouth is open depicting teeth. There are designs on the cheek and round circles on the side of the face. The top of the mask depicts an elaborate crested coiffure in the central arched area there are pegs which are painted in different colours. The curls or swirled designs are incised to represent hair. The shape of the mask is extended forward at an angle. One can see the holes that were used to sew fabric to the mask. (The masquerader is not wearing a costume which suggests he is not performing). In the background is a thatched area and behind are trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Nsukka division\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPrior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nsukka Igbo\n3. Masquerader in Nsukka (3rd image).\n\nPublications: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The white-faced helmut type was confined to part of the Northern Ibo area and and to some of the Northern Edo. In the majority of examples the crested area, when scene in profile formed a curve which reached from the back of the head to the top of the forehead, while the mask section was flat and set at an angle to it, either coming down vertically over the actor\u2019s face or being extended forward at an angle (Jones, 1984, p.139)\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nContext: Cole and Aniakor provide further in-depth description about the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 5/12/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147984\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13334_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000597_N.13334.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "T.170070.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464112", "metadata": {"title": "Untitled", "idno": "T.170070.GIJ", "description": "Obugulu Mau (Ghost) masquerade.\n\nA portrait in side profile of Nwabogho Ehi, (Heifer), wearing a helmet mask (painted white and with v-shaped markings above and below the eyes)dressed in a brightly coloured harlequin-like/appliqu\u00e9 costume. Cloth cloak tied around the neck, over ?woven or ?net cloth which is attached to the mask, wrappers around the waist and ankle-rattles, made of ?seeds.\n\nThe masquerader is leaning on a long stick held in his right hand. In his left a chicken is hanging down.\n\nSpectators, mud and thatch houses and trees and vegetation are in the background. [PB 15/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170070.GIJ\n\nDescription\n\nObugulu Mau (Ghost) masquerade.\n\nA portrait in side profile of Nwabogho Ehi, (Heifer), wearing a helmet mask (painted white and with v-shaped markings above and below the eyes)dressed in a brightly coloured harlequin-like/appliqu\u00e9 costume. Cloth cloak tied around the neck, over ?woven or ?net cloth which is attached to the mask, wrappers around the waist and ankle-rattles, made of ?seeds.\n\nThe masquerader is leaning on a long stick held in his right hand. In his left a chicken is hanging down.\n\nSpectators, mud and thatch houses and trees and vegetation are in the background. [PB 15/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310598\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170070_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128225_T.170070.GIJ_001.png"}, {"file_name": "T_170070_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128228_T.170070.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.170864.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464925", "metadata": {"title": "Untitled", "idno": "P.170864.GIJ", "description": "An Ekpe (Egbo) masquerader with a \u2018pathological\u2019 face mask. The mask consists of a black polished oval face with rounded eyes accentuated with white paint, a distorted, crooked nose and deformed mouth. The costume is made of tight fitting netting that is stitched with frayed fringed edges around the chest and the arms. The masquerader is holding a spear in one hand. Male spectators are behind the character and a thatched pitched roof of an open building. [PB 28/03/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; near Umuahia; Uzuakoli area", "cultural_affliation": "Ibibio; Anang", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.170860.GIJ - P.170920.GIJ were located in a Derri Boots box, now numbered C765/.\n\nPublication: Jones G.I., 1984. The Art of Eastern Nigeria. (Cambridge: CUP), fig. 90. [PB 05/04/2024]", "raw_text_dump": "IDNO\n\nP.170864.GIJ\n\nDescription\n\nAn Ekpe (Egbo) masquerader with a \u2018pathological\u2019 face mask. The mask consists of a black polished oval face with rounded eyes accentuated with white paint, a distorted, crooked nose and deformed mouth. The costume is made of tight fitting netting that is stitched with frayed fringed edges around the chest and the arms. The masquerader is holding a spear in one hand. Male spectators are behind the character and a thatched pitched roof of an open building. [PB 28/03/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Umuahia; Uzuakoli area\n\nCultural Affliation\n\nIbibio; Anang\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.170860.GIJ - P.170920.GIJ were located in a Derri Boots box, now numbered C765/.\n\nPublication: Jones G.I., 1984. The Art of Eastern Nigeria. (Cambridge: CUP), fig. 90. [PB 05/04/2024]\n\nFM:311522\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170864_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1143906_P.170864.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171199.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465260", "metadata": {"title": "Untitled", "idno": "P.171199.GIJ", "description": "Oji Onu (long mouth) masquerade character. The wooden mask consists of a long pointed projection, high carinated nose, incised striation markings painted black, white circular ears, and two pointed horns painted white. The masquerader is wearing woven light cloth trousers, tie-dyed or batik top and scarf with a raffia skirt around the waist. He is holding a circular wooden fan? or paddle? in one hand. In the background are spectators and trees.[Description from record P.71583.GIJ, PB 02/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171199.GIJ\n\nDescription\n\nOji Onu (long mouth) masquerade character. The wooden mask consists of a long pointed projection, high carinated nose, incised striation markings painted black, white circular ears, and two pointed horns painted white. The masquerader is wearing woven light cloth trousers, tie-dyed or batik top and scarf with a raffia skirt around the waist. He is holding a circular wooden fan? or paddle? in one hand. In the background are spectators and trees.[Description from record P.71583.GIJ, PB 02/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311890\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171199_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144415_P.171199.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.170274.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464335", "metadata": {"title": "Untitled", "idno": "P.170274.GIJ", "description": "A documentation photograph of a large wooden face mask, with a central crest on top, and a protruding mouth and jaw. The face is incised with parallel, vertical striations on forehead and temples. The mask is for the character Manwu, i.e. ghost. The mask is resting against a white cloth. [PB 07/11/23]", "place": "W Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; England; London; British Museum", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.\n\nRelated Object: This mask is in the British Museum, reference Af1954,23.494.\n\"Height: Height: 29 centimetres\nWidth: Width: 13 centimetres\nDepth: Depth: 10.20 centimetres\nDescription: Carved wood face mask, the face is incised with parallel, vertical striations on forehead and temples. MANWU AFUJA. Used for dancing, can't be seen by women.... the masked person is called MANWU, ie, ghost.\nJeffrey's Collection.\nMMO mask.\" [PB 07/1123]", "raw_text_dump": "IDNO\n\nP.170274.GIJ\n\nDescription\n\nA documentation photograph of a large wooden face mask, with a central crest on top, and a protruding mouth and jaw. The face is incised with parallel, vertical striations on forehead and temples. The mask is for the character Manwu, i.e. ghost. The mask is resting against a white cloth. [PB 07/11/23]\n\nPlace\n\nW Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; England; London; British Museum\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.\n\nRelated Object: This mask is in the British Museum, reference Af1954,23.494.\n\"Height: Height: 29 centimetres\nWidth: Width: 13 centimetres\nDepth: Depth: 10.20 centimetres\nDescription: Carved wood face mask, the face is incised with parallel, vertical striations on forehead and temples. MANWU AFUJA. Used for dancing, can't be seen by women.... the masked person is called MANWU, ie, ghost.\nJeffrey's Collection.\nMMO mask.\" [PB 07/1123]\n\nFM:310832\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170274_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131714_P.170274.GIJ_001.png"}, {"file_name": "P_170274_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131715_P.170274.GIJ_002.png"}, {"file_name": "P_170274_GIJ_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131716_P.170274.GIJ_003.png"}], "source_id": "maa_cambridge"}
{"id": "P.30463.NWT", "source_url": "https://collections.maa.cam.ac.uk/photographs/323735", "metadata": {"title": "Untitled", "idno": "P.30463.NWT", "description": "On Negative Listing: \"2040. 4. Goat skulls on Okike. [Thomas' manuscript on RAI MS 467-2(1801-2475)]\n\nIn Blench and Alexander Catalogue for N. W. Thomas photograph collection: \u201c2040 location: Amobia; associations: religion?;\u201d [printed text]\n\nwithin image in number board: \u201c2040\u201d", "place": "W Africa; Nigeria; south eastern Nigeria; near Awka; Amobia village", "cultural_affliation": "", "named_person": "", "photographer": "Thomas, Northcote Whitridge", "collector_/_expedition": "", "date": "1909 - 1913", "collection_name": "Northcote Thomas Collection", "source": "Thomas, Northcote Whitridge", "format": "Print Black & White", "primary_documentation": "", "other_information": "This print was previously stored in a box in the fourth drawer of a container which has four drawers. The cataloguer has marked the container C70/, the fourth drawer C70/4/ and the box in which this print was kept C70/4/6/.", "raw_text_dump": "IDNO\n\nP.30463.NWT\n\nDescription\n\nOn Negative Listing: \"2040. 4. Goat skulls on Okike. [Thomas' manuscript on RAI MS 467-2(1801-2475)]\n\nIn Blench and Alexander Catalogue for N. W. Thomas photograph collection: \u201c2040 location: Amobia; associations: religion?;\u201d [printed text]\n\nwithin image in number board: \u201c2040\u201d\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; near Awka; Amobia village\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nThomas, Northcote Whitridge\n\nCollector / Expedition\n\nDate\n\n1909 - 1913\n\nCollection Name\n\nNorthcote Thomas Collection\n\nSource\n\nThomas, Northcote Whitridge\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis print was previously stored in a box in the fourth drawer of a container which has four drawers. The cataloguer has marked the container C70/, the fourth drawer C70/4/ and the box in which this print was kept C70/4/6/.\n\n\n\nFM:165113\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_30463_NWT_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/860122_P.30463.NWT_001.png"}, {"file_name": "P_30463_NWT_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/860123_P.30463.NWT_001.png"}, {"file_name": "P_30463_NWT_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/860124_P.30463.NWT_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171186.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465247", "metadata": {"title": "Untitled", "idno": "P.171186.GIJ", "description": "Two Ghost court messengers standing and holding sticks. They are dressed in dark uniforms which consist of long sleeved dark shirts with square pockets, cropped trousers, and knee socks. Sashes are worn across the chest. Their heads are covered with black knitted face masks with two holes for eyes and a hole for the mouth. The features are accentuated by white markings above and below the eyes and on top is a baseball style or cap. with visor. Behind them are ghost police officers armed with their replica rifles. In the background are spectators, trees and vegetation. [Description from record P.71636.GIJ, PB 02/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767109.GIJ - P.767112.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171186.GIJ\n\nDescription\n\nTwo Ghost court messengers standing and holding sticks. They are dressed in dark uniforms which consist of long sleeved dark shirts with square pockets, cropped trousers, and knee socks. Sashes are worn across the chest. Their heads are covered with black knitted face masks with two holes for eyes and a hole for the mouth. The features are accentuated by white markings above and below the eyes and on top is a baseball style or cap. with visor. Behind them are ghost police officers armed with their replica rifles. In the background are spectators, trees and vegetation. [Description from record P.71636.GIJ, PB 02/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767109.GIJ - P.767112.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311877\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171186_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144402_P.171186.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13225.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306497", "metadata": {"title": "Untitled", "idno": "N.13225.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two figures; one is on the ground with legs open and the other is holding the figure and he has an erect penis. The scene is framed with linear and chevron designs around it.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully executed. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13225.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two figures; one is on the ground with legs open and the other is holding the figure and he has an erect penis. The scene is framed with linear and chevron designs around it.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully executed. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\n\n\nFM:147875\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13225_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000488_N.13225.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169746.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463755", "metadata": {"title": "Untitled", "idno": "P.169746.GIJ", "description": "Half-length portrait of a man in profile. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169746.GIJ\n\nDescription\n\nHalf-length portrait of a man in profile. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310233\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169746_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127586_P.169746.GIJ_001.png"}, {"file_name": "P_169746_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127587_P.169746.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171077.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465138", "metadata": {"title": "Untitled", "idno": "P.171077.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade. A group of masqueraders standing in line.\nIn the foreground a masquerader performing in a female masquerade, wearing a helmet mask, and brightly coloured harlequin-like costume covering the whole body. There is a cloth scarf tied round the shoulders, and another cloth around the waist, and ankle-rattles. The names of female mask characters include Nwabogho Efi (Heifer).\nThe other characters standing include \u2018Iro Ekpetu\u2019 or \u2018Merciless\u2019, with a fierce darkened face mask, with eyes and teeth painted white, cloth tights and top, and a raffia skirt. [PB 13/06/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The perfomers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\" [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171077.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade. A group of masqueraders standing in line.\nIn the foreground a masquerader performing in a female masquerade, wearing a helmet mask, and brightly coloured harlequin-like costume covering the whole body. There is a cloth scarf tied round the shoulders, and another cloth around the waist, and ankle-rattles. The names of female mask characters include Nwabogho Efi (Heifer).\nThe other characters standing include \u2018Iro Ekpetu\u2019 or \u2018Merciless\u2019, with a fierce darkened face mask, with eyes and teeth painted white, cloth tights and top, and a raffia skirt. [PB 13/06/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The perfomers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\" [PB 13/06/24]\n\nFM:311768\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171077_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144293_P.171077.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71816.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365087", "metadata": {"title": "Untitled", "idno": "N.71816.GIJ", "description": "A Lughulu \u2018beautiful\u2019 female mask worn by a male; the mask is carved in oval shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long triangular shaped nose, open mouth with teeth painted white, elliptical shaped ears. The top of the mask is made up of a curved arched design. The mask is painted white with black paint which defines the hairline, eyes, mouth and top of the mask; the top of the mask is painted black with white triangular patterns. The male modelling the mask is seated and behind him is a house.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Alayi", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 5 of the negative album now numbered C17/.\n\nP.71728.GIJ to P.71831.GIJ were kept in box 14, now numbered C300/.\nP.71789.GIJ to P.71815.GIJ were found wrapped in paper, now numbered C300/3/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Alayi Igbo (Isu-Ikem)\n3. Mask Ugwu Eke village (7th image).\n\nPublication: Similar images are found in Jones, 1989, p.16, Figure 8. The caption reads: \u201cLughulu masquerade, Ugwueke Alayi town, Isu-Item Ibo. Mask representing a beautiful female spirit.\u201d and in Jones, 1973, Figure 3, p.59.\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that it conforms to a stylized mode which converts the salient features to geometrical forms. In the Isu-Item maskerade, the beautiful female masks are carved in either a rounded or naturalistic mode while the fierce or comic male masks are stylized(Jones, 1973, pp. 60-61).\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]", "raw_text_dump": "IDNO\n\nN.71816.GIJ\n\nDescription\n\nA Lughulu \u2018beautiful\u2019 female mask worn by a male; the mask is carved in oval shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long triangular shaped nose, open mouth with teeth painted white, elliptical shaped ears. The top of the mask is made up of a curved arched design. The mask is painted white with black paint which defines the hairline, eyes, mouth and top of the mask; the top of the mask is painted black with white triangular patterns. The male modelling the mask is seated and behind him is a house.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Alayi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 5 of the negative album now numbered C17/.\n\nP.71728.GIJ to P.71831.GIJ were kept in box 14, now numbered C300/.\nP.71789.GIJ to P.71815.GIJ were found wrapped in paper, now numbered C300/3/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Alayi Igbo (Isu-Ikem)\n3. Mask Ugwu Eke village (7th image).\n\nPublication: Similar images are found in Jones, 1989, p.16, Figure 8. The caption reads: \u201cLughulu masquerade, Ugwueke Alayi town, Isu-Item Ibo. Mask representing a beautiful female spirit.\u201d and in Jones, 1973, Figure 3, p.59.\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that it conforms to a stylized mode which converts the salient features to geometrical forms. In the Isu-Item maskerade, the beautiful female masks are carved in either a rounded or naturalistic mode while the fierce or comic male masks are stylized(Jones, 1973, pp. 60-61).\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]\n\nFM:206466\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71816_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656914_N.71816.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171279.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465340", "metadata": {"title": "Untitled", "idno": "P.171279.GIJ", "description": "An object documentation photograph in profile of a carved alose figure. The figure is of an infant. The top of the head has a hair cap. The forehead is lined with cross-hatched markings. Hair cap, forehead, shoulders, arms and feet are painted in a red pigment. The head, torso and legs are painted white. The ear is rounded and well-defined. Eyes, nose and mouth are small. [PB 18/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Enugu state; Nsukka", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1920; 1989", "collection_name": "Jones Collection", "source": "", "format": "Print Colour", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nIn the letter to G.I. Jones dated 12/7/89, to which the photographs are attached, Jim Dealy writes: \"I'm including a photo of an alusi ... it is the infant of a family group of which two school aged and one adolescent brothers were still together when I bought it and were later sold in Houston, Texas. The dealer gave the carver as Ungokeh of Nsukka (d. about 1920).", "raw_text_dump": "IDNO\n\nP.171279.GIJ\n\nDescription\n\nAn object documentation photograph in profile of a carved alose figure. The figure is of an infant. The top of the head has a hair cap. The forehead is lined with cross-hatched markings. Hair cap, forehead, shoulders, arms and feet are painted in a red pigment. The head, torso and legs are painted white. The ear is rounded and well-defined. Eyes, nose and mouth are small. [PB 18/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Enugu state; Nsukka\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1920; 1989\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Colour\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nIn the letter to G.I. Jones dated 12/7/89, to which the photographs are attached, Jim Dealy writes: \"I'm including a photo of an alusi ... it is the infant of a family group of which two school aged and one adolescent brothers were still together when I bought it and were later sold in Houston, Texas. The dealer gave the carver as Ungokeh of Nsukka (d. about 1920).\n\nFM:311970\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171279_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144495_P.171279.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71802.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365073", "metadata": {"title": "Untitled", "idno": "N.71802.GIJ", "description": "A Lughulu \u2018beautiful\u2019 female mask; the mask is carved in oval shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long triangular shaped nose, open mouth with teeth painted white, elliptical shaped ears and linear markings in the centre of the forehead and to the sides. On top are two carved shapes resembling a coiffure? with incised v-markings. There is white paint/chalk visible on the top right.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Alayi", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 12 of the negative album now numbered C17/.\n\nPublication: Similar images are found in Jones, 1989, p.16, Figure 8. The caption reads: \u201cLughulu masquerade, Ugwueke Alayi town, Isu-Item Ibo. Mask representing a beautiful female spirit.\u201d and in Jones, 1973, Figure 3, p.59.\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that it conforms to a stylized mode which converts the salient features to geometrical forms. In the Isu-Item maskerade, the beautiful female masks are carved in either a rounded or naturalistic mode while the fierce or comic male masks are stylized(Jones, 1973, pp. 60-61).\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]", "raw_text_dump": "IDNO\n\nN.71802.GIJ\n\nDescription\n\nA Lughulu \u2018beautiful\u2019 female mask; the mask is carved in oval shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long triangular shaped nose, open mouth with teeth painted white, elliptical shaped ears and linear markings in the centre of the forehead and to the sides. On top are two carved shapes resembling a coiffure? with incised v-markings. There is white paint/chalk visible on the top right.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Alayi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 12 of the negative album now numbered C17/.\n\nPublication: Similar images are found in Jones, 1989, p.16, Figure 8. The caption reads: \u201cLughulu masquerade, Ugwueke Alayi town, Isu-Item Ibo. Mask representing a beautiful female spirit.\u201d and in Jones, 1973, Figure 3, p.59.\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that it conforms to a stylized mode which converts the salient features to geometrical forms. In the Isu-Item maskerade, the beautiful female masks are carved in either a rounded or naturalistic mode while the fierce or comic male masks are stylized(Jones, 1973, pp. 60-61).\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]\n\nFM:206452\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71802_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656903_N.71802.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71893.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365164", "metadata": {"title": "Untitled", "idno": "N.71893.GIJ", "description": "The exterior of an Obu House which is rectangular in shape, made of mud with open-fenced areas in front of several wooden carvings. The roof of the building appears to be made of corrugated iron and is adorned with metal decorations. In the front is a fenced-in central verandah with people seated. Aruncentre is a large doorway and a corrugated iron roof. Around the house is a slightly raised platform and rocks around the perimeter. In the foreground are cows. In the background are trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 29 of the negative album now numbered C19/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. Obu house Abiriba. (6th image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]", "raw_text_dump": "IDNO\n\nN.71893.GIJ\n\nDescription\n\nThe exterior of an Obu House which is rectangular in shape, made of mud with open-fenced areas in front of several wooden carvings. The roof of the building appears to be made of corrugated iron and is adorned with metal decorations. In the front is a fenced-in central verandah with people seated. Aruncentre is a large doorway and a corrugated iron roof. Around the house is a slightly raised platform and rocks around the perimeter. In the foreground are cows. In the background are trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 29 of the negative album now numbered C19/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. Obu house Abiriba. (6th image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\n\nFM:206543\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71893_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656985_N.71893.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171577.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465638", "metadata": {"title": "Untitled", "idno": "P.171577.GIJ", "description": "A documentation photograph of a carved wooden figure in the shape of an animal (possibly a goat or antelope?). [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171577.GIJ and P.171578.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171577.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden figure in the shape of an animal (possibly a goat or antelope?). [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171577.GIJ and P.171578.GIJ are mounted on card.\n\nFM:312297\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171577_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144849_P.171577.GIJ_001.jpg"}, {"file_name": "P_171577_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144850_P.171577.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171088.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465149", "metadata": {"title": "Untitled", "idno": "P.171088.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nEgu agu (Money Finish) masquerader masquerader and supporters. The helmet shaped wooden mask is painted and consists of an elaborate superstructure which is adorned with pieces of cloth and tassels. A in view profile of the \u2018face\u2019 of mask depicts a white painted face, stylised and delicate eyes, nose and lips and a crescent-shaped design on the face. The upper torso is covered in harlequin cloth and wrappers. The performer is holding a fly whisk in his left hand. Male onlookers are to the side of the performer and in the background are trees and vegetation. [Description from record N.13250.GIJ, PB 13/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Egu Agu (money finish), G.I. Jones writes in the notes: \"A white faced \"Awka\" type of mask with an openwork superstructure of wire or cane covered with coloured wools and wearing a tight fitting costume of cloth covered with appliqued geometric patterns in red, green, blue and other coloured strands of cloth of the typical \"Awka\" Obugulu Mau type. \"Money finish\" indicated the costliness of her maintenance. She had rattles on her ankles and she danced and stamped before the first band, supported by the singing and clapping chorus and led by the piper on his whistle. When she had finished she sat on a chair near by.\"", "raw_text_dump": "IDNO\n\nP.171088.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nEgu agu (Money Finish) masquerader masquerader and supporters. The helmet shaped wooden mask is painted and consists of an elaborate superstructure which is adorned with pieces of cloth and tassels. A in view profile of the \u2018face\u2019 of mask depicts a white painted face, stylised and delicate eyes, nose and lips and a crescent-shaped design on the face. The upper torso is covered in harlequin cloth and wrappers. The performer is holding a fly whisk in his left hand. Male onlookers are to the side of the performer and in the background are trees and vegetation. [Description from record N.13250.GIJ, PB 13/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Egu Agu (money finish), G.I. Jones writes in the notes: \"A white faced \"Awka\" type of mask with an openwork superstructure of wire or cane covered with coloured wools and wearing a tight fitting costume of cloth covered with appliqued geometric patterns in red, green, blue and other coloured strands of cloth of the typical \"Awka\" Obugulu Mau type. \"Money finish\" indicated the costliness of her maintenance. She had rattles on her ankles and she danced and stamped before the first band, supported by the singing and clapping chorus and led by the piper on his whistle. When she had finished she sat on a chair near by.\"\n\nFM:311779\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171088_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144304_P.171088.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169736.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463745", "metadata": {"title": "Untitled", "idno": "P.169736.GIJ", "description": "A half-length portrait of an older Igbo man with a grey beard and moustache. He is wearing a collarless tunic over a vest. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169736.GIJ\n\nDescription\n\nA half-length portrait of an older Igbo man with a grey beard and moustache. He is wearing a collarless tunic over a vest. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310223\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169736_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127566_P.169736.GIJ_001.png"}, {"file_name": "P_169736_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127567_P.169736.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171188.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465249", "metadata": {"title": "Untitled", "idno": "P.171188.GIJ", "description": "Onu Kamma (Mouth stronger than sword) masquerade showing three masqueraders wearing large conical shaped faceless masks made of layers of fibre and with a cloth panel in the front. The masqueraders are wearing tie-dyed/batik? tops and striped woven cloth trousers adorned with fibre skirts around the waist (cowrie shells are seen on the masquerader in the far right.) One of the masqueraders (left) is holding a metal gong. Behind the masqueraders is an attendant and a large crowd of bystanders in the background. [Description from record N.71568.GIJ, PB 02/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767109.GIJ - P.767112.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171188.GIJ\n\nDescription\n\nOnu Kamma (Mouth stronger than sword) masquerade showing three masqueraders wearing large conical shaped faceless masks made of layers of fibre and with a cloth panel in the front. The masqueraders are wearing tie-dyed/batik? tops and striped woven cloth trousers adorned with fibre skirts around the waist (cowrie shells are seen on the masquerader in the far right.) One of the masqueraders (left) is holding a metal gong. Behind the masqueraders is an attendant and a large crowd of bystanders in the background. [Description from record N.71568.GIJ, PB 02/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767109.GIJ - P.767112.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311879\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171188_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144404_P.171188.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13299.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306571", "metadata": {"title": "Untitled", "idno": "N.13299.GIJ", "description": "Close up portrait of a child.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13299.GIJ\n\nDescription\n\nClose up portrait of a child.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147949\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13299_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000562_N.13299.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71570.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364841", "metadata": {"title": "Untitled", "idno": "N.71570.GIJ", "description": "Onu Kamma (Mouth stronger than sword) masquerade showing a close up view of three masqueraders wearing large conical shaped faceless masks made of layers of fibre and with a cloth panel in the front. The masqueraders are wearing tie-dyed/batik? tops and striped woven cloth trousers adorned with fibre skirts around the waist (cowrie shells are seen on the masquerader in the far right.) One of the masqueraders (left) is holding a metal gong and hitting it with a stick, the middle figure is also holding a gong. Behind the masqueraders is a large audience of bystanders in the background.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 39 of the negative album now numbered C15/.T\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 22/10/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71570.GIJ\n\nDescription\n\nOnu Kamma (Mouth stronger than sword) masquerade showing a close up view of three masqueraders wearing large conical shaped faceless masks made of layers of fibre and with a cloth panel in the front. The masqueraders are wearing tie-dyed/batik? tops and striped woven cloth trousers adorned with fibre skirts around the waist (cowrie shells are seen on the masquerader in the far right.) One of the masqueraders (left) is holding a metal gong and hitting it with a stick, the middle figure is also holding a gong. Behind the masqueraders is a large audience of bystanders in the background.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 39 of the negative album now numbered C15/.T\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 22/10/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206220\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71570_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656676_N.71570.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169889.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463908", "metadata": {"title": "Untitled", "idno": "P.169889.GIJ", "description": "Drawing, outlined in white, on wall of a horned man holding a cutlass wearing white? raffia clothing around the wrists, ankles and waist (reminiscent of a masquerade?).\n[Description from record N.71501.GIJ, PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169889.GIJ\n\nDescription\n\nDrawing, outlined in white, on wall of a horned man holding a cutlass wearing white? raffia clothing around the wrists, ankles and waist (reminiscent of a masquerade?).\n[Description from record N.71501.GIJ, PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310376\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169889_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127857_P.169889.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.169744.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463753", "metadata": {"title": "Untitled", "idno": "P.169744.GIJ", "description": "Half-length portrait of a man in a torn shirt. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169744.GIJ\n\nDescription\n\nHalf-length portrait of a man in a torn shirt. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310231\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169744_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127582_P.169744.GIJ_001.png"}, {"file_name": "P_169744_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127583_P.169744.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13215.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306487", "metadata": {"title": "Untitled", "idno": "N.13215.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts three figures walking in a procession. The figures on the left and middle are holding umbrellas and the figure on the right is holding a rifle on his shoulders. A geometric patterned border frames the painting. T", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13215.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts three figures walking in a procession. The figures on the left and middle are holding umbrellas and the figure on the right is holding a rifle on his shoulders. A geometric patterned border frames the painting. T\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147865\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13215_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000477_N.13215.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.35326.ACH2", "source_url": "https://collections.maa.cam.ac.uk/photographs/328598", "metadata": {"title": "Untitled", "idno": "N.35326.ACH2", "description": "On Catalogue Card: A woman of the south Ekoi country.", "place": "W Africa; Nigeria; south eastern Nigeria; Ekoi country", "cultural_affliation": "", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Unmounted Haddon Collection", "source": "", "format": "Film Negative", "primary_documentation": "", "other_information": "The negative was previously stored in an envelope now numbered C106/95/ which was in a wooden box now marked C106/. The envelope (C106/95/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.", "raw_text_dump": "IDNO\n\nN.35326.ACH2\n\nDescription\n\nOn Catalogue Card: A woman of the south Ekoi country.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; Ekoi country\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nUnmounted Haddon Collection\n\nSource\n\nFormat\n\nFilm Negative\n\nPrimary Documentation\n\nOther Information\n\nThe negative was previously stored in an envelope now numbered C106/95/ which was in a wooden box now marked C106/. The envelope (C106/95/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.\n\nFM:169976\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_35326_ACH2_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/607085_cat.P.7049.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.170392.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464453", "metadata": {"title": "Untitled", "idno": "N.170392.GIJ", "description": "A documentary photograph of a carved face mask in polished dark wood. The face is oval in shape with a pointed chin. Hair, forehead and eyebrows have a wave design over down-turned eyelids and broad nose. The mouth has a pursed centre with bowed lips. [PB 24/11/23]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Glass Negative 1/8 plate", "primary_documentation": "", "other_information": "T.170298.GIJ - ??? were located as loose photos and envelopes in an folder box now numbered C760/.\n\nN.7604001.GIJ - N.7604016.GIJ were located in a Kodak transparency box, now numbered C760/4.", "raw_text_dump": "IDNO\n\nN.170392.GIJ\n\nDescription\n\nA documentary photograph of a carved face mask in polished dark wood. The face is oval in shape with a pointed chin. Hair, forehead and eyebrows have a wave design over down-turned eyelids and broad nose. The mouth has a pursed centre with bowed lips. [PB 24/11/23]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nGlass Negative 1/8 plate\n\nPrimary Documentation\n\nOther Information\n\nT.170298.GIJ - ??? were located as loose photos and envelopes in an folder box now numbered C760/.\n\nN.7604001.GIJ - N.7604016.GIJ were located in a Kodak transparency box, now numbered C760/4.\n\nFM:310968\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_170392_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1199401_N.170392.GIJ_001.jpg"}, {"file_name": "N_170392_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1199402_N.170392.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.35311.ACH2", "source_url": "https://collections.maa.cam.ac.uk/photographs/328583", "metadata": {"title": "Untitled", "idno": "N.35311.ACH2", "description": "On Catalogue Card: Hunters. Ekoi country.", "place": "W Africa; Nigeria; south eastern Nigeria; Ekoi country", "cultural_affliation": "", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Unmounted Haddon Collection", "source": "", "format": "Film Negative", "primary_documentation": "", "other_information": "The negative was previously stored in an envelope now numbered C106/80/ which was in a wooden box now marked C106/. The envelope (C106/80/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.", "raw_text_dump": "IDNO\n\nN.35311.ACH2\n\nDescription\n\nOn Catalogue Card: Hunters. Ekoi country.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; Ekoi country\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nUnmounted Haddon Collection\n\nSource\n\nFormat\n\nFilm Negative\n\nPrimary Documentation\n\nOther Information\n\nThe negative was previously stored in an envelope now numbered C106/80/ which was in a wooden box now marked C106/. The envelope (C106/80/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.\n\nFM:169961\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_35311_ACH2_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/607062_cat.P.7044.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.170250.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464311", "metadata": {"title": "Untitled", "idno": "P.170250.GIJ", "description": "A head and shoulder portrait of a masquerader wearing a \u2018Mammy wata \u2019 (mermaid) wooden mask that was used in Rumuji Owu plays. The female mask is naturalistic and consists of a white face with black arched eyedbrows, nose and painted lips and an elaborate braided coiffure painted black, adorned with ribbons and streamers. The character is wearing wire rim glasses and around the elongated neck is a thick necklace. A printed cloth is attached to the base of the mask and is used to cover the wearer\u2019s head and body. In the background is a large crowd of spectators. [Description from record N.12464.GIJ, PB 02/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; South Ikwerri", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170248.GIJ - P.170251.GIJ were located in a paper sleeve, now numbered C759/4.", "raw_text_dump": "IDNO\n\nP.170250.GIJ\n\nDescription\n\nA head and shoulder portrait of a masquerader wearing a \u2018Mammy wata \u2019 (mermaid) wooden mask that was used in Rumuji Owu plays. The female mask is naturalistic and consists of a white face with black arched eyedbrows, nose and painted lips and an elaborate braided coiffure painted black, adorned with ribbons and streamers. The character is wearing wire rim glasses and around the elongated neck is a thick necklace. A printed cloth is attached to the base of the mask and is used to cover the wearer\u2019s head and body. In the background is a large crowd of spectators. [Description from record N.12464.GIJ, PB 02/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; South Ikwerri\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170248.GIJ - P.170251.GIJ were located in a paper sleeve, now numbered C759/4.\n\nFM:310808\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170250_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131600_P.170250.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "T.170056.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464085", "metadata": {"title": "Untitled", "idno": "T.170056.GIJ", "description": "Oganochi, a mgbedike masquerader standing, with legs apart and arms to the side, at an angle to the camera. In the background are spectators seated and standing, a thatched hut and trees. There is an attendant beating a side drum.\n\nThe masquerader is wearing a full length cloth costume with light and dark striped ruffles on body and his upper arms and legs, with porcupine quills hanging from the edges of the ruffles. The masquerader is wearing a dark wooden helmet mask, with white paint accentuating the mouth, teeth and eyes. It is similar to an 'lion elephant mask'. There are two feathers held in the front of the band at the bottom of the horns. On the top of the mask are four carved horns curling inwards, with a carved animal finial joining the tips of the horns. [PB 14/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170056.GIJ\n\nDescription\n\nOganochi, a mgbedike masquerader standing, with legs apart and arms to the side, at an angle to the camera. In the background are spectators seated and standing, a thatched hut and trees. There is an attendant beating a side drum.\n\nThe masquerader is wearing a full length cloth costume with light and dark striped ruffles on body and his upper arms and legs, with porcupine quills hanging from the edges of the ruffles. The masquerader is wearing a dark wooden helmet mask, with white paint accentuating the mouth, teeth and eyes. It is similar to an 'lion elephant mask'. There are two feathers held in the front of the band at the bottom of the horns. On the top of the mask are four carved horns curling inwards, with a carved animal finial joining the tips of the horns. [PB 14/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310584\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170056_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128170_T.170056.GIJ_001.png"}, {"file_name": "T_170056_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128172_T.170056.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "T.170063.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464098", "metadata": {"title": "Untitled", "idno": "T.170063.GIJ", "description": "Obugulu Mau masquerade. Several characters in 'mother' and 'daughter' costumes dancing in line. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appiqued costumes with pointed breasts; their hands and feet are covered with cloth. [PB 14/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170063.GIJ\n\nDescription\n\nObugulu Mau masquerade. Several characters in 'mother' and 'daughter' costumes dancing in line. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appiqued costumes with pointed breasts; their hands and feet are covered with cloth. [PB 14/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310591\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170063_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128197_T.170063.GIJ_001.png"}, {"file_name": "T_170063_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128200_T.170063.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171308.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465369", "metadata": {"title": "Untitled", "idno": "P.171308.GIJ", "description": "Oganochi, a mgbedike masquerader standing, with legs apart and arms to the side, at an angle to the camera. In the background are spectators seated and standing, a thatched hut and trees. There is an attendant beating a side drum.\nThe masquerader is wearing a full length cloth costume with light and dark striped ruffles on body and his upper arms and legs, with porcupine quills hanging from the edges of the ruffles. The masquerader is wearing a dark wooden helmet mask, with white paint accentuating the mouth, teeth and eyes. It is similar to an 'lion elephant mask'. There are two feathers held in the front of the band at the bottom of the horns. On the top of the mask are four carved horns curling inwards, with a carved animal finial joining the tips of the horns. [Description from record T.170056.GIJ, PB 30/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767231.GIJ and P.767234.GIJ are mounted together on paper.", "raw_text_dump": "IDNO\n\nP.171308.GIJ\n\nDescription\n\nOganochi, a mgbedike masquerader standing, with legs apart and arms to the side, at an angle to the camera. In the background are spectators seated and standing, a thatched hut and trees. There is an attendant beating a side drum.\nThe masquerader is wearing a full length cloth costume with light and dark striped ruffles on body and his upper arms and legs, with porcupine quills hanging from the edges of the ruffles. The masquerader is wearing a dark wooden helmet mask, with white paint accentuating the mouth, teeth and eyes. It is similar to an 'lion elephant mask'. There are two feathers held in the front of the band at the bottom of the horns. On the top of the mask are four carved horns curling inwards, with a carved animal finial joining the tips of the horns. [Description from record T.170056.GIJ, PB 30/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767231.GIJ and P.767234.GIJ are mounted together on paper.\n\nFM:311999\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171308_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144524_P.171308.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13282.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306554", "metadata": {"title": "Untitled", "idno": "N.13282.GIJ", "description": "A close up view of a masuqerade character performing in the Okwanku masquerade wearing a wooden face mask with holes for eyes, nose, mouth and two horns on forehead and long raffia hair. In the background is a thatched building.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village", "cultural_affliation": "Igbo [historically Ibo]; Ohaffia", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]", "raw_text_dump": "IDNO\n\nN.13282.GIJ\n\nDescription\n\nA close up view of a masuqerade character performing in the Okwanku masquerade wearing a wooden face mask with holes for eyes, nose, mouth and two horns on forehead and long raffia hair. In the background is a thatched building.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ohaffia\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\n\n\nFM:147932\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13282_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000545_N.13282.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171343.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465404", "metadata": {"title": "Untitled", "idno": "P.171343.GIJ", "description": "A documentation photograph of a painted carved wooden doll-like female figure. The figure is standing on a slatted wooden floor in front of a mud wall.\n\nThe figure is a of a mother carrying a baby in her arms. The mother has long hair parted in the middle, a deep forehead, pointed nose and chin and almond-shaped eyes. Eyebrows, nose, mouth and centre chin are picked out in dark paint. There are geometric shapes painted on the abdomen and legs.\nThe baby is lying horizontally in side profile in the mother's outstretched hands. [Description from record P.170292.GIJ, PB 08/08/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Etinan", "cultural_affliation": "Anang; Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171342.GIJ - P.171348.GIJ were located in a 'Gateway' folder, now numbered C768/1.\n\nP.768002.GIJ and P.768004.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171343.GIJ\n\nDescription\n\nA documentation photograph of a painted carved wooden doll-like female figure. The figure is standing on a slatted wooden floor in front of a mud wall.\n\nThe figure is a of a mother carrying a baby in her arms. The mother has long hair parted in the middle, a deep forehead, pointed nose and chin and almond-shaped eyes. Eyebrows, nose, mouth and centre chin are picked out in dark paint. There are geometric shapes painted on the abdomen and legs.\nThe baby is lying horizontally in side profile in the mother's outstretched hands. [Description from record P.170292.GIJ, PB 08/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Etinan\n\nCultural Affliation\n\nAnang; Ibibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171342.GIJ - P.171348.GIJ were located in a 'Gateway' folder, now numbered C768/1.\n\nP.768002.GIJ and P.768004.GIJ are mounted together on card.\n\n\nFM:312044\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171343_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144559_P.171343.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71853.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365124", "metadata": {"title": "Untitled", "idno": "N.71853.GIJ", "description": "The interior of an Obu House with the close up view of a large wooden sculpture consisting of two carved figures. The top figure is standing on the shoulders of the bottom figure. The top figure is wearing a black hat and a striped cloth. The figure is painted white with black which defines the facial features of eyebrows, eyes, nose, ears, lips, hairline, and markings in the centre of the forehead and on each cheek. The arms are to the side and stylised with incised markings to depict fingers. There are two lines of three squares painted on either side of the embellicus. The figure on the bottom has a rounded face and also painted with black markings anfd a rectangular striped hat with a rounded top and point. The head is rounded and the eyebrows are painted black accentuating the eyes, nose and mouth. The ears are protruding as two dark circles. outlined in white The upper torso consists of markings on the chest and in the centre of the body is a triangular design painted black and white. In the background is a wall with round metal objects, possibly plates?", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 42 of the negative album now numbered C19/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Ikenga Achalla, Nri-Awka Igbo (5th image).\n\nThis negative was found in pocket 48 of the negative album now numbered C19/.\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]", "raw_text_dump": "IDNO\n\nN.71853.GIJ\n\nDescription\n\nThe interior of an Obu House with the close up view of a large wooden sculpture consisting of two carved figures. The top figure is standing on the shoulders of the bottom figure. The top figure is wearing a black hat and a striped cloth. The figure is painted white with black which defines the facial features of eyebrows, eyes, nose, ears, lips, hairline, and markings in the centre of the forehead and on each cheek. The arms are to the side and stylised with incised markings to depict fingers. There are two lines of three squares painted on either side of the embellicus. The figure on the bottom has a rounded face and also painted with black markings anfd a rectangular striped hat with a rounded top and point. The head is rounded and the eyebrows are painted black accentuating the eyes, nose and mouth. The ears are protruding as two dark circles. outlined in white The upper torso consists of markings on the chest and in the centre of the body is a triangular design painted black and white. In the background is a wall with round metal objects, possibly plates?\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 42 of the negative album now numbered C19/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Ikenga Achalla, Nri-Awka Igbo (5th image).\n\nThis negative was found in pocket 48 of the negative album now numbered C19/.\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\nFM:206503\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71853_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656944_N.71853.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169730.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463739", "metadata": {"title": "Untitled", "idno": "P.169730.GIJ", "description": "Portrait of two women and a man; all seated with hands on laps. Woman at left has ?uli body decoration patterns around her arms and torso, man wears a shirt, head-gear (woolly hat) and waist cloth, woman at right wears a waist cloth and leg-ornaments (?rings below knees). [Description from record N.13293.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169730.GIJ\n\nDescription\n\nPortrait of two women and a man; all seated with hands on laps. Woman at left has ?uli body decoration patterns around her arms and torso, man wears a shirt, head-gear (woolly hat) and waist cloth, woman at right wears a waist cloth and leg-ornaments (?rings below knees). [Description from record N.13293.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310217\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169730_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127554_P.169730.GIJ_001.png"}, {"file_name": "P_169730_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127555_P.169730.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13301.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306573", "metadata": {"title": "Untitled", "idno": "N.13301.GIJ", "description": "Close up portrait of a man wearing a torn shirt.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13301.GIJ\n\nDescription\n\nClose up portrait of a man wearing a torn shirt.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147951\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13301_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000564_N.13301.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.170254.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464315", "metadata": {"title": "Untitled", "idno": "P.170254.GIJ", "description": "A documentation photograph of one face, possibly female?, of a Janus helmet head mask. The mask is painted grey. A central panel with a crest with geometric marks separates the two faces. The face has a curved surface with eyebrows, eyes, cheek marks, mouth and ears picked out with ridges. The mouth is a square in which a small animal figures sits. The neck broadens at the base and has holes for attachment of cords. [PB 03/11/2023]", "place": "W Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; Scotland; Glasgow; Hunterian Museum", "cultural_affliation": "", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170252.GIJ - P.170255.GIJ were located in a paper sleeve, now numbered C759/4.", "raw_text_dump": "IDNO\n\nP.170254.GIJ\n\nDescription\n\nA documentation photograph of one face, possibly female?, of a Janus helmet head mask. The mask is painted grey. A central panel with a crest with geometric marks separates the two faces. The face has a curved surface with eyebrows, eyes, cheek marks, mouth and ears picked out with ridges. The mouth is a square in which a small animal figures sits. The neck broadens at the base and has holes for attachment of cords. [PB 03/11/2023]\n\nPlace\n\nW Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; Scotland; Glasgow; Hunterian Museum\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170252.GIJ - P.170255.GIJ were located in a paper sleeve, now numbered C759/4.\n\nFM:310812\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170254_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131604_P.170254.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.170256.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464317", "metadata": {"title": "Untitled", "idno": "P.170256.GIJ", "description": "A documentation photograph on side profile of a Janus faced wooden stool, now in the care of the Tropenmuseum, Amsterdam. The base of the stool has etched triangular decorations. The legs have carved human faces and an animal body and the base of the seat has faces with almond-shaped eyes, wide mouth with teeth. [PB 03/11/2023]", "place": "W Africa; W Europe; Nigeria; Netherlands; South Eastern Nigeria; Benue; Amsterdam; Tropenmuseum", "cultural_affliation": "Idoma", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170255.GIJ - P.170257.GIJ were located loose amongst pile of envelopes and folders.", "raw_text_dump": "IDNO\n\nP.170256.GIJ\n\nDescription\n\nA documentation photograph on side profile of a Janus faced wooden stool, now in the care of the Tropenmuseum, Amsterdam. The base of the stool has etched triangular decorations. The legs have carved human faces and an animal body and the base of the seat has faces with almond-shaped eyes, wide mouth with teeth. [PB 03/11/2023]\n\nPlace\n\nW Africa; W Europe; Nigeria; Netherlands; South Eastern Nigeria; Benue; Amsterdam; Tropenmuseum\n\nCultural Affliation\n\nIdoma\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170255.GIJ - P.170257.GIJ were located loose amongst pile of envelopes and folders.\n\nFM:310814\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170256_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131607_P.170256.GIJ_001.png"}, {"file_name": "P_170256_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131608_P.170256.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13229.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306501", "metadata": {"title": "Untitled", "idno": "N.13229.GIJ", "description": "An object documentation photograph of a stylised carved wooden face mask represnting an animal, with two curling horns on top of the head, protruding ridge from horns down to circular ?snout, four-sided holes and circular protruding patterns either side of ridge.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ogoni", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/3/2008]", "raw_text_dump": "IDNO\n\nN.13229.GIJ\n\nDescription\n\nAn object documentation photograph of a stylised carved wooden face mask represnting an animal, with two curling horns on top of the head, protruding ridge from horns down to circular ?snout, four-sided holes and circular protruding patterns either side of ridge.\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nOgoni\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/3/2008]\n\nFM:147879\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13229_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000492_N.13229.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169636.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463613", "metadata": {"title": "Untitled", "idno": "P.169636.GIJ", "description": "A wood carver carving a mask with a machete for the Rumuji Owu play. The man is sitting on stool and is carving a horizontal shaped mask which appears to have the face of a fish, a round eye, fins and fish tail. The headpiece is resting on a wooden plinth. In the foreground is a collection of metal tools used in carving the mask. The photograph is taken inside. [Description from record N.74282.GIJ, PB 20/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Ikwerri", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.", "raw_text_dump": "IDNO\n\nP.169636.GIJ\n\nDescription\n\nA wood carver carving a mask with a machete for the Rumuji Owu play. The man is sitting on stool and is carving a horizontal shaped mask which appears to have the face of a fish, a round eye, fins and fish tail. The headpiece is resting on a wooden plinth. In the foreground is a collection of metal tools used in carving the mask. The photograph is taken inside. [Description from record N.74282.GIJ, PB 20/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ikwerri\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nFM:310123\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169636_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127341_P.169636.GIJ_001.png"}, {"file_name": "P_169636_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127343_P.169636.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169775.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463784", "metadata": {"title": "Untitled", "idno": "P.169775.GIJ", "description": "A panoramic view of a town, with a citadel in the centre, and a mountain ridge in the background. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169771.GIJ - P.169779.GIJ were located in an brown envelope now numbered C754/6/.", "raw_text_dump": "IDNO\n\nP.169775.GIJ\n\nDescription\n\nA panoramic view of a town, with a citadel in the centre, and a mountain ridge in the background. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169771.GIJ - P.169779.GIJ were located in an brown envelope now numbered C754/6/.\n\nFM:310262\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169775_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127644_P.169775.GIJ_001.png"}, {"file_name": "P_169775_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127645_P.169775.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171116.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465177", "metadata": {"title": "Untitled", "idno": "P.171116.GIJ", "description": "A documentation image of an Idoma mask on display in a museum. The mask has a white painted face with helmet eyebrows, eye slits, nose ridge and mouth, and chin strap painted black. [PB 18/06/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Northern Ibo area", "cultural_affliation": "Idoma", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Colour Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767040.GIJ is mounted on paper.", "raw_text_dump": "IDNO\n\nP.171116.GIJ\n\nDescription\n\nA documentation image of an Idoma mask on display in a museum. The mask has a white painted face with helmet eyebrows, eye slits, nose ridge and mouth, and chin strap painted black. [PB 18/06/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Northern Ibo area\n\nCultural Affliation\n\nIdoma\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Colour Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767040.GIJ is mounted on paper.\n\nFM:311807\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171116_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144332_P.171116.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171584.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465645", "metadata": {"title": "Untitled", "idno": "P.171584.GIJ", "description": "A documentation close up photograph of a carved wooden ancestral female figure, facing the camera. The wood is worn and aged. There is a cord tied around the neck. The head is etched with diagonal lines. There is a single hair crest. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171583.GIJ to P.171585.GIJ are mounted on card.\n\nImages P.171583.GIJ to P.171585.GIJ are of the same figure.", "raw_text_dump": "IDNO\n\nP.171584.GIJ\n\nDescription\n\nA documentation close up photograph of a carved wooden ancestral female figure, facing the camera. The wood is worn and aged. There is a cord tied around the neck. The head is etched with diagonal lines. There is a single hair crest. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171583.GIJ to P.171585.GIJ are mounted on card.\n\nImages P.171583.GIJ to P.171585.GIJ are of the same figure.\n\nFM:312304\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171584_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144863_P.171584.GIJ_001.jpg"}, {"file_name": "P_171584_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144864_P.171584.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171097.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465158", "metadata": {"title": "Untitled", "idno": "P.171097.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nA close up portrait of Iro Ekpetu (\u2018Merciless\u2019). The masquerader is sitting on a chair and wearing a fierce-looking black carved mask with incised decorative design along the lower forehead, white? painted eyes, pointed nose, bulging mouth with protruding teeth painted white?, and a raffia hairpiece, and a cloth top. The masquerader is holding a stick in the left hand. Behind the masquerader is a walled compound with mud hut and thatched roof, trees and vegetation. [Description from record P.71534.GIJ, PB 13/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767019.GIJ - P.767028.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Iro Ekpetu (Merciless), G.I. Jones writes in the notes: \"There were two of these fierce masks, black with fang-like teeth, wearing a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia, and carrying a wand or a stick with which to theaten the crowd.\"", "raw_text_dump": "IDNO\n\nP.171097.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nA close up portrait of Iro Ekpetu (\u2018Merciless\u2019). The masquerader is sitting on a chair and wearing a fierce-looking black carved mask with incised decorative design along the lower forehead, white? painted eyes, pointed nose, bulging mouth with protruding teeth painted white?, and a raffia hairpiece, and a cloth top. The masquerader is holding a stick in the left hand. Behind the masquerader is a walled compound with mud hut and thatched roof, trees and vegetation. [Description from record P.71534.GIJ, PB 13/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767019.GIJ - P.767028.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Iro Ekpetu (Merciless), G.I. Jones writes in the notes: \"There were two of these fierce masks, black with fang-like teeth, wearing a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia, and carrying a wand or a stick with which to theaten the crowd.\"\n\nFM:311788\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171097_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144313_P.171097.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.170267.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464328", "metadata": {"title": "Untitled", "idno": "P.170267.GIJ", "description": "An Ekpo mask in the \"rounded mode\". The features of the mask consist of slit eyes, nose and mouth with jagged teeth, rectangular keloid markings on the side, an incised border or rim around the forehead, the Okpono ring which ios the insigiona of the Idiong society. The mask is dark with a smooth and polished finish. [Description from record N.13169.GIJ, PB 03/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Ukana", "cultural_affliation": "Anang; Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.\n\nPublication: Image published in Jones G.I. The art of eastern Nigeria. 1984 Cambridge: CUP. Fig 41 p 129 and on dust cover, and captioned: \"Ekpo mask: rounded mode (N.M.). Anang (Ibibio).\" [PB 03/11/2023]", "raw_text_dump": "IDNO\n\nP.170267.GIJ\n\nDescription\n\nAn Ekpo mask in the \"rounded mode\". The features of the mask consist of slit eyes, nose and mouth with jagged teeth, rectangular keloid markings on the side, an incised border or rim around the forehead, the Okpono ring which ios the insigiona of the Idiong society. The mask is dark with a smooth and polished finish. [Description from record N.13169.GIJ, PB 03/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Ukana\n\nCultural Affliation\n\nAnang; Ibibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.\n\nPublication: Image published in Jones G.I. The art of eastern Nigeria. 1984 Cambridge: CUP. Fig 41 p 129 and on dust cover, and captioned: \"Ekpo mask: rounded mode (N.M.). Anang (Ibibio).\" [PB 03/11/2023]\n\nFM:310825\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170267_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131699_P.170267.GIJ_001.png"}, {"file_name": "P_170267_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131700_P.170267.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.170285.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464346", "metadata": {"title": "Untitled", "idno": "P.170285.GIJ", "description": "A documentation photograph of a carved wooded face mask with beard and ornamented at the top of the head with five small anthropomorphic figures. Forehead and chin have ichi marks. Nose and mnouth are prominent, with mouth open. [PB 07/11/23]", "place": "W Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; England; London; British Museum", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.\n\nRelated Object: This mask is in the British Museum collection, reference Af1954,23.495.\n\"Height: 50.50 centimetres\nWidth: 32.80 centimetres\nDepth: 17.50 centimetres\nDescription:\n'Carved wood, face mask with beard and ornamented with five small anthropomorphic figures'.\" [PB 07/11/23]", "raw_text_dump": "IDNO\n\nP.170285.GIJ\n\nDescription\n\nA documentation photograph of a carved wooded face mask with beard and ornamented at the top of the head with five small anthropomorphic figures. Forehead and chin have ichi marks. Nose and mnouth are prominent, with mouth open. [PB 07/11/23]\n\nPlace\n\nW Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; England; London; British Museum\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.\n\nRelated Object: This mask is in the British Museum collection, reference Af1954,23.495.\n\"Height: 50.50 centimetres\nWidth: 32.80 centimetres\nDepth: 17.50 centimetres\nDescription:\n'Carved wood, face mask with beard and ornamented with five small anthropomorphic figures'.\" [PB 07/11/23]\n\nFM:310843\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170285_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131747_P.170285.GIJ_001.png"}, {"file_name": "P_170285_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131748_P.170285.GIJ_002.png"}, {"file_name": "P_170285_GIJ_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131749_P.170285.GIJ_003.png"}], "source_id": "maa_cambridge"}
{"id": "N.71849.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365120", "metadata": {"title": "Untitled", "idno": "N.71849.GIJ", "description": "The interior of an Obu House with a view of a three large wooden sculptures. The sculpture on the right is on a column and depicts a frontal view of a \u201chuman\u201d with a stylised face with a crest on the top, a distinctive hair line, arched eyebrows, thick neck, and etched scarification marks in the centre of the torso and around the waist; underneath the figure is a coiled design and a large rounded pedestal which is incised. It appears that another figure is above this one. To the left are two figures on a raised platform in relief form. They are stylised depicting a male and female. They are standing with their arms slightly bent on either side of the form. In the background, there are wooden windows, door and an object hanging from the rafters. There is wall painting around the door and at the top of the door.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 64 of the negative album now numbered C19/.\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]", "raw_text_dump": "IDNO\n\nN.71849.GIJ\n\nDescription\n\nThe interior of an Obu House with a view of a three large wooden sculptures. The sculpture on the right is on a column and depicts a frontal view of a \u201chuman\u201d with a stylised face with a crest on the top, a distinctive hair line, arched eyebrows, thick neck, and etched scarification marks in the centre of the torso and around the waist; underneath the figure is a coiled design and a large rounded pedestal which is incised. It appears that another figure is above this one. To the left are two figures on a raised platform in relief form. They are stylised depicting a male and female. They are standing with their arms slightly bent on either side of the form. In the background, there are wooden windows, door and an object hanging from the rafters. There is wall painting around the door and at the top of the door.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 64 of the negative album now numbered C19/.\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\nFM:206499\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71849_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656940_N.71849.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13181.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306453", "metadata": {"title": "Untitled", "idno": "N.13181.GIJ", "description": "An Ibibio Ekpo society mask. The mask is rounded with a cap like head, high forehead, almond shaped eyes, beak like nose with nostrils, and two protruding ears. The lower jaw is missing. It is made of darkened, polished wood.\n\nObject documentation photograph; mask photographed in front of a plain backdrop.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]", "raw_text_dump": "IDNO\n\nN.13181.GIJ\n\nDescription\n\nAn Ibibio Ekpo society mask. The mask is rounded with a cap like head, high forehead, almond shaped eyes, beak like nose with nostrils, and two protruding ears. The lower jaw is missing. It is made of darkened, polished wood.\n\nObject documentation photograph; mask photographed in front of a plain backdrop.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]\n\n\n\nFM:147831\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13181_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000443_N.13181.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13226.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306498", "metadata": {"title": "Untitled", "idno": "N.13226.GIJ", "description": "Close up photograph of wall painting on the wall of a large building with a corrugated iron roof.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area", "cultural_affliation": "?Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image in Cole and Aniakor, 1984, p.86, Figure 156 with the caption, \u201cPainted scene on an Ekpe house in Umuajata Olokoro. Photo: G.I. Jones, ca. 1935.\u201d\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully executed. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13226.GIJ\n\nDescription\n\nClose up photograph of wall painting on the wall of a large building with a corrugated iron roof.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area\n\nCultural Affliation\n\n?Ibibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image in Cole and Aniakor, 1984, p.86, Figure 156 with the caption, \u201cPainted scene on an Ekpe house in Umuajata Olokoro. Photo: G.I. Jones, ca. 1935.\u201d\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully executed. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\n\n\nFM:147876\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13226_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000489_N.13226.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "T.170051.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464075", "metadata": {"title": "Untitled", "idno": "T.170051.GIJ", "description": "Obugulu Mau daughter masks. Three masqueraders wearing white \u201cdaughter\u201d masks sitting down. The masks consists of white face with black markings and etched markings on the cheeks and forehead. The top of the mask culminates into a rounded superstructure decorated in colourful felt and cloth attached to the back of the mask are strips of cloth and felt. The masqueraders are wearing harlequin-like costumes and white gloves. There are spectators in the background.[Description from record P.71515.GIJ, PB 14/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170051.GIJ\n\nDescription\n\nObugulu Mau daughter masks. Three masqueraders wearing white \u201cdaughter\u201d masks sitting down. The masks consists of white face with black markings and etched markings on the cheeks and forehead. The top of the mask culminates into a rounded superstructure decorated in colourful felt and cloth attached to the back of the mask are strips of cloth and felt. The masqueraders are wearing harlequin-like costumes and white gloves. There are spectators in the background.[Description from record P.71515.GIJ, PB 14/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310579\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170051_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128150_T.170051.GIJ_001.png"}, {"file_name": "T_170051_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128152_T.170051.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171161.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465222", "metadata": {"title": "Untitled", "idno": "P.171161.GIJ", "description": "A close up view of a masquerade character called Ogalanya or (Big Man). The masquerader is seated. He is wearing a white face mask painted with black markings. The eyes, nose, and lips are bordered in black and there is a large rectangular area on the forehead that is incised with geometric striations and painted black, a around his neck is a beaded necklace. Carved on the top of the mask is a white sun helmet with a black border and a feather tucked in. The costume is made of a loose woven tunic dyed in batik tunic, baggy woven trousers and additional plaid cloth. In the background are spectators.\n[Description from record N.71600.GIJ, PB 21/06/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767084.GIJ - P.767087.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171161.GIJ\n\nDescription\n\nA close up view of a masquerade character called Ogalanya or (Big Man). The masquerader is seated. He is wearing a white face mask painted with black markings. The eyes, nose, and lips are bordered in black and there is a large rectangular area on the forehead that is incised with geometric striations and painted black, a around his neck is a beaded necklace. Carved on the top of the mask is a white sun helmet with a black border and a feather tucked in. The costume is made of a loose woven tunic dyed in batik tunic, baggy woven trousers and additional plaid cloth. In the background are spectators.\n[Description from record N.71600.GIJ, PB 21/06/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767084.GIJ - P.767087.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311852\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171161_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144377_P.171161.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169749.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463758", "metadata": {"title": "Untitled", "idno": "P.169749.GIJ", "description": "Half-length portrait of an older man. He is sitting in front of a tree, with buildings in the background. There are pieces of wood and palm thatch on the ground to the left. He is wearing a cord around his neck with an oval shaped piece of shell? wood? at the front. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169749.GIJ\n\nDescription\n\nHalf-length portrait of an older man. He is sitting in front of a tree, with buildings in the background. There are pieces of wood and palm thatch on the ground to the left. He is wearing a cord around his neck with an oval shaped piece of shell? wood? at the front. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310236\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169749_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127592_P.169749.GIJ_001.png"}, {"file_name": "P_169749_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127593_P.169749.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.170871.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464932", "metadata": {"title": "Untitled", "idno": "P.170871.GIJ", "description": "An elder at the Ajonku Masquerade in Ovim Village. The elder is leaning on a stick/cane and is wearing a wrapper tied around his waist and has a piece of cloth resting on his shoulder. Near him are young boys and an older male dressed in white tops and wrappers. In the background are spectators, trees, and buildings. [Description from record P.71829.GIJ, PB 04/04/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Isu Ikuru Ato", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.170860.GIJ - P.170920.GIJ were located in a Derri Boots box, now numbered C765/.", "raw_text_dump": "IDNO\n\nP.170871.GIJ\n\nDescription\n\nAn elder at the Ajonku Masquerade in Ovim Village. The elder is leaning on a stick/cane and is wearing a wrapper tied around his waist and has a piece of cloth resting on his shoulder. Near him are young boys and an older male dressed in white tops and wrappers. In the background are spectators, trees, and buildings. [Description from record P.71829.GIJ, PB 04/04/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isu Ikuru Ato\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.170860.GIJ - P.170920.GIJ were located in a Derri Boots box, now numbered C765/.\n\nFM:311529\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170871_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1143914_P.170871.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171237.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465298", "metadata": {"title": "Untitled", "idno": "P.171237.GIJ", "description": "A close up view of an Mgbedike or Agu neche enyi masquerade character wearing a carved and painted wooden head mask, attached to a feather costume which covers the whole of the top half of the wearer. The \u201canimal-like\u201d mask is carved with two horns, eyes, nose, ears, snout with teeth. It is painted with light pigment, on to which pale spots and lines have been added. [PB 05/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767161.GIJ - P.767162.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171237.GIJ\n\nDescription\n\nA close up view of an Mgbedike or Agu neche enyi masquerade character wearing a carved and painted wooden head mask, attached to a feather costume which covers the whole of the top half of the wearer. The \u201canimal-like\u201d mask is carved with two horns, eyes, nose, ears, snout with teeth. It is painted with light pigment, on to which pale spots and lines have been added. [PB 05/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767161.GIJ - P.767162.GIJ are mounted together on card.\n\nFM:311928\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171237_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144453_P.171237.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171534.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465595", "metadata": {"title": "Untitled", "idno": "P.171534.GIJ", "description": "A documentation photograph of a carved wooden okposi bowl, shaoped as an animal with four legs standing on a base with incised grooves and painted with polkadots. The head of the animal (tortoise?) points downwards, and serves as the handle. Sitting on the rim of the bowl are carved figures, one male the other female. The male has a tall cap, the female a high hair crest. [PB 18/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Ebonyi State; Okposi", "cultural_affliation": "Igbo [historically Ibo]; Oba", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171533.GIJ and P.171534.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171534.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden okposi bowl, shaoped as an animal with four legs standing on a base with incised grooves and painted with polkadots. The head of the animal (tortoise?) points downwards, and serves as the handle. Sitting on the rim of the bowl are carved figures, one male the other female. The male has a tall cap, the female a high hair crest. [PB 18/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ebonyi State; Okposi\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oba\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171533.GIJ and P.171534.GIJ are mounted on card.\n\nFM:312254\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171534_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144762_P.171534.GIJ_001.jpg"}, {"file_name": "P_171534_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144763_P.171534.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.170087.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464147", "metadata": {"title": "Untitled", "idno": "T.170087.GIJ", "description": "A portrait in side profile of a brass-smith sitting cross-legged on a board on top of a folded chair, fitting brass rings on to the legs of a young woman who is sitting on a chair in front of him. The man is just fitting a brass ring to her left leg, her right leg already has rings from her ankle to her thigh. The man is wearing a floppy broad-brimmed hat and a waistcloth. The woman is wearing a patterns head cloth and a wrapped. They are on a pavement in front of a mud brick wall on which is incised (?or embossed) a wheel design. [PB 19/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170087.GIJ\n\nDescription\n\nA portrait in side profile of a brass-smith sitting cross-legged on a board on top of a folded chair, fitting brass rings on to the legs of a young woman who is sitting on a chair in front of him. The man is just fitting a brass ring to her left leg, her right leg already has rings from her ankle to her thigh. The man is wearing a floppy broad-brimmed hat and a waistcloth. The woman is wearing a patterns head cloth and a wrapped. They are on a pavement in front of a mud brick wall on which is incised (?or embossed) a wheel design. [PB 19/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310615\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170087_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128294_T.170087.GIJ_001.png"}, {"file_name": "T_170087_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128295_T.170087.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171250.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465311", "metadata": {"title": "Untitled", "idno": "P.171250.GIJ", "description": "A close up of a character in the ajofia newi ('evil forest') masquerade. [PB 05/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra state; Nnewi; Otolo", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767172.GIJ - P.767174.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171250.GIJ\n\nDescription\n\nA close up of a character in the ajofia newi ('evil forest') masquerade. [PB 05/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra state; Nnewi; Otolo\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767172.GIJ - P.767174.GIJ are mounted together on card.\n\nFM:311941\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171250_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144466_P.171250.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169756.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463765", "metadata": {"title": "Untitled", "idno": "P.169756.GIJ", "description": "Half-length portrait of a young man in profile. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169756.GIJ\n\nDescription\n\nHalf-length portrait of a young man in profile. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310243\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169756_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127606_P.169756.GIJ_001.png"}, {"file_name": "P_169756_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127607_P.169756.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171180.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465241", "metadata": {"title": "Untitled", "idno": "P.171180.GIJ", "description": "Mural decorations on a wall in Nri Akwa. The murals depict two raised figures in relief. The stylised figure on the left is standing with his arms stretched out. The figure has a white painted face, painted clothing and body decorations, and his left arm is holding a gun? and is painted in spots. The figure on the right is standing and has his arms placed on his hips; he is also painted with white markings and wearing a medal around his neck. Around the figures are designs and swirled patterns. A geometric pattern is painted in the far right and a white figure in the far left?[Description from record P.71442.GIJ, PB 21/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nobi", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767100.GIJ - P.767105.GIJ are mounted together on paper.", "raw_text_dump": "IDNO\n\nP.171180.GIJ\n\nDescription\n\nMural decorations on a wall in Nri Akwa. The murals depict two raised figures in relief. The stylised figure on the left is standing with his arms stretched out. The figure has a white painted face, painted clothing and body decorations, and his left arm is holding a gun? and is painted in spots. The figure on the right is standing and has his arms placed on his hips; he is also painted with white markings and wearing a medal around his neck. Around the figures are designs and swirled patterns. A geometric pattern is painted in the far right and a white figure in the far left?[Description from record P.71442.GIJ, PB 21/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nobi\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767100.GIJ - P.767105.GIJ are mounted together on paper.\n\nFM:311871\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171180_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144396_P.171180.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169873.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463892", "metadata": {"title": "Untitled", "idno": "P.169873.GIJ", "description": "A close up portrait of spectators in a masquerade. In the foreground are two men wearing white vests and hats and printed cloth wrappers with cloth belts tied around their waist. [PB 12/01/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169873.GIJ\n\nDescription\n\nA close up portrait of spectators in a masquerade. In the foreground are two men wearing white vests and hats and printed cloth wrappers with cloth belts tied around their waist. [PB 12/01/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310360\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169873_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127837_P.169873.GIJ_001.png"}, {"file_name": "P_169873_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127838_P.169873.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13167.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306439", "metadata": {"title": "Untitled", "idno": "N.13167.GIJ", "description": "Object documentation photograph of two small carved wooden face masks, each with an identification label attached. Each mask has slits for eyes, nose, open mouth with teeth, relief patterns for hair, and for ?scarification on cheeks and forehead.\n\nMasks photographed pinned onto a piece of cloth.", "place": "W Africa; Nigeria; South Eastern Nigeria; Eket division", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: P. A. Talbot was the District Officer in charge of the Eket division at a time when the Ekpo societies were finding themselves fighting a losing battle against a new type of association, the local Christian church....\u201d (Jones, 1984: 69-70.)\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio., though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]", "raw_text_dump": "IDNO\n\nN.13167.GIJ\n\nDescription\n\nObject documentation photograph of two small carved wooden face masks, each with an identification label attached. Each mask has slits for eyes, nose, open mouth with teeth, relief patterns for hair, and for ?scarification on cheeks and forehead.\n\nMasks photographed pinned onto a piece of cloth.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Eket division\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: P. A. Talbot was the District Officer in charge of the Eket division at a time when the Ekpo societies were finding themselves fighting a losing battle against a new type of association, the local Christian church....\u201d (Jones, 1984: 69-70.)\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio., though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]\n\nFM:147817\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13167_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000429_N.13167.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.169787.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463796", "metadata": {"title": "Untitled", "idno": "P.169787.GIJ", "description": "Two men wrestling in front of spectators. The image is taken in action as the two wrestlers tense their leg muscles, and with their arms try to gain a good hold of each other. The men are wearing short wrappers/loin clothes. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169780.GIJ - P.169790.GIJ were located in an brown envelope now numbered C754/7/.", "raw_text_dump": "IDNO\n\nP.169787.GIJ\n\nDescription\n\nTwo men wrestling in front of spectators. The image is taken in action as the two wrestlers tense their leg muscles, and with their arms try to gain a good hold of each other. The men are wearing short wrappers/loin clothes. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169780.GIJ - P.169790.GIJ were located in an brown envelope now numbered C754/7/.\n\nFM:310274\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169787_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127667_P.169787.GIJ_001.png"}, {"file_name": "P_169787_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127668_P.169787.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13323.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306595", "metadata": {"title": "Untitled", "idno": "N.13323.GIJ", "description": "Ogbugulu Mau Mask Series. An Obugulu Mau helmet mask. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with carved teeth. There are black cross designs on the cheek and forehead. The top of the mask consists of an arched crest incised with striations, and with a circular or swirled designs (uli?). A knitted, striped fabric and pieces of felt are attached to the wooden mask.\n\nPhysical Condition: Negative damaged.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "Prior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nThis is the fourth image in the Ogbugulu Mau Mask series of eight photographs.\n\nPublications: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The white-faced helmut type was confined to part of the Northern Ibo area and and to some of the Northern Edo. In the majority of examples the crested area, when scene in profile formed a curve which reached from the back of the head to the top of the forehead, while the mask section was flat and set at an angle to it, either coming down vertically over the actor\u2019s face or being extended forward at an angle (Jones, 1984, p.139)\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nContext: Cole and Aniakor provide further in-depth description about the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13323.GIJ\n\nDescription\n\nOgbugulu Mau Mask Series. An Obugulu Mau helmet mask. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with carved teeth. There are black cross designs on the cheek and forehead. The top of the mask consists of an arched crest incised with striations, and with a circular or swirled designs (uli?). A knitted, striped fabric and pieces of felt are attached to the wooden mask.\n\nPhysical Condition: Negative damaged.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPrior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nThis is the fourth image in the Ogbugulu Mau Mask series of eight photographs.\n\nPublications: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The white-faced helmut type was confined to part of the Northern Ibo area and and to some of the Northern Edo. In the majority of examples the crested area, when scene in profile formed a curve which reached from the back of the head to the top of the forehead, while the mask section was flat and set at an angle to it, either coming down vertically over the actor\u2019s face or being extended forward at an angle (Jones, 1984, p.139)\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nContext: Cole and Aniakor provide further in-depth description about the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147973\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13323_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000586_N.13323.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171192.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465253", "metadata": {"title": "Untitled", "idno": "P.171192.GIJ", "description": "Ogbugulu Mau masquerade, a grandmother mask character. The masquerader is performing in front of an audience. The mask consists of a white face with black markings around the eyes, nose and three linear markings on the forehead. The top of the mask consists of cone-shaped headdress (coiffure) with a curved structure in the centre, painted white and black. There is woven cloth attached to the mask, a scarf tied around the neck and a harlequin-like costume, the sleeves are white covering the hands. In one hand there is a fly whisk and around the ankles are very thick ivory anklets. In the background are spectators and trees. [Description from record P.71517.GIJ, PB 02/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767113.GIJ - P.767116.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171192.GIJ\n\nDescription\n\nOgbugulu Mau masquerade, a grandmother mask character. The masquerader is performing in front of an audience. The mask consists of a white face with black markings around the eyes, nose and three linear markings on the forehead. The top of the mask consists of cone-shaped headdress (coiffure) with a curved structure in the centre, painted white and black. There is woven cloth attached to the mask, a scarf tied around the neck and a harlequin-like costume, the sleeves are white covering the hands. In one hand there is a fly whisk and around the ankles are very thick ivory anklets. In the background are spectators and trees. [Description from record P.71517.GIJ, PB 02/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767113.GIJ - P.767116.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311883\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171192_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144408_P.171192.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.170067.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464107", "metadata": {"title": "Untitled", "idno": "T.170067.GIJ", "description": "A photograph of a image of an Ekpo mask character, wearing a face mask (representation of a face with ears, nose, protruding cheeks, almond shaped slits for eyes, open mouth with carved white? teeth and whiskers on cheeks), with plant fibres covering his head and torso. Holding up a machete in one hand. The face mask is of highly polished darkened wood. There is vegetation in the background. [Description from record P.71392.GIJ, PB 15/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene; Ikot Abia village", "cultural_affliation": "Ibibio; Otoro", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nImage used in Jones G.I. The art of eastern Nigeria. 1984 Cambridge: CUP Fig 37 p 121. Caption: 'Ekpo figure : Ekpo masquerade (N.M.). Anang (Ibibio).'", "raw_text_dump": "IDNO\n\nT.170067.GIJ\n\nDescription\n\nA photograph of a image of an Ekpo mask character, wearing a face mask (representation of a face with ears, nose, protruding cheeks, almond shaped slits for eyes, open mouth with carved white? teeth and whiskers on cheeks), with plant fibres covering his head and torso. Holding up a machete in one hand. The face mask is of highly polished darkened wood. There is vegetation in the background. [Description from record P.71392.GIJ, PB 15/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene; Ikot Abia village\n\nCultural Affliation\n\nIbibio; Otoro\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nImage used in Jones G.I. The art of eastern Nigeria. 1984 Cambridge: CUP Fig 37 p 121. Caption: 'Ekpo figure : Ekpo masquerade (N.M.). Anang (Ibibio).'\n\nFM:310595\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170067_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128214_T.170067.GIJ_001.png"}, {"file_name": "T_170067_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128215_T.170067.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13324.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306596", "metadata": {"title": "Untitled", "idno": "N.13324.GIJ", "description": "An Obugulu Mau helmet mask displayed on a prop. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open depicting teeth. On the forehead is a criss-cross marking in the centre and an elaborate crested coiffure painted black with white circles. The curls are incised to represent hair. The shape of the mask is extended forward at an angle.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka", "cultural_affliation": "Nri-Awka Igbo; Northern Igbo; Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "Prior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nThis is the first image in the Ogbugulu Mau Mask series of eight photographs.\n\nPublications: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The white-faced helmut type was confined to part of the Northern Ibo area and and to some of the Northern Edo. In the majority of examples the crested area, when scene in profile formed a curve which reached from the back of the head to the top of the forehead, while the mask section was flat and set at an angle to it, either coming down vertically over the actor\u2019s face or being extended forward at an angle (Jones, 1984, p.139)\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nContext: Cole and Aniakor provide further in-depth description about the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 7/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13324.GIJ\n\nDescription\n\nAn Obugulu Mau helmet mask displayed on a prop. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open depicting teeth. On the forehead is a criss-cross marking in the centre and an elaborate crested coiffure painted black with white circles. The curls are incised to represent hair. The shape of the mask is extended forward at an angle.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka\n\nCultural Affliation\n\nNri-Awka Igbo; Northern Igbo; Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPrior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nThis is the first image in the Ogbugulu Mau Mask series of eight photographs.\n\nPublications: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The white-faced helmut type was confined to part of the Northern Ibo area and and to some of the Northern Edo. In the majority of examples the crested area, when scene in profile formed a curve which reached from the back of the head to the top of the forehead, while the mask section was flat and set at an angle to it, either coming down vertically over the actor\u2019s face or being extended forward at an angle (Jones, 1984, p.139)\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nContext: Cole and Aniakor provide further in-depth description about the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 7/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147974\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13324_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000587_N.13324.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13214.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306486", "metadata": {"title": "Untitled", "idno": "N.13214.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two figures holding machetes and in the centre of the painting is a goat with a bell around its neck and a swirling snake-like design. There is a geometric border around the painting.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nRelated Image: This negative appears to be a unique image within the MAA Photograph Collections. [JD 11/5/2013]\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13214.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two figures holding machetes and in the centre of the painting is a goat with a bell around its neck and a swirling snake-like design. There is a geometric border around the painting.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nRelated Image: This negative appears to be a unique image within the MAA Photograph Collections. [JD 11/5/2013]\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147864\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13214_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000476_N.13214.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "T.170107.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464168", "metadata": {"title": "Untitled", "idno": "T.170107.GIJ", "description": "Obugulu Mau masquerade, a grandmother mask character. The masquerader is performing in front of an audience. The mask consists of a white face with black markings around the eyes, nose and three linear markings on the forehead. The top of the mask consists of cone-shaped headdress (coiffure) with a curved structure in the centre, painted white and black. There is woven cloth attached to the mask, a scarf tied around the neck and a harlequin-like costume, the sleeves are white covering the hands. In one hand there is a fly whisk and around the ankles are very thick ivory anklets. In the background are spectators and trees. [Description from record P.71517.GIJ, PB 22/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; October 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170107.GIJ\n\nDescription\n\nObugulu Mau masquerade, a grandmother mask character. The masquerader is performing in front of an audience. The mask consists of a white face with black markings around the eyes, nose and three linear markings on the forehead. The top of the mask consists of cone-shaped headdress (coiffure) with a curved structure in the centre, painted white and black. There is woven cloth attached to the mask, a scarf tied around the neck and a harlequin-like costume, the sleeves are white covering the hands. In one hand there is a fly whisk and around the ankles are very thick ivory anklets. In the background are spectators and trees. [Description from record P.71517.GIJ, PB 22/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; October 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310635\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170107_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128337_T.170107.GIJ_001.png"}, {"file_name": "T_170107_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128338_T.170107.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171515.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465576", "metadata": {"title": "Untitled", "idno": "P.171515.GIJ", "description": "A documentation photograph of a carved wooden male figure. The figure has thick legs with notched feet, arms bent at elbow with notched hands facing forwards, a prominent collar, from which drops a necklet formed of four pegs, and and a long neck. The facial features are well-defined with sharp ridges for eyes, eyebrows, and mouth. There are two lozenge-shaped projections from the chin. The figure has a flat headcap. [PB 03/10/24]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1987", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171511.GIJ - P.171522.GIJ were located in a brown folder, now numbered C768/6.", "raw_text_dump": "IDNO\n\nP.171515.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden male figure. The figure has thick legs with notched feet, arms bent at elbow with notched hands facing forwards, a prominent collar, from which drops a necklet formed of four pegs, and and a long neck. The facial features are well-defined with sharp ridges for eyes, eyebrows, and mouth. There are two lozenge-shaped projections from the chin. The figure has a flat headcap. [PB 03/10/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1987\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171511.GIJ - P.171522.GIJ were located in a brown folder, now numbered C768/6.\n\n\nFM:312216\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171515_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144732_P.171515.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71804.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365075", "metadata": {"title": "Untitled", "idno": "N.71804.GIJ", "description": "A Lughulu \u2018beautiful\u2019 female mask; the mask is carved in oval shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long triangular shaped nose, open mouth with teeth painted white, elliptical shaped ears, circular design on temples, and linear markings in the centre of the forehead and to the sides. On top are two carved arched shapes resembling a coiffure?; on one half there is a button attached.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Alayi", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 14 of the negative album now numbered C17/.\n\nPublication: Similar images are found in Jones, 1989, p.16, Figure 8. The caption reads: \u201cLughulu masquerade, Ugwueke Alayi town, Isu-Item Ibo. Mask representing a beautiful female spirit.\u201d and in Jones, 1973, Figure 3, p.59.\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that it conforms to a stylized mode which converts the salient features to geometrical forms. In the Isu-Item maskerade, the beautiful female masks are carved in either a rounded or naturalistic mode while the fierce or comic male masks are stylized(Jones, 1973, pp. 60-61).\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]", "raw_text_dump": "IDNO\n\nN.71804.GIJ\n\nDescription\n\nA Lughulu \u2018beautiful\u2019 female mask; the mask is carved in oval shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long triangular shaped nose, open mouth with teeth painted white, elliptical shaped ears, circular design on temples, and linear markings in the centre of the forehead and to the sides. On top are two carved arched shapes resembling a coiffure?; on one half there is a button attached.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Alayi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 14 of the negative album now numbered C17/.\n\nPublication: Similar images are found in Jones, 1989, p.16, Figure 8. The caption reads: \u201cLughulu masquerade, Ugwueke Alayi town, Isu-Item Ibo. Mask representing a beautiful female spirit.\u201d and in Jones, 1973, Figure 3, p.59.\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that it conforms to a stylized mode which converts the salient features to geometrical forms. In the Isu-Item maskerade, the beautiful female masks are carved in either a rounded or naturalistic mode while the fierce or comic male masks are stylized(Jones, 1973, pp. 60-61).\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]\n\nFM:206454\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71804_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656905_N.71804.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71474.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364745", "metadata": {"title": "Untitled", "idno": "N.71474.GIJ", "description": "Possibly an Ikenga figure. The carved wooden figure shows a head with two pointed horns on a white and black cylindrical base. The face of the figure is painted white with black markings outlining the eyebrows, nose and jutting mouth, there is a piece of pointed wood on top of the forehead and black, pointed horns. On the other side of the base there is a carved eliptical shaped strcuture painted white with black dots.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 65 of the negative album now numbered C16/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Ikenga? Nri-Awka Igbo (9th image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d In reference to Ikenga figures, he writes, \u201c The best known Ibo personal cult and the one that has given rise to the greatest number of carvings is that of Ikenga, a Lower Niger cult of a man\u2019s right arm and of success associated with it, which the Edo shared with the Western, Northern, most of the Southern Ibo and with Igala groups. The Ohuhu-Ngwa, Cross River and Northeastern Ibo did not participate in it. Most Ibo and Edo had a small cylindrical object with some geometrical carving on it and ending in a pair of pointed horns. Some Western Ibo increased the size so that it looked more like a circular stool . Other Ibo and Edo added a head and some carved a whole figure. The Nri-Akwa Ibo produced the most elaborate cult objects and in the greatest number. Older examples carved by them elaborated the horns and the head, which was shown smoking a pipe. Later ones consisted of complete figures which were shown standing or more usually seated on a circular stool with a cutlass in one hand and a human head in the other or, alternatively, holding a tusk horn and an ornamental staff (Jones, 1989, p.40). Also, see Jones, 1984, pp. 141-142.\n\nContext: Cole and Aniakor write in detail about Ikenga (see Chapter Two). They show that the concept of Ikenga reverberates throughout much of Igbo life . These images are found in the shrines of individual diviners and corporate tutelary cults and as representatives of age-grades and communities. ...They continue to describe that the basic Igbo Ikenga image is a human with horns, sometimes rendered very simply as an abstract head and horns base. Larger, more elaborate examples include fully realized males seated on stools, holding and wearing various symbols, and with more or less complex headdresses determined in part by horns and often including several other motifs (Cole and Aniakor, 1984, p.24).\n\nPublications: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]", "raw_text_dump": "IDNO\n\nN.71474.GIJ\n\nDescription\n\nPossibly an Ikenga figure. The carved wooden figure shows a head with two pointed horns on a white and black cylindrical base. The face of the figure is painted white with black markings outlining the eyebrows, nose and jutting mouth, there is a piece of pointed wood on top of the forehead and black, pointed horns. On the other side of the base there is a carved eliptical shaped strcuture painted white with black dots.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 65 of the negative album now numbered C16/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Ikenga? Nri-Awka Igbo (9th image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d In reference to Ikenga figures, he writes, \u201c The best known Ibo personal cult and the one that has given rise to the greatest number of carvings is that of Ikenga, a Lower Niger cult of a man\u2019s right arm and of success associated with it, which the Edo shared with the Western, Northern, most of the Southern Ibo and with Igala groups. The Ohuhu-Ngwa, Cross River and Northeastern Ibo did not participate in it. Most Ibo and Edo had a small cylindrical object with some geometrical carving on it and ending in a pair of pointed horns. Some Western Ibo increased the size so that it looked more like a circular stool . Other Ibo and Edo added a head and some carved a whole figure. The Nri-Akwa Ibo produced the most elaborate cult objects and in the greatest number. Older examples carved by them elaborated the horns and the head, which was shown smoking a pipe. Later ones consisted of complete figures which were shown standing or more usually seated on a circular stool with a cutlass in one hand and a human head in the other or, alternatively, holding a tusk horn and an ornamental staff (Jones, 1989, p.40). Also, see Jones, 1984, pp. 141-142.\n\nContext: Cole and Aniakor write in detail about Ikenga (see Chapter Two). They show that the concept of Ikenga reverberates throughout much of Igbo life . These images are found in the shrines of individual diviners and corporate tutelary cults and as representatives of age-grades and communities. ...They continue to describe that the basic Igbo Ikenga image is a human with horns, sometimes rendered very simply as an abstract head and horns base. Larger, more elaborate examples include fully realized males seated on stools, holding and wearing various symbols, and with more or less complex headdresses determined in part by horns and often including several other motifs (Cole and Aniakor, 1984, p.24).\n\nPublications: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]\n\n\n\nFM:206124\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71474_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656606_N.71474.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "T.170109.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464170", "metadata": {"title": "Untitled", "idno": "T.170109.GIJ", "description": "The Obugulu Mau (Ghost) masquerade.\n\nA masquerader, Nwaogho Ehi, (Heifer), is dancing. He is wearing a helmet mask (painted white and with v-shaped markings above and below the eyes)dressed in a brightly coloured harlequin-like/appliqu\u00e9 costume. He has a cloth cloak tied around the neck, over ?woven or ?net cloth which is attached to the mask, wrappers around the waist and ankle-rattles, made of ?seeds. Mud and thatch houses and trees and vegetation in the background. [PB 22/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170109.GIJ\n\nDescription\n\nThe Obugulu Mau (Ghost) masquerade.\n\nA masquerader, Nwaogho Ehi, (Heifer), is dancing. He is wearing a helmet mask (painted white and with v-shaped markings above and below the eyes)dressed in a brightly coloured harlequin-like/appliqu\u00e9 costume. He has a cloth cloak tied around the neck, over ?woven or ?net cloth which is attached to the mask, wrappers around the waist and ankle-rattles, made of ?seeds. Mud and thatch houses and trees and vegetation in the background. [PB 22/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310637\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170109_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128341_T.170109.GIJ_001.png"}, {"file_name": "T_170109_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128342_T.170109.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71588.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364859", "metadata": {"title": "Untitled", "idno": "N.71588.GIJ", "description": "An unfinished mask of a Policeman modelled by a man sitting down. The head mask is carved and clearly shows the sections or defined areas of the mask. The face is bordered by an oval area and within this area are arched brows, slit eyes, long nose, mouth and rounded ears. The top of the mask is decorated with a scalloped border with a circular \u201chat\u2019 on top. The model is wearing a piece of cloth. In the background is another unfinished mask with horns, pointed projections and an animal on top. In the background are mud and thatch houses.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 44 of the negative album now numbered C15/.\n\nContext: Context: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) (Jones, 1984)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71588.GIJ\n\nDescription\n\nAn unfinished mask of a Policeman modelled by a man sitting down. The head mask is carved and clearly shows the sections or defined areas of the mask. The face is bordered by an oval area and within this area are arched brows, slit eyes, long nose, mouth and rounded ears. The top of the mask is decorated with a scalloped border with a circular \u201chat\u2019 on top. The model is wearing a piece of cloth. In the background is another unfinished mask with horns, pointed projections and an animal on top. In the background are mud and thatch houses.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 44 of the negative album now numbered C15/.\n\nContext: Context: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) (Jones, 1984)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206238\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71588_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656692_N.71588.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171179.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465240", "metadata": {"title": "Untitled", "idno": "P.171179.GIJ", "description": "A painted wooden door, with geometric grooved patterns, including chevrons with crossbars. The door is open and the yard of the compound and buildings can be seen in the background. [PB 21/06/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767100.GIJ - P.767105.GIJ are mounted together on paper.", "raw_text_dump": "IDNO\n\nP.171179.GIJ\n\nDescription\n\nA painted wooden door, with geometric grooved patterns, including chevrons with crossbars. The door is open and the yard of the compound and buildings can be seen in the background. [PB 21/06/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767100.GIJ - P.767105.GIJ are mounted together on paper.\n\nFM:311870\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171179_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144395_P.171179.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171216.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465277", "metadata": {"title": "Untitled", "idno": "P.171216.GIJ", "description": "A documentation image of four carved wooden ikenga shrine objects. From the left: a raised wooden bowl on two columns with a central incised bridge; a double cup on four short legs held in a frame; a flanged ikenga figure; another ikenga figure. [PB 04/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Colour Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767140.GIJ is mounted on paper.", "raw_text_dump": "IDNO\n\nP.171216.GIJ\n\nDescription\n\nA documentation image of four carved wooden ikenga shrine objects. From the left: a raised wooden bowl on two columns with a central incised bridge; a double cup on four short legs held in a frame; a flanged ikenga figure; another ikenga figure. [PB 04/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Colour Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767140.GIJ is mounted on paper.\n\nFM:311907\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171216_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144432_P.171216.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171586.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465647", "metadata": {"title": "Untitled", "idno": "P.171586.GIJ", "description": "A documentation photograph of the head of an ekwe drum. The head is carved as a head with a face. The shoulders and arms are detailed, and the sound hole can be seen. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Orogwe", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171586.GIJ and P.171587.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171586.GIJ\n\nDescription\n\nA documentation photograph of the head of an ekwe drum. The head is carved as a head with a face. The shoulders and arms are detailed, and the sound hole can be seen. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Orogwe\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171586.GIJ and P.171587.GIJ are mounted on card.\n\nFM:312306\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171586_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144867_P.171586.GIJ_001.jpg"}, {"file_name": "P_171586_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144868_P.171586.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.35315.ACH2", "source_url": "https://collections.maa.cam.ac.uk/photographs/328587", "metadata": {"title": "Untitled", "idno": "N.35315.ACH2", "description": "On Catalogue Card: Central \u201cmedicine\u201d of town, \u201cndem avam\u201d, Ekong. Borders of Ekoi and Efik country.", "place": "W Africa; Nigeria; south eastern Nigeria", "cultural_affliation": "", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Unmounted Haddon Collection", "source": "", "format": "Film Negative", "primary_documentation": "", "other_information": "The negative was previously stored in an envelope now numbered C106/84/ which was in a wooden box now marked C106/. The envelope (C106/84/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.", "raw_text_dump": "IDNO\n\nN.35315.ACH2\n\nDescription\n\nOn Catalogue Card: Central \u201cmedicine\u201d of town, \u201cndem avam\u201d, Ekong. Borders of Ekoi and Efik country.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nUnmounted Haddon Collection\n\nSource\n\nFormat\n\nFilm Negative\n\nPrimary Documentation\n\nOther Information\n\nThe negative was previously stored in an envelope now numbered C106/84/ which was in a wooden box now marked C106/. The envelope (C106/84/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.\n\nFM:169965\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_35315_ACH2_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/607069_cat.P.7040.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13174.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306446", "metadata": {"title": "Untitled", "idno": "N.13174.GIJ", "description": "An Ibibio mask. The face is naturalistic and consists of a hihg forehead, almond shaped eyes, long nose, rounded mouth whihc appears to be damaged along the top lip, and two keloids? or ears?.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]", "raw_text_dump": "IDNO\n\nN.13174.GIJ\n\nDescription\n\nAn Ibibio mask. The face is naturalistic and consists of a hihg forehead, almond shaped eyes, long nose, rounded mouth whihc appears to be damaged along the top lip, and two keloids? or ears?.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]\n\n\n\nFM:147824\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13174_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000436_N.13174.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.170398.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464459", "metadata": {"title": "Untitled", "idno": "N.170398.GIJ", "description": "A documentary photograph of a carved face mask in polished dark wood. The face is oval in shape with a pointed chin. Hair, forehead and eyebrows have a wave design over downturned eyelids and broad nose. The mouth has a pursed centre with bowed lips. [PB 24/11/23]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Glass Negative 1/8 plate", "primary_documentation": "", "other_information": "T.170298.GIJ - ??? were located as loose photos and envelopes in an folder box now numbered C760/.\n\nN.7604001.GIJ - N.7604016.GIJ were located in a Kodak transparency box, now numbered C760/4.", "raw_text_dump": "IDNO\n\nN.170398.GIJ\n\nDescription\n\nA documentary photograph of a carved face mask in polished dark wood. The face is oval in shape with a pointed chin. Hair, forehead and eyebrows have a wave design over downturned eyelids and broad nose. The mouth has a pursed centre with bowed lips. [PB 24/11/23]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nGlass Negative 1/8 plate\n\nPrimary Documentation\n\nOther Information\n\nT.170298.GIJ - ??? were located as loose photos and envelopes in an folder box now numbered C760/.\n\nN.7604001.GIJ - N.7604016.GIJ were located in a Kodak transparency box, now numbered C760/4.\n\nFM:310974\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_170398_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1199413_N.170398.GIJ_001.jpg"}, {"file_name": "N_170398_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1199414_N.170398.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171299.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465360", "metadata": {"title": "Untitled", "idno": "P.171299.GIJ", "description": "A portrait of the character Iro Ekpetu (Merciless). The masquerader is wearing a fierce mask, black with fang-like teeth, and a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia. He is carrying a wand or a stick with which to threaten the crowd. Thatched buildings are in the background. [Description from record T.170068.GIJ, PB 30/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767223.GIJ is mounted on card.\n\nPublication: image used in Jones, 1984, Plate 10, p. 60 with the caption: \u201cIro Ekpetu: Mau masquerade. Isuochi Ibo\"", "raw_text_dump": "IDNO\n\nP.171299.GIJ\n\nDescription\n\nA portrait of the character Iro Ekpetu (Merciless). The masquerader is wearing a fierce mask, black with fang-like teeth, and a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia. He is carrying a wand or a stick with which to threaten the crowd. Thatched buildings are in the background. [Description from record T.170068.GIJ, PB 30/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767223.GIJ is mounted on card.\n\nPublication: image used in Jones, 1984, Plate 10, p. 60 with the caption: \u201cIro Ekpetu: Mau masquerade. Isuochi Ibo\"\n\nFM:311990\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171299_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144515_P.171299.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13189.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306461", "metadata": {"title": "Untitled", "idno": "N.13189.GIJ", "description": "A close up view of an Ibibio masquerader crouched down holding the chin of the mask with one hand and a stick in the other. face of the wooden mask is round and consists of a high protuding forehead, slit eyes, nose, two slits on either dies of the nose, open mouth with teeth There is a triangular white border around the forehead with two incised arched hairdesigns ending in coiled braids. The face is dark with white markings under the eyes, on the sides of the cheddks and mouth. Raffia or plant fibre is attached as a \u201charipiece\u201d. In the background are spectators.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Umuahia; Uzuakoli area", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/12/2007]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/12/2007]", "raw_text_dump": "IDNO\n\nN.13189.GIJ\n\nDescription\n\nA close up view of an Ibibio masquerader crouched down holding the chin of the mask with one hand and a stick in the other. face of the wooden mask is round and consists of a high protuding forehead, slit eyes, nose, two slits on either dies of the nose, open mouth with teeth There is a triangular white border around the forehead with two incised arched hairdesigns ending in coiled braids. The face is dark with white markings under the eyes, on the sides of the cheddks and mouth. Raffia or plant fibre is attached as a \u201charipiece\u201d. In the background are spectators.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Umuahia; Uzuakoli area\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/12/2007]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/12/2007]\n\nFM:147839\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13189_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000451_N.13189.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171085.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465146", "metadata": {"title": "Untitled", "idno": "P.171085.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nA portrait of a masquerader identified as Nwabogho Ehi (Heifer) wearing a carved wooden helmet mask with a curved crest, the face of the mask is white with black paint to accentuate the eyes, nose, mouth and facial markings and divided into four diagonals; a cloth scarf is tied around the neck, and a brightly coloured harlequin-like costume. [PB 13/06/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767004.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nImage used in Jones G.I. The art of Eastern Nigeria. 1984. Cambridge: CUP. Fig 11 p61. Caption: \"Nwabogho Efi (Heifer) : Obigulu Mau masquerade. Isuochi Ibo\"\n\nRelated Archive: Jones notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The peformers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\n\"A name given to young and comely, young unmarried woman. This was a typical \"Awka\" helmet mask with a white female face and a crested mud and charcoal hair do. She danced in a similar manner and mimed before the second hand band with the same piping, directing and supporting singing chorus and then sat on a chair nearby\"", "raw_text_dump": "IDNO\n\nP.171085.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nA portrait of a masquerader identified as Nwabogho Ehi (Heifer) wearing a carved wooden helmet mask with a curved crest, the face of the mask is white with black paint to accentuate the eyes, nose, mouth and facial markings and divided into four diagonals; a cloth scarf is tied around the neck, and a brightly coloured harlequin-like costume. [PB 13/06/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767004.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nImage used in Jones G.I. The art of Eastern Nigeria. 1984. Cambridge: CUP. Fig 11 p61. Caption: \"Nwabogho Efi (Heifer) : Obigulu Mau masquerade. Isuochi Ibo\"\n\nRelated Archive: Jones notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The peformers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\n\"A name given to young and comely, young unmarried woman. This was a typical \"Awka\" helmet mask with a white female face and a crested mud and charcoal hair do. She danced in a similar manner and mimed before the second hand band with the same piping, directing and supporting singing chorus and then sat on a chair nearby\"\n\nFM:311776\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171085_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144301_P.171085.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169688.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463697", "metadata": {"title": "Untitled", "idno": "P.169688.GIJ", "description": "A group of human remains, including one skull and several bones. The remains are lying in open ground. [PB 24/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169680.GIJ - P.169690.GIJ were located in a brown envelope now numbered C754/3/.", "raw_text_dump": "IDNO\n\nP.169688.GIJ\n\nDescription\n\nA group of human remains, including one skull and several bones. The remains are lying in open ground. [PB 24/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169680.GIJ - P.169690.GIJ were located in a brown envelope now numbered C754/3/.\n\nFM:310175\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169688_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127471_image_not_public.jpg"}, {"file_name": "P_169688_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127472_P.169688.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13275.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306547", "metadata": {"title": "Untitled", "idno": "N.13275.GIJ", "description": "Two masquerade characters called Onyenachumiri (raindriver) and the other is ? Dibia performing in the Okwanku masquerade. The dibia is reviving the raindriver.\n\nThe raindriver is lying on the ground with his legs stretched out, wearing wellies (gumboots) and holding a broom in one hand. The raindriver is wearing a wooden face mask with long raffia hair attached, a hat and a printed cloth. The dibia is leaning beside him with one hand stretched out on to the raindriver\u2019s stomach. The face mask of the dibia is wooden with long raffia hair attached. In the background is another masquerade character called Obaji who is standing behind and holding a broom. He wearing a wooden face mask with long raffia hair, a hat, and a printed cloth around his waist. In the background is a crowd of spectators and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village", "cultural_affliation": "Igbo [historically Ibo]; Ohaffia", "named_person": "Onyechumiri; Rain Driver; Dibia; Doctor [names of mask characters]", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image is reproduced in Jones, 1989, Figure 50 p. 58, with the caption \u201cOkwanku masquerade. Akanu town. Ohaffia tribe, Cross River Ibo. Dibia (doctor) with his bag of medicines. Onyechumirir (Rain Driver) with gum boots and broom to drive the rain away and, in begrimed straw hat, Obaji (Chin Beard). Dibia, having poisoned Onyechumiri, is now trying to revive him.\u201d\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ohafia/Abam Igbo\n2. Okwanko masquerade, Akanu Ohafia\n3. The dibia Obia revives another other dibia after their battle of medicine (5th image).\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13275.GIJ\n\nDescription\n\nTwo masquerade characters called Onyenachumiri (raindriver) and the other is ? Dibia performing in the Okwanku masquerade. The dibia is reviving the raindriver.\n\nThe raindriver is lying on the ground with his legs stretched out, wearing wellies (gumboots) and holding a broom in one hand. The raindriver is wearing a wooden face mask with long raffia hair attached, a hat and a printed cloth. The dibia is leaning beside him with one hand stretched out on to the raindriver\u2019s stomach. The face mask of the dibia is wooden with long raffia hair attached. In the background is another masquerade character called Obaji who is standing behind and holding a broom. He wearing a wooden face mask with long raffia hair, a hat, and a printed cloth around his waist. In the background is a crowd of spectators and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ohaffia\n\nNamed Person\n\nOnyechumiri; Rain Driver; Dibia; Doctor [names of mask characters]\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image is reproduced in Jones, 1989, Figure 50 p. 58, with the caption \u201cOkwanku masquerade. Akanu town. Ohaffia tribe, Cross River Ibo. Dibia (doctor) with his bag of medicines. Onyechumirir (Rain Driver) with gum boots and broom to drive the rain away and, in begrimed straw hat, Obaji (Chin Beard). Dibia, having poisoned Onyechumiri, is now trying to revive him.\u201d\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ohafia/Abam Igbo\n2. Okwanko masquerade, Akanu Ohafia\n3. The dibia Obia revives another other dibia after their battle of medicine (5th image).\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147925\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13275_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000538_N.13275.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71499.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364770", "metadata": {"title": "Untitled", "idno": "N.71499.GIJ", "description": "Two bottles carved out of hard wood in shape of local clay ones. They are hollow and will hold liquids! The technique is to cut a piece out of the side to enable one to hollow the interior and then replace it. The bottle on the left is comprised of a handle with wooden supports around the base. The neck of the bottle is plain with coiled rings and the body of the bottle is incised with geometric relief decorations, cross-hatching patterns, zigzag designs, striations and with lettering, \u201cOFUNWA\u201d. The bottle on the right consists of a handle, the neck of the bottle is plain with coiled rings and the body of the bottle is incised with geometric relief decorations, zigzags, striations, lines and cross-hatching. In the background is a brick wall.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 8 of the negative album now numbered C27/.\nP.71498.GIJ was presumed to have come from box 5, now numbered C302/.\n\nPublication: Same photograph is found in Jones, 1989, Plate 22, p. 28. The caption reads, \u201cWooden bottles, Akwa town, Nri-Akwa Ibo. Carved in the form of earthenware palm wine jars.\u201d Similar designs can be found on ceramic pots, see Cole and Aniakor, 1984, pp. 78-79. In reference to carved panels, geometric designs predominate regardless of region, and rectangular panels are commonly subdivided, often by large circular, oval, or triangular motifs which are partly or wholly filled-in with close parallel lines or cross hatching (p.71).\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Other Igbo cultural items\n3. Bottles carved out of wood (19th image).\n\nContext: Jones writes that, \u201cto prove their expertise, the Ibo also occasionally carved wooden bottles in imitation of local earthenware ones \u201c (as depicted in this photograph) . Jones, 1989, p.28. The symbolism of geometric motifs found in Ibo carvings, especially in relation to panels, is discussed in detail in Cole and Aniakor, 1984, p.71.\n\nBibliographical Reference: Jones, G.I. 1989. Ibo Art (Shire);\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]", "raw_text_dump": "IDNO\n\nN.71499.GIJ\n\nDescription\n\nTwo bottles carved out of hard wood in shape of local clay ones. They are hollow and will hold liquids! The technique is to cut a piece out of the side to enable one to hollow the interior and then replace it. The bottle on the left is comprised of a handle with wooden supports around the base. The neck of the bottle is plain with coiled rings and the body of the bottle is incised with geometric relief decorations, cross-hatching patterns, zigzag designs, striations and with lettering, \u201cOFUNWA\u201d. The bottle on the right consists of a handle, the neck of the bottle is plain with coiled rings and the body of the bottle is incised with geometric relief decorations, zigzags, striations, lines and cross-hatching. In the background is a brick wall.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 8 of the negative album now numbered C27/.\nP.71498.GIJ was presumed to have come from box 5, now numbered C302/.\n\nPublication: Same photograph is found in Jones, 1989, Plate 22, p. 28. The caption reads, \u201cWooden bottles, Akwa town, Nri-Akwa Ibo. Carved in the form of earthenware palm wine jars.\u201d Similar designs can be found on ceramic pots, see Cole and Aniakor, 1984, pp. 78-79. In reference to carved panels, geometric designs predominate regardless of region, and rectangular panels are commonly subdivided, often by large circular, oval, or triangular motifs which are partly or wholly filled-in with close parallel lines or cross hatching (p.71).\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Other Igbo cultural items\n3. Bottles carved out of wood (19th image).\n\nContext: Jones writes that, \u201cto prove their expertise, the Ibo also occasionally carved wooden bottles in imitation of local earthenware ones \u201c (as depicted in this photograph) . Jones, 1989, p.28. The symbolism of geometric motifs found in Ibo carvings, especially in relation to panels, is discussed in detail in Cole and Aniakor, 1984, p.71.\n\nBibliographical Reference: Jones, G.I. 1989. Ibo Art (Shire);\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]\n\nFM:206149\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71499_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656626_N.71499.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169743.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463752", "metadata": {"title": "Untitled", "idno": "P.169743.GIJ", "description": "Half-length portrait of a man wearing a torn shirt. [Description from record N.13301.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169743.GIJ\n\nDescription\n\nHalf-length portrait of a man wearing a torn shirt. [Description from record N.13301.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310230\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169743_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127580_P.169743.GIJ_001.png"}, {"file_name": "P_169743_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127581_P.169743.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.170236.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464297", "metadata": {"title": "Untitled", "idno": "P.170236.GIJ", "description": "A documentation photograph in side profile of a wooden face mask combining human and animal features. The mask has a mouth shaped like a hornbill bird's beak, a short pointed nose, raised eyebrows and almond-shaped eyeholes. The mask is supported by a stick. [PB 02/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Akwa Ibom State; Nto Edino", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170232.GIJ - P.170243.GIJ were located in a brown envelope, now numbered C759/1.", "raw_text_dump": "IDNO\n\nP.170236.GIJ\n\nDescription\n\nA documentation photograph in side profile of a wooden face mask combining human and animal features. The mask has a mouth shaped like a hornbill bird's beak, a short pointed nose, raised eyebrows and almond-shaped eyeholes. The mask is supported by a stick. [PB 02/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Akwa Ibom State; Nto Edino\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170232.GIJ - P.170243.GIJ were located in a brown envelope, now numbered C759/1.\n\nFM:310794\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170236_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131572_P.170236.GIJ_001.png"}, {"file_name": "P_170236_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131573_P.170236.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169853.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463869", "metadata": {"title": "Untitled", "idno": "P.169853.GIJ", "description": "A full length portrait from side view of a masquerade character in the Ogbukere masquerade. The mask consists of a wooden horizontal base that is abstract and displays various geometric shapes and protrusions. There are several man in attendance, some carrying sticks.\n\n[PB 05/01/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross Rivers State", "cultural_affliation": "Igbo {Ibo]; South Ikwerri", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169853.GIJ\n\nDescription\n\nA full length portrait from side view of a masquerade character in the Ogbukere masquerade. The mask consists of a wooden horizontal base that is abstract and displays various geometric shapes and protrusions. There are several man in attendance, some carrying sticks.\n\n[PB 05/01/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross Rivers State\n\nCultural Affliation\n\nIgbo {Ibo]; South Ikwerri\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310340\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169853_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127804_P.169853.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.169687.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463696", "metadata": {"title": "Untitled", "idno": "P.169687.GIJ", "description": "A group of human remains, including three skulls. The remains are clustered in the leafy undergrowth of a tree. [PB 24/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169680.GIJ - P.169690.GIJ were located in a brown envelope now numbered C754/3/.", "raw_text_dump": "IDNO\n\nP.169687.GIJ\n\nDescription\n\nA group of human remains, including three skulls. The remains are clustered in the leafy undergrowth of a tree. [PB 24/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169680.GIJ - P.169690.GIJ were located in a brown envelope now numbered C754/3/.\n\nFM:310174\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169687_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127469_image_not_public.jpg"}, {"file_name": "P_169687_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127470_P.169687.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71333.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364604", "metadata": {"title": "Untitled", "idno": "N.71333.GIJ", "description": "A masquerader sitting on a chair in an Ikem Play. The mask consists of a naturalistic female face that depicts inset eyes, arched black eyebrows, nose, open painted mouth, ears, black dots on the cheeks and a black line from the nose to the mouth. The hairstyle is an elaborate coiffure painted black and consisting of a cone shaped hair with twisted braids The face is varnished and around the neck is a necklace. Around the upper body is square shaped frame that is covered in a printed cloth and tied around the waist is a striped woven cloth and seed anklets. Leaning next to the chair is an umbrella. An attendant is next to the masquerader. He is wearing a white shirt, plaid wrapper, a seed belt around the waist, and holding two sticks in one and. In the background are spectators and thatched buildings.", "place": "W Africa; Nigeria; South Eastern Nigeria; Umuahia", "cultural_affliation": "Ibibio", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 80 of the negative album now numbered C21/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ibibio, Ijo and Ogoni\n2. Ibibio\n3. Ikem Masquerade (8th image).\n\nContext: Jones writes about the Cross River Style and the Modern Anang (Ibibio) style . He notes, \u201cThe Cross River masquerade called Ikem spread from Old Calabar to the Ibibio country in the early decades of the twentieth century and Anang carvers were producing by the 1930s, if not well before this, skin-covered heads in this style equal to the best that had been made in Ejagham country and in Old Calabar. There were certain minor differences that distinguished these Anang heads, the most obvious being their drooping upper eyelids. The Ikem masquerade and heads in this modified Cross River diffused into the Umuahia area and as far north as Ozu Item. But the Ikem masquerade seems to have inspired the Akang to produce similar masquerades and their own variant of these heads in what was locally held to be a completely naturalistic style. The hair, eyes and lips were painted in natural colours and in place of the covering of skin the face and neck were painted with clear varnish(as in the photograph). The associated masquerade, which received different names in different areas, was spread widely to their Ibibio and Ibo neighbours. During the colonial period there was an increasing demand for Anang sculpture but primarily for masks, heads and figures in this modern naturalistic style. For it was a very successful compromise between the Traditional Anang (Ibibio) and the \u2018traditional European\u2019 style, meaning by the latter term Victorian naturalism and the classical Greek sculpture which inspired it. Europeans bought this sculpture because it looked sufficiently African but not too African. Nigerians bought it because it looked sufficiently modern and European. In response to this demand Anang carvers developed a minor local industry in the Ikot Ekpene district mass-producing inferior masks, heads, and dolls. The inferiority was due primarily for the buyers\u2019 reluctance to pay for something better (Jones, 1984, pp. 184-185).\u201d\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 16/1/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71333.GIJ\n\nDescription\n\nA masquerader sitting on a chair in an Ikem Play. The mask consists of a naturalistic female face that depicts inset eyes, arched black eyebrows, nose, open painted mouth, ears, black dots on the cheeks and a black line from the nose to the mouth. The hairstyle is an elaborate coiffure painted black and consisting of a cone shaped hair with twisted braids The face is varnished and around the neck is a necklace. Around the upper body is square shaped frame that is covered in a printed cloth and tied around the waist is a striped woven cloth and seed anklets. Leaning next to the chair is an umbrella. An attendant is next to the masquerader. He is wearing a white shirt, plaid wrapper, a seed belt around the waist, and holding two sticks in one and. In the background are spectators and thatched buildings.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Umuahia\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 80 of the negative album now numbered C21/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ibibio, Ijo and Ogoni\n2. Ibibio\n3. Ikem Masquerade (8th image).\n\nContext: Jones writes about the Cross River Style and the Modern Anang (Ibibio) style . He notes, \u201cThe Cross River masquerade called Ikem spread from Old Calabar to the Ibibio country in the early decades of the twentieth century and Anang carvers were producing by the 1930s, if not well before this, skin-covered heads in this style equal to the best that had been made in Ejagham country and in Old Calabar. There were certain minor differences that distinguished these Anang heads, the most obvious being their drooping upper eyelids. The Ikem masquerade and heads in this modified Cross River diffused into the Umuahia area and as far north as Ozu Item. But the Ikem masquerade seems to have inspired the Akang to produce similar masquerades and their own variant of these heads in what was locally held to be a completely naturalistic style. The hair, eyes and lips were painted in natural colours and in place of the covering of skin the face and neck were painted with clear varnish(as in the photograph). The associated masquerade, which received different names in different areas, was spread widely to their Ibibio and Ibo neighbours. During the colonial period there was an increasing demand for Anang sculpture but primarily for masks, heads and figures in this modern naturalistic style. For it was a very successful compromise between the Traditional Anang (Ibibio) and the \u2018traditional European\u2019 style, meaning by the latter term Victorian naturalism and the classical Greek sculpture which inspired it. Europeans bought this sculpture because it looked sufficiently African but not too African. Nigerians bought it because it looked sufficiently modern and European. In response to this demand Anang carvers developed a minor local industry in the Ikot Ekpene district mass-producing inferior masks, heads, and dolls. The inferiority was due primarily for the buyers\u2019 reluctance to pay for something better (Jones, 1984, pp. 184-185).\u201d\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 16/1/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:205983\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71333_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656561_N.71333.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "T.170126.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464187", "metadata": {"title": "Untitled", "idno": "T.170126.GIJ", "description": "Wall paintings on the low front wall of a meeting house in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. On the left side of the entrance steps the painting depicts a stylised insect and people, on the right a policeman, an antelope and a man holding reins. The scenes are framed with linear and chevron designs around them. The meeting house has a square footprint, pillars and a corrugated roof. [PB 29/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River Area", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170126.GIJ\n\nDescription\n\nWall paintings on the low front wall of a meeting house in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. On the left side of the entrance steps the painting depicts a stylised insect and people, on the right a policeman, an antelope and a man holding reins. The scenes are framed with linear and chevron designs around them. The meeting house has a square footprint, pillars and a corrugated roof. [PB 29/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River Area\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310654\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170126_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128375_T.170126.GIJ_001.png"}, {"file_name": "T_170126_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128376_T.170126.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13196.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306468", "metadata": {"title": "Untitled", "idno": "N.13196.GIJ", "description": "A modern Anang female doll figure. The doll is carved in wood and painted in a \u2018naturalistic style\u2019. The face consists of a large eyes accentuated with black eyebrows, nose, and lips with two black linear marks on either side of the mouth; the hair is painted black and parted in the middle with an elaborate braided coiffure, elongated neck painted with dots and adorned with a necklace. The arms are stretched forward and there are decorative designs around the shoulders, and a dotted linear line down the centre of the chest with a protruding umbilicus. She is dressed in a plaid waist cloth or wrapper and her feet are painted a dark colour.\n\nObject documentation photograph.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Anang; Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ibibio, Ijo and Ogoni\n2. Ibibio\n3. Child\u2019s doll (5th image).\n\nContext: Jones writes about the shift from skin covered masks and sculpture to a more naturalistic approach. \u201cThe Modern Anang (Ibibio) style diffused into a \u2018naturalistic style\u2019 in which the hair, eyes and lips were painted in natural colours and in place of the covering of skin the face and neck were painted with clear varnish. The associated masquerade, which received different names in different areas, was spread widely to their Ibibio and Ibo neighbours. During the colonial period there was an increasing demand for Anang sculpture but primarily for masks, heads and figures in this modern naturalistic style. For it was a very successful compromise between the Traditional Anang (Ibibio) and the \u2018traditional European\u2019 style, meaning by the latter term Victorian naturalism and the classical Greek sculpture which inspired it. Europeans bought this sculpture because it looked sufficiently African but not too African. Nigerians bought it because it looked sufficiently modern and European. In response to this demand Anang carvers developed a minor local industry in the Ikot Ekpene district mass-producing inferior masks, heads, and dolls. The inferiority was due primarily for the buyers\u2019 reluctance to pay for something better (Jones, 1984, pp. 184-185).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 15/1/2008]", "raw_text_dump": "IDNO\n\nN.13196.GIJ\n\nDescription\n\nA modern Anang female doll figure. The doll is carved in wood and painted in a \u2018naturalistic style\u2019. The face consists of a large eyes accentuated with black eyebrows, nose, and lips with two black linear marks on either side of the mouth; the hair is painted black and parted in the middle with an elaborate braided coiffure, elongated neck painted with dots and adorned with a necklace. The arms are stretched forward and there are decorative designs around the shoulders, and a dotted linear line down the centre of the chest with a protruding umbilicus. She is dressed in a plaid waist cloth or wrapper and her feet are painted a dark colour.\n\nObject documentation photograph.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nAnang; Ibibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ibibio, Ijo and Ogoni\n2. Ibibio\n3. Child\u2019s doll (5th image).\n\nContext: Jones writes about the shift from skin covered masks and sculpture to a more naturalistic approach. \u201cThe Modern Anang (Ibibio) style diffused into a \u2018naturalistic style\u2019 in which the hair, eyes and lips were painted in natural colours and in place of the covering of skin the face and neck were painted with clear varnish. The associated masquerade, which received different names in different areas, was spread widely to their Ibibio and Ibo neighbours. During the colonial period there was an increasing demand for Anang sculpture but primarily for masks, heads and figures in this modern naturalistic style. For it was a very successful compromise between the Traditional Anang (Ibibio) and the \u2018traditional European\u2019 style, meaning by the latter term Victorian naturalism and the classical Greek sculpture which inspired it. Europeans bought this sculpture because it looked sufficiently African but not too African. Nigerians bought it because it looked sufficiently modern and European. In response to this demand Anang carvers developed a minor local industry in the Ikot Ekpene district mass-producing inferior masks, heads, and dolls. The inferiority was due primarily for the buyers\u2019 reluctance to pay for something better (Jones, 1984, pp. 184-185).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 15/1/2008]\n\nFM:147846\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13196_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000458_N.13196.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71578.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364849", "metadata": {"title": "Untitled", "idno": "N.71578.GIJ", "description": "Onyema Ogadi masquerade consisting of two masqueraders with boy\u2019s mau (spirit masks). The masks are painted white with black markings to accentuate the eyebrows, nose, and mouth. There are small black circles dotted underneath the eyes, nose and chin. The forehead is painted black with incised striations denoting hair. On top of each mask is long raffia \"hair\". The mask on the right has two dark horns jutting out.\n\nThe masqueraders are wearing striped, woven costumes with raffia skirts; the arms of the masquerade on the left are stretched out and on other the arms are placed on the hips. In the background in the right of the photograph are \u2018attendants\u2019 with white feathers in their hair and one is holding a musical insturment. In the background are spectators (sitting and standing) and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 51 of the negative album now numbered C15/.\n\nContext: Jones writes about boys masquerades and says that \u201cuninitiated boys were expected to \u2018play at masquerading\u2019 and had their own masquerades, which were either imitations of those of their elders, like the Anang (Ibibio) Ekpo ntoke eyen (small boy\u2019s Ekpo), or masquerades which had \u2018died\u2019, that is, had been discarded by their seniors and been replaced by others. For their masks and costumes boys made use of anything they could get hold of or make. Many of the cruder masks in European collections were probably made by boys for their masquerades; on the other hand I have seen them using very old ones discarded by their elders. The secrets from which the uninitiated were excluded, usually on pain of death, included the privacy attached to society meetings and information abut its rituals, masks, instruments for making ghostly noises and other property of the society. These were revealed to members during their initiation, together with instructions and training in their use\u201d (Jones, 1984, pp.61-62)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71578.GIJ\n\nDescription\n\nOnyema Ogadi masquerade consisting of two masqueraders with boy\u2019s mau (spirit masks). The masks are painted white with black markings to accentuate the eyebrows, nose, and mouth. There are small black circles dotted underneath the eyes, nose and chin. The forehead is painted black with incised striations denoting hair. On top of each mask is long raffia \"hair\". The mask on the right has two dark horns jutting out.\n\nThe masqueraders are wearing striped, woven costumes with raffia skirts; the arms of the masquerade on the left are stretched out and on other the arms are placed on the hips. In the background in the right of the photograph are \u2018attendants\u2019 with white feathers in their hair and one is holding a musical insturment. In the background are spectators (sitting and standing) and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 51 of the negative album now numbered C15/.\n\nContext: Jones writes about boys masquerades and says that \u201cuninitiated boys were expected to \u2018play at masquerading\u2019 and had their own masquerades, which were either imitations of those of their elders, like the Anang (Ibibio) Ekpo ntoke eyen (small boy\u2019s Ekpo), or masquerades which had \u2018died\u2019, that is, had been discarded by their seniors and been replaced by others. For their masks and costumes boys made use of anything they could get hold of or make. Many of the cruder masks in European collections were probably made by boys for their masquerades; on the other hand I have seen them using very old ones discarded by their elders. The secrets from which the uninitiated were excluded, usually on pain of death, included the privacy attached to society meetings and information abut its rituals, masks, instruments for making ghostly noises and other property of the society. These were revealed to members during their initiation, together with instructions and training in their use\u201d (Jones, 1984, pp.61-62)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206228\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71578_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656682_N.71578.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71637.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364908", "metadata": {"title": "Untitled", "idno": "N.71637.GIJ", "description": "Two Ghost court messengers standing and holding sticks. They are dressed in dark uniforms which consist of long sleeved dark shirts with square pockets, cropped trousers, and knee socks. Sashes are worn across the chest. Their heads are covered with black knitted face masks with two holes for eyes and a hole for the mouth. The features are accentuated by white markings above and below the eyes and on top is a baseball style or cap. with visor. Behind them are ghost police officers armed with their replica rifles. In the background are spectators, trees and vegetation.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 3 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Ghost Court Messengers, Amuobia village (16th image).\n\nContext: Jones provides a detailed description of the various characters in this masquerade which he had observed and photographed in the field, \u201cA performance in the Northern Ibo village of Amobia was opened by a hooded character called \u201cGovernment\u201d. He had no face and was crowned with a Homburg hat; an elephant tusk horn, symbol of authority, was laid on the ground in front of him and he read in ghostly gibberish from an important-looking document. He and his acolyte withdrew and were succeeded by a parade of ghostly policemen and court messengers wearing imitations of police and messenger uniforms and with cloth masks over their faces and head. They performed a spirited guard drill before being posted by their commander to their stations to control the crowd. Their followed a supercilious white-faced sun-helmeted figure in white drill jacket and trousers called Oyibo (White Man), who inspected the audience and then took his seat amongst the places reserved for the distinguished visitors who had come to watch the play. After him came a succession of characters, some white-faced, representing female spirits, some black or multi-coloured fierce and masculine creatures with masks that combined animal and human features; others again, mainly harmless or comic or benign, representing antelopes, or other animal spirits or characters drawn from village life. Each had his or her special role to play and having acted it withdrew to the secret enclosure or sat on seats at the ringside waiting to repeat his performance. \u201c Jones also writes that this masquerade was \u201c a large concerted display which included characters contributed by all the local societies.\u201d (Jones, 1984, pp.59-60.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71637.GIJ\n\nDescription\n\nTwo Ghost court messengers standing and holding sticks. They are dressed in dark uniforms which consist of long sleeved dark shirts with square pockets, cropped trousers, and knee socks. Sashes are worn across the chest. Their heads are covered with black knitted face masks with two holes for eyes and a hole for the mouth. The features are accentuated by white markings above and below the eyes and on top is a baseball style or cap. with visor. Behind them are ghost police officers armed with their replica rifles. In the background are spectators, trees and vegetation.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 3 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Ghost Court Messengers, Amuobia village (16th image).\n\nContext: Jones provides a detailed description of the various characters in this masquerade which he had observed and photographed in the field, \u201cA performance in the Northern Ibo village of Amobia was opened by a hooded character called \u201cGovernment\u201d. He had no face and was crowned with a Homburg hat; an elephant tusk horn, symbol of authority, was laid on the ground in front of him and he read in ghostly gibberish from an important-looking document. He and his acolyte withdrew and were succeeded by a parade of ghostly policemen and court messengers wearing imitations of police and messenger uniforms and with cloth masks over their faces and head. They performed a spirited guard drill before being posted by their commander to their stations to control the crowd. Their followed a supercilious white-faced sun-helmeted figure in white drill jacket and trousers called Oyibo (White Man), who inspected the audience and then took his seat amongst the places reserved for the distinguished visitors who had come to watch the play. After him came a succession of characters, some white-faced, representing female spirits, some black or multi-coloured fierce and masculine creatures with masks that combined animal and human features; others again, mainly harmless or comic or benign, representing antelopes, or other animal spirits or characters drawn from village life. Each had his or her special role to play and having acted it withdrew to the secret enclosure or sat on seats at the ringside waiting to repeat his performance. \u201c Jones also writes that this masquerade was \u201c a large concerted display which included characters contributed by all the local societies.\u201d (Jones, 1984, pp.59-60.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206287\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71637_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656747_N.71637.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71625.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364896", "metadata": {"title": "Untitled", "idno": "N.71625.GIJ", "description": "Omuko (very old elder) sitting and flanked by two standing attendants. The masked character is wearing a white cloth covering the entire body and face. Attached to the cloth is a wooden face mask, painted dark with white paint accentuating the eyes, nose, and mouth, attached to the chin is a black beard. On top of the head is a white sun helmet. A dark shawl is draped around the shoulders, and in front of him is a long staff. The attendant on the left is wearing a printed wrapper; the attendant to the right has his arm outstretched in a supportive manner. He is wearing a white shirt and printed cloth. In the background are trees and vegetation.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 23 of the negative album now numbered C15/.\n\nContext: Jones provides a detailed description of the various characters in this masquerade in Amobia Village which he had observed and photographed in the field, \u201cA performance in the Northern Ibo village of Amobia was opened by a hooded character called \u201cGovernment\u201d. He had no face and was crowned with a Homburg hat; an elephant tusk horn, symbol of authority, was laid on the ground in front of him and he read in ghostly gibberish from an important-looking document. He and his acolyte withdrew and were succeeded by a parade of ghostly policemen and court messengers wearing imitations of police and messenger uniforms and with cloth masks over their faces and head. They performed a spirited guard drill before being posted by their commander to their stations to control the crowd. Their followed a supercilious white-faced sun-helmeted figure in white drill jacket and trousers called Oyibo (White Man), who inspected the audience and then took his seat amongst the places reserved for the distinguished visitors who had come to watch the play. After him came a succession of characters, some white-faced, representing female spirits, some black or multi-coloured fierce and masculine creatures with masks that combined animal and human features; others again, mainly harmless or comic or benign, representing antelopes, or other animal spirits or characters drawn from village life. Each had his or her special role to play and having acted it withdrew to the secret enclosure or sat on seats at the ringside waiting to repeat his performance. \u201c Jones also writes that this masquerade was \u201c a large concerted display which included characters contributed by all the local societies.\u201d (Jones, 1984, pp.59-60.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71625.GIJ\n\nDescription\n\nOmuko (very old elder) sitting and flanked by two standing attendants. The masked character is wearing a white cloth covering the entire body and face. Attached to the cloth is a wooden face mask, painted dark with white paint accentuating the eyes, nose, and mouth, attached to the chin is a black beard. On top of the head is a white sun helmet. A dark shawl is draped around the shoulders, and in front of him is a long staff. The attendant on the left is wearing a printed wrapper; the attendant to the right has his arm outstretched in a supportive manner. He is wearing a white shirt and printed cloth. In the background are trees and vegetation.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 23 of the negative album now numbered C15/.\n\nContext: Jones provides a detailed description of the various characters in this masquerade in Amobia Village which he had observed and photographed in the field, \u201cA performance in the Northern Ibo village of Amobia was opened by a hooded character called \u201cGovernment\u201d. He had no face and was crowned with a Homburg hat; an elephant tusk horn, symbol of authority, was laid on the ground in front of him and he read in ghostly gibberish from an important-looking document. He and his acolyte withdrew and were succeeded by a parade of ghostly policemen and court messengers wearing imitations of police and messenger uniforms and with cloth masks over their faces and head. They performed a spirited guard drill before being posted by their commander to their stations to control the crowd. Their followed a supercilious white-faced sun-helmeted figure in white drill jacket and trousers called Oyibo (White Man), who inspected the audience and then took his seat amongst the places reserved for the distinguished visitors who had come to watch the play. After him came a succession of characters, some white-faced, representing female spirits, some black or multi-coloured fierce and masculine creatures with masks that combined animal and human features; others again, mainly harmless or comic or benign, representing antelopes, or other animal spirits or characters drawn from village life. Each had his or her special role to play and having acted it withdrew to the secret enclosure or sat on seats at the ringside waiting to repeat his performance. \u201c Jones also writes that this masquerade was \u201c a large concerted display which included characters contributed by all the local societies.\u201d (Jones, 1984, pp.59-60.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206275\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71625_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656735_N.71625.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169689.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463698", "metadata": {"title": "Untitled", "idno": "P.169689.GIJ", "description": "A group of human remains, including one skull and several bones. The remains are lying in open ground. [PB 24/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169680.GIJ - P.169690.GIJ were located in a brown envelope now numbered C754/3/.", "raw_text_dump": "IDNO\n\nP.169689.GIJ\n\nDescription\n\nA group of human remains, including one skull and several bones. The remains are lying in open ground. [PB 24/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169680.GIJ - P.169690.GIJ were located in a brown envelope now numbered C754/3/.\n\nFM:310176\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169689_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127473_image_not_public.jpg"}, {"file_name": "P_169689_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127474_P.169689.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169728.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463737", "metadata": {"title": "Untitled", "idno": "P.169728.GIJ", "description": "A half-length portrait of a young woman in profile. Her hair is tied into small bunches. She has a small loop earring in her left ear and is wearing of necklace made of three leather thongs wound together. There is sheeting material behind. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169728.GIJ\n\nDescription\n\nA half-length portrait of a young woman in profile. Her hair is tied into small bunches. She has a small loop earring in her left ear and is wearing of necklace made of three leather thongs wound together. There is sheeting material behind. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310215\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169728_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127550_P.169728.GIJ_001.png"}, {"file_name": "P_169728_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127551_P.169728.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169797.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463806", "metadata": {"title": "Untitled", "idno": "P.169797.GIJ", "description": "A head and shoulders portrait of a man, wearing a collarless shirt open at the neck, and facing the camera. In the background there is open country with scattered bushes and trees. [PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169791.GIJ - P.169803.GIJ were located in an brown envelope now numbered C754/8/.", "raw_text_dump": "IDNO\n\nP.169797.GIJ\n\nDescription\n\nA head and shoulders portrait of a man, wearing a collarless shirt open at the neck, and facing the camera. In the background there is open country with scattered bushes and trees. [PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169791.GIJ - P.169803.GIJ were located in an brown envelope now numbered C754/8/.\n\nFM:310284\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169797_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127687_P.169797.GIJ_001.png"}, {"file_name": "P_169797_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127688_P.169797.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169679.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463688", "metadata": {"title": "Untitled", "idno": "P.169679.GIJ", "description": "Obugulu Mau (Ghost) masquerade.\nThe masqueraders, Oji (Eju) Onu (Long Mouth) and Iro Ekpetu (merciless) performing in a masquerade, crowd seated and standing by a building at right. Oji Enu (Long Mouth) dancing in centre of image, wearing a carved and painted wooden head mask attached to a woven cloth top, cloth tights and a raffia skirt. The mask is carved with two horns, eyes, nose, ears, and a muzzle with teeth. It is painted with dark pigment, on to which pale spots and lines have been added. In background is Iro Ekpetu (\u2018Merciless\u2019), a character wearing a fierce black carved face mask with white paint? accentuating the eyes and protruding teeth, cloth top and tights, a raffia skirt, and holding a stick. In the background are buildings and vegetation. Description from record N.13252.GIJ, PB 24/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nAssociated images: N.13239.GIJ; N.13240.GIJ; N.13241.GIJ; N.13242.GIJ; N.13243.GIJ; N.13244.GIJ; N.13245.GIJ; N.13246.GIJ; N.13247.GIJ; N.13248.GIJ; N.13249.GIJ; N.13250.GIJ; N.13251.GIJ; N.13253.GIJ; N.13254.GIJ; N.13255.GIJ; N.13256.GIJ; N.13257.GIJ. All images depicting the Obugulu Mau masquerade in Amuda village.", "raw_text_dump": "IDNO\n\nP.169679.GIJ\n\nDescription\n\nObugulu Mau (Ghost) masquerade.\nThe masqueraders, Oji (Eju) Onu (Long Mouth) and Iro Ekpetu (merciless) performing in a masquerade, crowd seated and standing by a building at right. Oji Enu (Long Mouth) dancing in centre of image, wearing a carved and painted wooden head mask attached to a woven cloth top, cloth tights and a raffia skirt. The mask is carved with two horns, eyes, nose, ears, and a muzzle with teeth. It is painted with dark pigment, on to which pale spots and lines have been added. In background is Iro Ekpetu (\u2018Merciless\u2019), a character wearing a fierce black carved face mask with white paint? accentuating the eyes and protruding teeth, cloth top and tights, a raffia skirt, and holding a stick. In the background are buildings and vegetation. Description from record N.13252.GIJ, PB 24/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nAssociated images: N.13239.GIJ; N.13240.GIJ; N.13241.GIJ; N.13242.GIJ; N.13243.GIJ; N.13244.GIJ; N.13245.GIJ; N.13246.GIJ; N.13247.GIJ; N.13248.GIJ; N.13249.GIJ; N.13250.GIJ; N.13251.GIJ; N.13253.GIJ; N.13254.GIJ; N.13255.GIJ; N.13256.GIJ; N.13257.GIJ. All images depicting the Obugulu Mau masquerade in Amuda village.\n\nFM:310166\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169679_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127455_P.169679.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171281.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465342", "metadata": {"title": "Untitled", "idno": "P.171281.GIJ", "description": "A shrine, made with a framework of wooden poles, covered by raffia grass. A skull and a foot hang from the roof poles. [PB 18/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767205.GIJ - P.767208.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171281.GIJ\n\nDescription\n\nA shrine, made with a framework of wooden poles, covered by raffia grass. A skull and a foot hang from the roof poles. [PB 18/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767205.GIJ - P.767208.GIJ are mounted together on card.\n\nFM:311972\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171281_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144497_P.171281.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71558.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364829", "metadata": {"title": "Untitled", "idno": "N.71558.GIJ", "description": "A Mgbedike or Agu neche enyi mask displayed on a piece of cloth. The mask or head-dress consists of a fierce looking face with white v-shaped marking on the forehead, large eyes, pointed nose, over-sized mouth and menacing teeth (painted white?, and crescent shaped ears. Protruding (twisted) horns encircle the top of the head in which there is an elaborate superstructure, with animals, horned figures and European or colonial officers (oyibo) dressed in European clothing with pith helmets. There is a painted serpent with its mouth wide open with teeth. A male is behind the mask holding it with a mud and thatched hut, trees and vegetation in the background.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 35 of the negative album now numbered C15/.\n\nP.71504.GIJ to P.71662.GIJ were kept in box 4, now numbered C301/.\nP.71551.GIJ to P.71563.GIJ were found wrapped in paper, now numbered C301/3/.\n\nP.71504.GIJ to P.71662.GIJ were kept in box 4, now numbered C301/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Mgbedike or Agu neche Enyi (leopard/elephant) [close-up] Nimo (24th image).\n\nContext: Jones discusses the various types of masks and mentions that some are quite elaborate superstructures. In particular, \u201cNrii/Akwa and some other carvers also made emblem head-dresses in which small human figures were grouped together in a tableau, or more elaborate openwork constructions in which human, animal, bird, and reptile forms were intertwined to form a conical structure brought together at the apex by an animal figure whose legs straddled and held it together.\u201d (Jones, 1984, p. 126)\n\nCole and Aniakor write about the specific characteristics of the Mgbedike or \u2018Time of Brave\u2019 masks. These spirit \u201cheads\u201d are large in size, dark coloration; bold outsized figures such as open mouth with large, menacing teeth; and elaborate, integrally carved head-dresses always displaying horns. Their bulky costumes are studded with quills. Many individually named spirits of Mgbedike type exist, their titles crystallizing the character of the spirits....Mystery, aggression, bravado fearlessness, stubbornness, and medicinal power belong to these spirits (Cole and Aniakor, 1984, p. 131)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nMurray, K.C. 1948 Ibo Headdresses Combining Human and Animal Features, Man 48 (1): 1-2.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 22/10/2007]", "raw_text_dump": "IDNO\n\nN.71558.GIJ\n\nDescription\n\nA Mgbedike or Agu neche enyi mask displayed on a piece of cloth. The mask or head-dress consists of a fierce looking face with white v-shaped marking on the forehead, large eyes, pointed nose, over-sized mouth and menacing teeth (painted white?, and crescent shaped ears. Protruding (twisted) horns encircle the top of the head in which there is an elaborate superstructure, with animals, horned figures and European or colonial officers (oyibo) dressed in European clothing with pith helmets. There is a painted serpent with its mouth wide open with teeth. A male is behind the mask holding it with a mud and thatched hut, trees and vegetation in the background.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 35 of the negative album now numbered C15/.\n\nP.71504.GIJ to P.71662.GIJ were kept in box 4, now numbered C301/.\nP.71551.GIJ to P.71563.GIJ were found wrapped in paper, now numbered C301/3/.\n\nP.71504.GIJ to P.71662.GIJ were kept in box 4, now numbered C301/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Mgbedike or Agu neche Enyi (leopard/elephant) [close-up] Nimo (24th image).\n\nContext: Jones discusses the various types of masks and mentions that some are quite elaborate superstructures. In particular, \u201cNrii/Akwa and some other carvers also made emblem head-dresses in which small human figures were grouped together in a tableau, or more elaborate openwork constructions in which human, animal, bird, and reptile forms were intertwined to form a conical structure brought together at the apex by an animal figure whose legs straddled and held it together.\u201d (Jones, 1984, p. 126)\n\nCole and Aniakor write about the specific characteristics of the Mgbedike or \u2018Time of Brave\u2019 masks. These spirit \u201cheads\u201d are large in size, dark coloration; bold outsized figures such as open mouth with large, menacing teeth; and elaborate, integrally carved head-dresses always displaying horns. Their bulky costumes are studded with quills. Many individually named spirits of Mgbedike type exist, their titles crystallizing the character of the spirits....Mystery, aggression, bravado fearlessness, stubbornness, and medicinal power belong to these spirits (Cole and Aniakor, 1984, p. 131)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nMurray, K.C. 1948 Ibo Headdresses Combining Human and Animal Features, Man 48 (1): 1-2.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 22/10/2007]\n\nFM:206208\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71558_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656666_N.71558.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71812.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365083", "metadata": {"title": "Untitled", "idno": "N.71812.GIJ", "description": "A Lughulu \u2018beautiful\u2019 female mask; the mask is carved in oval shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long triangular shaped nose, open mouth with teeth painted white, elliptical shaped ears, etched scarification markings in the centre of the forehead. The top of the mask is made up of two curved designs which meet in the centre. The mask is painted white with black paint which defines the hairline, eyes, mouth and top of the mask.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Alayi", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 3 of the negative album now numbered C17/.\n\nP.71728.GIJ to P.71831.GIJ were kept in box 14, now numbered C300/.\nP.71789.GIJ to P.71815.GIJ were found wrapped in paper, now numbered C300/3/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Alayi Igbo (Isu-Ikem)\n3. Mask (top missing) Ugwu Eke village (2nd image)..\n\nPublication: Similar images are found in Jones, 1989, p.16, Figure 8. The caption reads: \u201cLughulu masquerade, Ugwueke Alayi town, Isu-Item Ibo. Mask representing a beautiful female spirit.\u201d and in Jones, 1973, Figure 3, p.59.\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that it conforms to a stylized mode which converts the salient features to geometrical forms. In the Isu-Item maskerade, the beautiful female masks are carved in either a rounded or naturalistic mode while the fierce or comic male masks are stylized(Jones, 1973, pp. 60-61).\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]", "raw_text_dump": "IDNO\n\nN.71812.GIJ\n\nDescription\n\nA Lughulu \u2018beautiful\u2019 female mask; the mask is carved in oval shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long triangular shaped nose, open mouth with teeth painted white, elliptical shaped ears, etched scarification markings in the centre of the forehead. The top of the mask is made up of two curved designs which meet in the centre. The mask is painted white with black paint which defines the hairline, eyes, mouth and top of the mask.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Alayi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 3 of the negative album now numbered C17/.\n\nP.71728.GIJ to P.71831.GIJ were kept in box 14, now numbered C300/.\nP.71789.GIJ to P.71815.GIJ were found wrapped in paper, now numbered C300/3/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Alayi Igbo (Isu-Ikem)\n3. Mask (top missing) Ugwu Eke village (2nd image)..\n\nPublication: Similar images are found in Jones, 1989, p.16, Figure 8. The caption reads: \u201cLughulu masquerade, Ugwueke Alayi town, Isu-Item Ibo. Mask representing a beautiful female spirit.\u201d and in Jones, 1973, Figure 3, p.59.\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that it conforms to a stylized mode which converts the salient features to geometrical forms. In the Isu-Item maskerade, the beautiful female masks are carved in either a rounded or naturalistic mode while the fierce or comic male masks are stylized(Jones, 1973, pp. 60-61).\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]\n\nFM:206462\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71812_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656910_N.71812.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169780.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463789", "metadata": {"title": "Untitled", "idno": "P.169780.GIJ", "description": "A close up of a man paddling a canoe on a river with the riverbank close behind. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169780.GIJ - P.169790.GIJ were located in an brown envelope now numbered C754/7/.", "raw_text_dump": "IDNO\n\nP.169780.GIJ\n\nDescription\n\nA close up of a man paddling a canoe on a river with the riverbank close behind. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169780.GIJ - P.169790.GIJ were located in an brown envelope now numbered C754/7/.\n\nFM:310267\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169780_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127654_P.169780.GIJ_001.png"}, {"file_name": "P_169780_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127655_P.169780.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13238.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306510", "metadata": {"title": "Untitled", "idno": "N.13238.GIJ", "description": "An exterior view of a building structure, a ngwomo ghost house, made of bamboo poles, with raffia mat roof and a decorated central pole. The back wall of the structure appears to be decorated with patterns, possibly indicating this is a Ngwomo \u2018ghost house\u2019 erected for a deceased adult male.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibibio [historically Anang]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nSee Jones.G.I. 1984: 105-106.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/3/2008]", "raw_text_dump": "IDNO\n\nN.13238.GIJ\n\nDescription\n\nAn exterior view of a building structure, a ngwomo ghost house, made of bamboo poles, with raffia mat roof and a decorated central pole. The back wall of the structure appears to be decorated with patterns, possibly indicating this is a Ngwomo \u2018ghost house\u2019 erected for a deceased adult male.\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbibio [historically Anang]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nSee Jones.G.I. 1984: 105-106.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/3/2008]\n\nFM:147888\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13238_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000501_N.13238.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169795.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463804", "metadata": {"title": "Untitled", "idno": "P.169795.GIJ", "description": "A head and shoulders portrait of a man, wearing a sleeveless collared shirt, and facing the camera. In the background there is open country with scattered bushes and trees. [PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169791.GIJ - P.169803.GIJ were located in an brown envelope now numbered C754/8/.", "raw_text_dump": "IDNO\n\nP.169795.GIJ\n\nDescription\n\nA head and shoulders portrait of a man, wearing a sleeveless collared shirt, and facing the camera. In the background there is open country with scattered bushes and trees. [PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169791.GIJ - P.169803.GIJ were located in an brown envelope now numbered C754/8/.\n\nFM:310282\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169795_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127683_P.169795.GIJ_001.png"}, {"file_name": "P_169795_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127684_P.169795.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.170252.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464313", "metadata": {"title": "Untitled", "idno": "P.170252.GIJ", "description": "A documentation photograph of a Janus wooden helmet head mask in side profile. The mask is painted grey. A central panel with a crest separates the two faces. The neck broadens at the base and has holes for attachment of cords. [PB 03/11/2023]", "place": "W Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; Scotland; Glasgow; Hunterian Museum", "cultural_affliation": "", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170252.GIJ - P.170255.GIJ were located in a paper sleeve, now numbered C759/4.", "raw_text_dump": "IDNO\n\nP.170252.GIJ\n\nDescription\n\nA documentation photograph of a Janus wooden helmet head mask in side profile. The mask is painted grey. A central panel with a crest separates the two faces. The neck broadens at the base and has holes for attachment of cords. [PB 03/11/2023]\n\nPlace\n\nW Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; Scotland; Glasgow; Hunterian Museum\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170252.GIJ - P.170255.GIJ were located in a paper sleeve, now numbered C759/4.\n\nFM:310810\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170252_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131602_P.170252.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.170284.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464345", "metadata": {"title": "Untitled", "idno": "P.170284.GIJ", "description": "A documentation photograph of a carved wooden face mask, now in the care of MAA, reference Z 25187. Roughly rectangular with protruding nose and forehead. Rectangular cut out eyes and mouth. Repaired with iron staple at the back. [Description from object record Z 25187, PB 07/11/2023]", "place": "W Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; England; Cambridge; Museum of Archaeology & Anthropology", "cultural_affliation": "", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.", "raw_text_dump": "IDNO\n\nP.170284.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden face mask, now in the care of MAA, reference Z 25187. Roughly rectangular with protruding nose and forehead. Rectangular cut out eyes and mouth. Repaired with iron staple at the back. [Description from object record Z 25187, PB 07/11/2023]\n\nPlace\n\nW Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; England; Cambridge; Museum of Archaeology & Anthropology\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.\n\nFM:310842\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170284_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131744_P.170284.GIJ_001.png"}, {"file_name": "P_170284_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131745_P.170284.GIJ_002.png"}, {"file_name": "P_170284_GIJ_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131746_P.170284.GIJ_003.png"}], "source_id": "maa_cambridge"}
{"id": "P.171310.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465371", "metadata": {"title": "Untitled", "idno": "P.171310.GIJ", "description": "A close up portrait of an Oganochi mgbedike masquerader standing, facing the camera. In the background are spectators seated and standing, a thatched hut and trees.\nThe masquerader is wearing a full length cloth costume with light and dark striped ruffles on body and his upper arms and legs, with porcupine quills hanging from the edges of the ruffles. The masquerader is wearing a dark wooden helmet mask, with white paint accentuating the mouth, teeth and eyes. It is similar to an 'lion elephant mask'. There are two feathers held in the front of the band at the bottom of the horns. On the top of the mask are four carved horns curling inwards, with a carved animal finial joining the tips of the horns. [Description from record P.767078.GIJ, PB 30/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767231.GIJ and P.767234.GIJ are mounted together on paper.", "raw_text_dump": "IDNO\n\nP.171310.GIJ\n\nDescription\n\nA close up portrait of an Oganochi mgbedike masquerader standing, facing the camera. In the background are spectators seated and standing, a thatched hut and trees.\nThe masquerader is wearing a full length cloth costume with light and dark striped ruffles on body and his upper arms and legs, with porcupine quills hanging from the edges of the ruffles. The masquerader is wearing a dark wooden helmet mask, with white paint accentuating the mouth, teeth and eyes. It is similar to an 'lion elephant mask'. There are two feathers held in the front of the band at the bottom of the horns. On the top of the mask are four carved horns curling inwards, with a carved animal finial joining the tips of the horns. [Description from record P.767078.GIJ, PB 30/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767231.GIJ and P.767234.GIJ are mounted together on paper.\n\nFM:312001\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171310_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144526_P.171310.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171571.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465632", "metadata": {"title": "Untitled", "idno": "P.171571.GIJ", "description": "A documentation photograph of a carved wooden door. The door is supported on two low wooden chairs outside a thatched building. The carvings on the door consist of spiral geometric shapes at the top and bottom and a circle of parallel lines in the centre of the upper section. There are knives, pipes, animals and knobs carved in relief on the door. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171570.GIJ and P.171571.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171571.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden door. The door is supported on two low wooden chairs outside a thatched building. The carvings on the door consist of spiral geometric shapes at the top and bottom and a circle of parallel lines in the centre of the upper section. There are knives, pipes, animals and knobs carved in relief on the door. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171570.GIJ and P.171571.GIJ are mounted on card.\n\nFM:312291\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171571_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144837_P.171571.GIJ_001.jpg"}, {"file_name": "P_171571_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144838_P.171571.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13280.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306552", "metadata": {"title": "Untitled", "idno": "N.13280.GIJ", "description": "A close up view of one of the masquerade characters called Obaji performing in the Okwanku masquerade. The wooden face mask is round with arched brows, slit eyes, long nose, pursed open mouth, adorned with long raffia hair and a felt hat on the top of the head. In the background are spectators.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village", "cultural_affliation": "Igbo [historically Ibo]; Ohaffia", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13280.GIJ\n\nDescription\n\nA close up view of one of the masquerade characters called Obaji performing in the Okwanku masquerade. The wooden face mask is round with arched brows, slit eyes, long nose, pursed open mouth, adorned with long raffia hair and a felt hat on the top of the head. In the background are spectators.\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ohaffia\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147930\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13280_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000543_N.13280.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171214.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465275", "metadata": {"title": "Untitled", "idno": "P.171214.GIJ", "description": "A side view of a seated Ikenga figure holding a staff in one hand and another object in the other. The head of the Ikenga has the characteristic two horns which are curled at the top. The face of the figure has distinctive human markings of defined eyes, nose, mouth and ears. On the side of the cheek are swirled designs, the neck has incised striation markings. The figure is wearing a costume carved from the wood. There are coil markings around the ankles. He is seated on a tripod stool. In the background are buildings with thatched roofs. [Description from record P.71452.GIJ, PB 04/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Achaba; Ulakwo", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767134.GIJ - P.767139.GIJ are mounted together on paper.", "raw_text_dump": "IDNO\n\nP.171214.GIJ\n\nDescription\n\nA side view of a seated Ikenga figure holding a staff in one hand and another object in the other. The head of the Ikenga has the characteristic two horns which are curled at the top. The face of the figure has distinctive human markings of defined eyes, nose, mouth and ears. On the side of the cheek are swirled designs, the neck has incised striation markings. The figure is wearing a costume carved from the wood. There are coil markings around the ankles. He is seated on a tripod stool. In the background are buildings with thatched roofs. [Description from record P.71452.GIJ, PB 04/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Achaba; Ulakwo\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767134.GIJ - P.767139.GIJ are mounted together on paper.\n\nFM:311905\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171214_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144430_P.171214.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171512.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465573", "metadata": {"title": "Untitled", "idno": "P.171512.GIJ", "description": "A documentation photograph of two carved wooden figures, both standing without bases. The figure on the left has arms by side. It has a janus head, with faces looking sideways. The figure on the right has a central head crest. [PB 03/10/24]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1987", "collection_name": "Jones Collection", "source": "", "format": "Print Colour", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171511.GIJ - P.171522.GIJ were located in a brown folder, now numbered C768/6.\n\nP.171512.GIJ - P.171513.GIJ were located in an envelope, now numbered C768/6/1.", "raw_text_dump": "IDNO\n\nP.171512.GIJ\n\nDescription\n\nA documentation photograph of two carved wooden figures, both standing without bases. The figure on the left has arms by side. It has a janus head, with faces looking sideways. The figure on the right has a central head crest. [PB 03/10/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1987\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Colour\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171511.GIJ - P.171522.GIJ were located in a brown folder, now numbered C768/6.\n\nP.171512.GIJ - P.171513.GIJ were located in an envelope, now numbered C768/6/1.\n\nFM:312213\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171512_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144729_P.171512.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.170879.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464940", "metadata": {"title": "Untitled", "idno": "P.170879.GIJ", "description": "View of a Nri Awka brass-smith sitting cross-legged on a board on top of a folded chair, fitting brass rings on to the legs of a young woman who is sitting on a chair in front of him. The man is just fitting a brass ring to her left leg, her right leg already has rings from her ankle to her thigh. The man is wearing a floppy broad-brimmed hat and a waistcloth. The woman is wearing a patterns head cloth and a wrapped. They are positioned in front of a mud brick wall on which is incised (or embossed?) a wheel design. [PB 04/04/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.170860.GIJ - P.170920.GIJ were located in a Derri Boots box, now numbered C765/.", "raw_text_dump": "IDNO\n\nP.170879.GIJ\n\nDescription\n\nView of a Nri Awka brass-smith sitting cross-legged on a board on top of a folded chair, fitting brass rings on to the legs of a young woman who is sitting on a chair in front of him. The man is just fitting a brass ring to her left leg, her right leg already has rings from her ankle to her thigh. The man is wearing a floppy broad-brimmed hat and a waistcloth. The woman is wearing a patterns head cloth and a wrapped. They are positioned in front of a mud brick wall on which is incised (or embossed?) a wheel design. [PB 04/04/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.170860.GIJ - P.170920.GIJ were located in a Derri Boots box, now numbered C765/.\n\nFM:311537\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170879_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1143924_P.170879.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.170281.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464342", "metadata": {"title": "Untitled", "idno": "P.170281.GIJ", "description": "A documentation photograph of a wooden face mask in the form of a human head, representing Ekpe Elephant spirit. The face has protruding stud eyes set in deep recesses, a rectangular open mouth and stud ears. The forehead, cheek and chin have ridged markings. [PB 10/11/23]", "place": "W Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; Abia; Aba; England; London; British Museum", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.\n\nRelated Object: This mask is in the British Museum collection, reference Af1954,23. 595\n\"Height: 40.30 centimetres\nWidth: 27.50 centimetres\nDepth: 23.20 centimetres\nDescription:\nEkkpe Elephant spirit figure (in form of human head) made of wood. Carved wood, much stylied head, protuding eyes and open mouth, the whole of interior has been hollowed out.\" [PB 07/1123]", "raw_text_dump": "IDNO\n\nP.170281.GIJ\n\nDescription\n\nA documentation photograph of a wooden face mask in the form of a human head, representing Ekpe Elephant spirit. The face has protruding stud eyes set in deep recesses, a rectangular open mouth and stud ears. The forehead, cheek and chin have ridged markings. [PB 10/11/23]\n\nPlace\n\nW Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; Abia; Aba; England; London; British Museum\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.\n\nRelated Object: This mask is in the British Museum collection, reference Af1954,23. 595\n\"Height: 40.30 centimetres\nWidth: 27.50 centimetres\nDepth: 23.20 centimetres\nDescription:\nEkkpe Elephant spirit figure (in form of human head) made of wood. Carved wood, much stylied head, protuding eyes and open mouth, the whole of interior has been hollowed out.\" [PB 07/1123]\n\nFM:310839\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170281_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131735_P.170281.GIJ_001.png"}, {"file_name": "P_170281_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131736_P.170281.GIJ_002.png"}, {"file_name": "P_170281_GIJ_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131737_P.170281.GIJ_003.png"}], "source_id": "maa_cambridge"}
{"id": "P.170253.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464314", "metadata": {"title": "Untitled", "idno": "P.170253.GIJ", "description": "A documentation photograph of one face, probably male?, of a Janus helmet head mask. The mask is painted grey. A central panel with a crest with geometric marks separates the two faces. The face has a deeply recessed centre around stud eyes and nose. The mouth is a straight slit. The neck broadens at the base and has holes for attachment of cords. [PB 03/11/2023]", "place": "W Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; Scotland; Glasgow; Hunterian Museum", "cultural_affliation": "", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170252.GIJ - P.170255.GIJ were located in a paper sleeve, now numbered C759/4.", "raw_text_dump": "IDNO\n\nP.170253.GIJ\n\nDescription\n\nA documentation photograph of one face, probably male?, of a Janus helmet head mask. The mask is painted grey. A central panel with a crest with geometric marks separates the two faces. The face has a deeply recessed centre around stud eyes and nose. The mouth is a straight slit. The neck broadens at the base and has holes for attachment of cords. [PB 03/11/2023]\n\nPlace\n\nW Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; Scotland; Glasgow; Hunterian Museum\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170252.GIJ - P.170255.GIJ were located in a paper sleeve, now numbered C759/4.\n\nFM:310811\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170253_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131603_P.170253.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.13311.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306583", "metadata": {"title": "Untitled", "idno": "N.13311.GIJ", "description": "Close up portrait of a man wearing a tunic shirt.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13311.GIJ\n\nDescription\n\nClose up portrait of a man wearing a tunic shirt.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147961\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13311_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000574_N.13311.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.170867.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464928", "metadata": {"title": "Untitled", "idno": "P.170867.GIJ", "description": "Oganochi, a mgbedike masquerader standing, with legs apart and arms to the side, at an angle to the camera. In the background are spectators seated and standing, a thatched hut and trees. There is an attendant beating a side drum.\nThe masquerader is wearing a full length cloth costume with light and dark striped ruffles on body and his upper arms and legs, with porcupine quills hanging from the edges of the ruffles. The masquerader is wearing a dark wooden helmet mask, with white paint accentuating the mouth, teeth and eyes. It is similar to an 'lion elephant mask'. There are two feathers held in the front of the band at the bottom of the horns. On the top of the mask are four carved horns curling inwards, with a carved animal finial joining the tips of the horns. [PB 28/03/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.170860.GIJ - P.170920.GIJ were located in a Derri Boots box, now numbered C765/.", "raw_text_dump": "IDNO\n\nP.170867.GIJ\n\nDescription\n\nOganochi, a mgbedike masquerader standing, with legs apart and arms to the side, at an angle to the camera. In the background are spectators seated and standing, a thatched hut and trees. There is an attendant beating a side drum.\nThe masquerader is wearing a full length cloth costume with light and dark striped ruffles on body and his upper arms and legs, with porcupine quills hanging from the edges of the ruffles. The masquerader is wearing a dark wooden helmet mask, with white paint accentuating the mouth, teeth and eyes. It is similar to an 'lion elephant mask'. There are two feathers held in the front of the band at the bottom of the horns. On the top of the mask are four carved horns curling inwards, with a carved animal finial joining the tips of the horns. [PB 28/03/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.170860.GIJ - P.170920.GIJ were located in a Derri Boots box, now numbered C765/.\n\nFM:311525\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170867_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1143909_P.170867.GIJ_001.jpg"}, {"file_name": "P_170867_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1143910_P.170867.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169781.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463790", "metadata": {"title": "Untitled", "idno": "P.169781.GIJ", "description": "A river and riverbank with canoes moored in the background. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169780.GIJ - P.169790.GIJ were located in an brown envelope now numbered C754/7/.", "raw_text_dump": "IDNO\n\nP.169781.GIJ\n\nDescription\n\nA river and riverbank with canoes moored in the background. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169780.GIJ - P.169790.GIJ were located in an brown envelope now numbered C754/7/.\n\nFM:310268\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169781_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127656_P.169781.GIJ_001.png"}, {"file_name": "P_169781_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127657_P.169781.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169643.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463626", "metadata": {"title": "Untitled", "idno": "P.169643.GIJ", "description": "A group of eight musicians sitting in front of bushes and houses with one man standing looking at the group. The musicians are all men. They are playing a variety of instruments: in the foreground a man beating a semicircular wooden gong with two wooden hammers, a man playing a large wooden xylophone with five thick keys, and a man holding a horn sideways, blowing into or across it halfway along the horn. in the background there is a man beating a small drum with both hands. In one hand he is using a wooden hammer. [PB 24/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibo [historically Igbo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nNote : this is a duplicate of P.754004.GIJ.", "raw_text_dump": "IDNO\n\nP.169643.GIJ\n\nDescription\n\nA group of eight musicians sitting in front of bushes and houses with one man standing looking at the group. The musicians are all men. They are playing a variety of instruments: in the foreground a man beating a semicircular wooden gong with two wooden hammers, a man playing a large wooden xylophone with five thick keys, and a man holding a horn sideways, blowing into or across it halfway along the horn. in the background there is a man beating a small drum with both hands. In one hand he is using a wooden hammer. [PB 24/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nNote : this is a duplicate of P.754004.GIJ.\n\nFM:310130\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169643_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127369_P.169643.GIJ_001.png"}, {"file_name": "P_169643_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127371_P.169643.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169722.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463731", "metadata": {"title": "Untitled", "idno": "P.169722.GIJ", "description": "Half-length portrait of a man. [Description from record N.13310.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169722.GIJ\n\nDescription\n\nHalf-length portrait of a man. [Description from record N.13310.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310209\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169722_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127538_P.169722.GIJ_001.png"}, {"file_name": "P_169722_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127539_P.169722.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171243.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465304", "metadata": {"title": "Untitled", "idno": "P.171243.GIJ", "description": "An object documentation photograph of an Mgbedike or Agu neche enyi masquerade mask (? the character manyiba). The mask is rectangular with the left half painted in light pigment and the right in dark. Eye slits and nose hole are square and mouth a narrow horizontal slit. Cloth braids hang from the top of the mask, and grass tresses from the sides and neck. [PB 05/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra state; Ogidi", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767166.GIJ - P.767168.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171243.GIJ\n\nDescription\n\nAn object documentation photograph of an Mgbedike or Agu neche enyi masquerade mask (? the character manyiba). The mask is rectangular with the left half painted in light pigment and the right in dark. Eye slits and nose hole are square and mouth a narrow horizontal slit. Cloth braids hang from the top of the mask, and grass tresses from the sides and neck. [PB 05/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra state; Ogidi\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767166.GIJ - P.767168.GIJ are mounted together on card.\n\nFM:311934\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171243_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144459_P.171243.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13309.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306581", "metadata": {"title": "Untitled", "idno": "N.13309.GIJ", "description": "Close up side profile portrait of a man wearing a shirt.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13309.GIJ\n\nDescription\n\nClose up side profile portrait of a man wearing a shirt.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147959\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13309_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000572_N.13309.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171605.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465666", "metadata": {"title": "Untitled", "idno": "P.171605.GIJ", "description": "A documentation photograph of a carved wooden ancestral figure facing the camera. Body and limbs are carved with deep angular cuts. The head has a low brow line above which diagonal lines etch the forehead, with a hair bun above incised rings. The eyes, mouth and ears are rimmed. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171604.GIJ and P.171605.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171605.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden ancestral figure facing the camera. Body and limbs are carved with deep angular cuts. The head has a low brow line above which diagonal lines etch the forehead, with a hair bun above incised rings. The eyes, mouth and ears are rimmed. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171604.GIJ and P.171605.GIJ are mounted on card.\n\nFM:312325\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171605_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144905_P.171605.GIJ_001.jpg"}, {"file_name": "P_171605_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144906_P.171605.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171617.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465678", "metadata": {"title": "Untitled", "idno": "P.171617.GIJ", "description": "A documentation photograph of a carved wooden face mask, portraying an animal character. The face has ridged chin, ears, nose and eyes. The mouth is open with clenched teeth. A moustache of long white hair is attached to the upper lip. There arte two short horns projecting up from the top of the mask. [PB 05/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171617.GIJ and P.171618.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171617.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden face mask, portraying an animal character. The face has ridged chin, ears, nose and eyes. The mouth is open with clenched teeth. A moustache of long white hair is attached to the upper lip. There arte two short horns projecting up from the top of the mask. [PB 05/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171617.GIJ and P.171618.GIJ are mounted on card.\n\nFM:312337\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171617_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144929_P.171617.GIJ_001.jpg"}, {"file_name": "P_171617_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144930_P.171617.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71774.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365045", "metadata": {"title": "Untitled", "idno": "N.71774.GIJ", "description": "A Lughulu male mask. The mask is round and consists of a high forehead, with etched area at the top to denote the hairline, slit eyes surrounded by arched markings above and below, a pointed nose, and open mouth with carved white pointed teeth. There are two round markings on the temples, elliptical shaped ears and two protruding areas on either side of the nose probably indicating scarification marks.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Item", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 92 of the negative album now numbered C17/.\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]", "raw_text_dump": "IDNO\n\nN.71774.GIJ\n\nDescription\n\nA Lughulu male mask. The mask is round and consists of a high forehead, with etched area at the top to denote the hairline, slit eyes surrounded by arched markings above and below, a pointed nose, and open mouth with carved white pointed teeth. There are two round markings on the temples, elliptical shaped ears and two protruding areas on either side of the nose probably indicating scarification marks.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nItem\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 92 of the negative album now numbered C17/.\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nFM:206424\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71774_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656879_N.71774.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.170282.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464343", "metadata": {"title": "Untitled", "idno": "P.170282.GIJ", "description": "A documentation photograph of a wooden Okonkwo face mask. The mask as two loops on top, a painted hairline, a central vertical ridge on forehead, ridged eyebrows and carinated nose, eyeholes highlighted with light paint, and an open mouth with even pointed teeth. The mask is resting a white cloth. [PB 07/11/23]", "place": "W Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; England; London; British Museum", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.\n\nRelated Object: This mask is in the British Museum collection, reference Af1931,0506.1\n\"Height: 23.80 centimetres\nWidth: 16.90 centimetres\nDepth: 9 centimetres\nDescription: 'Okonkwo mask made of wood. Eth.Doc.240 is T Elton Miller's account of the gift. It reads as a continuous narrative, and is here transcribed in full:\nA. Akonkwo dance mask.\nThe Akonkwo secret society (still existing) used to be an extremely powerful society for males only in the days previous to the advent of British rule. Death was the penalty for any outsider or woman witnessing\u2026'.\" [PB 07/1123]", "raw_text_dump": "IDNO\n\nP.170282.GIJ\n\nDescription\n\nA documentation photograph of a wooden Okonkwo face mask. The mask as two loops on top, a painted hairline, a central vertical ridge on forehead, ridged eyebrows and carinated nose, eyeholes highlighted with light paint, and an open mouth with even pointed teeth. The mask is resting a white cloth. [PB 07/11/23]\n\nPlace\n\nW Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; England; London; British Museum\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.\n\nRelated Object: This mask is in the British Museum collection, reference Af1931,0506.1\n\"Height: 23.80 centimetres\nWidth: 16.90 centimetres\nDepth: 9 centimetres\nDescription: 'Okonkwo mask made of wood. Eth.Doc.240 is T Elton Miller's account of the gift. It reads as a continuous narrative, and is here transcribed in full:\nA. Akonkwo dance mask.\nThe Akonkwo secret society (still existing) used to be an extremely powerful society for males only in the days previous to the advent of British rule. Death was the penalty for any outsider or woman witnessing\u2026'.\" [PB 07/1123]\n\nFM:310840\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170282_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131738_P.170282.GIJ_001.png"}, {"file_name": "P_170282_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131739_P.170282.GIJ_002.png"}, {"file_name": "P_170282_GIJ_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131740_P.170282.GIJ_003.png"}], "source_id": "maa_cambridge"}
{"id": "P.171594.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465655", "metadata": {"title": "Untitled", "idno": "P.171594.GIJ", "description": "A documentation photograph of two carved wooden ancestral figures. The taller figure on the left is of a man wearing shorts, jacket and hat. The shorter figure on the right is of a woman, with horns of hair. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Obogwe", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171593.GIJ to P.171595.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171594.GIJ\n\nDescription\n\nA documentation photograph of two carved wooden ancestral figures. The taller figure on the left is of a man wearing shorts, jacket and hat. The shorter figure on the right is of a woman, with horns of hair. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Obogwe\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171593.GIJ to P.171595.GIJ are mounted on card.\n\nFM:312314\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171594_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144883_P.171594.GIJ_001.jpg"}, {"file_name": "P_171594_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144884_P.171594.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13182.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306454", "metadata": {"title": "Untitled", "idno": "N.13182.GIJ", "description": "Portrait of an Ekpo mask character, wearing a face mask (representation of a face with ears, nose, protruding cheeks, almond shaped slits for eyes, open mouth with carved white? teeth and whiskers on cheeks), with plant fibres covering his head and torso. Holding up a machete in one hand. The face mask is of highly polished darkened wood. There is vegetaion in the background.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene; ?Ikot Abia village", "cultural_affliation": "Ibibio; Otoro", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nSee Jones.G.I. 1984: 182-183.\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ibibio, Ijo and Ogoni\n2. Ibibio\n3. Mask at Ikot Abia (Ikot Ekpene area) Otoro Ibibio (3rd image).\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d\n\nThe same mask is shown in Plate, 37 \u201cEkpo Figure\u201d in Jones, 1984 ,p. 121, plate 37.\n\nContext: Jones writes about the carver of this mask, \u201c The artist who carved the mask in Figure 37 was an Ibibio farmer whose mains specialisation was the painting of Ngwomo frescoes.\u201d (p. 123) He also provides a detailed description of the masks and the costumes, he writes, \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nMAA Exhibition: This image is included in the G.I. Jones' slide show in the Nigerian case, Maudslay Gallery, with the following caption:\n\"An Ekpo (Secret Society) character wearing a \u2018fierce\u2019 face mask.\nThe Ekpo (Secret Society) characters, particularly the fierce ones, were intended to inspire respect and admiration but were heavily laden with fear and mystery - to heighten these effects their masks and raffia costumes were dyed black.\u201d [JD 5/8/2014]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/11/2007]", "raw_text_dump": "IDNO\n\nN.13182.GIJ\n\nDescription\n\nPortrait of an Ekpo mask character, wearing a face mask (representation of a face with ears, nose, protruding cheeks, almond shaped slits for eyes, open mouth with carved white? teeth and whiskers on cheeks), with plant fibres covering his head and torso. Holding up a machete in one hand. The face mask is of highly polished darkened wood. There is vegetaion in the background.\n\n\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene; ?Ikot Abia village\n\nCultural Affliation\n\nIbibio; Otoro\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nSee Jones.G.I. 1984: 182-183.\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ibibio, Ijo and Ogoni\n2. Ibibio\n3. Mask at Ikot Abia (Ikot Ekpene area) Otoro Ibibio (3rd image).\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d\n\nThe same mask is shown in Plate, 37 \u201cEkpo Figure\u201d in Jones, 1984 ,p. 121, plate 37.\n\nContext: Jones writes about the carver of this mask, \u201c The artist who carved the mask in Figure 37 was an Ibibio farmer whose mains specialisation was the painting of Ngwomo frescoes.\u201d (p. 123) He also provides a detailed description of the masks and the costumes, he writes, \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nMAA Exhibition: This image is included in the G.I. Jones' slide show in the Nigerian case, Maudslay Gallery, with the following caption:\n\"An Ekpo (Secret Society) character wearing a \u2018fierce\u2019 face mask.\nThe Ekpo (Secret Society) characters, particularly the fierce ones, were intended to inspire respect and admiration but were heavily laden with fear and mystery - to heighten these effects their masks and raffia costumes were dyed black.\u201d [JD 5/8/2014]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/11/2007]\n\nFM:147832\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13182_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000444_N.13182.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71855.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365126", "metadata": {"title": "Untitled", "idno": "N.71855.GIJ", "description": "The interior of an Obu House with the close up view of a large wooden sculpture. The face of the sculpture consists of a humanised figure with carved arched eyebrows, elliptical shaped eyes, string nose, lips and curved ears, around the neck is a deeply incised circular base. On top of the head is a defined hairline with two linear projections with rounded tops painted with white dots in front of a rectangular base. The top is rounded and curved with thickly incised markings. Behind the sculpture is a block wall.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 35 of the negative album now numbered C19/.\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]", "raw_text_dump": "IDNO\n\nN.71855.GIJ\n\nDescription\n\nThe interior of an Obu House with the close up view of a large wooden sculpture. The face of the sculpture consists of a humanised figure with carved arched eyebrows, elliptical shaped eyes, string nose, lips and curved ears, around the neck is a deeply incised circular base. On top of the head is a defined hairline with two linear projections with rounded tops painted with white dots in front of a rectangular base. The top is rounded and curved with thickly incised markings. Behind the sculpture is a block wall.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 35 of the negative album now numbered C19/.\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\nFM:206505\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71855_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656947_N.71855.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171612.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465673", "metadata": {"title": "Untitled", "idno": "P.171612.GIJ", "description": "A cut out image of a carved wooden ancestral figure with back to camera. The figure is female. There is a cord and necklet around the neck. A single broad crest is carved on top of the head. [PB 05/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Obogwe", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171608.GIJ to P.171612.GIJ are mounted on card.\n\nImages P.171608.GIJ to P.171612.GIJ are of the same figures.", "raw_text_dump": "IDNO\n\nP.171612.GIJ\n\nDescription\n\nA cut out image of a carved wooden ancestral figure with back to camera. The figure is female. There is a cord and necklet around the neck. A single broad crest is carved on top of the head. [PB 05/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Obogwe\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171608.GIJ to P.171612.GIJ are mounted on card.\n\nImages P.171608.GIJ to P.171612.GIJ are of the same figures.\n\nFM:312332\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171612_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144919_P.171612.GIJ_001.jpg"}, {"file_name": "P_171612_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144920_P.171612.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.170233.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464294", "metadata": {"title": "Untitled", "idno": "P.170233.GIJ", "description": "A documentation photograph of a wooden face mask combining human and animal features. The mask has bulbous cheeks, a short pointed nose, a pointed tongue, and large eyeholes. Two short tusks painted white are on each side of the mouth. The mask is supported by a stick held between two stones, and has netting and strings attached. [PB 02/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Akwa Ibom State; Nto Edino", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170232.GIJ - P.170243.GIJ were located in a brown envelope, now numbered C759/1.", "raw_text_dump": "IDNO\n\nP.170233.GIJ\n\nDescription\n\nA documentation photograph of a wooden face mask combining human and animal features. The mask has bulbous cheeks, a short pointed nose, a pointed tongue, and large eyeholes. Two short tusks painted white are on each side of the mouth. The mask is supported by a stick held between two stones, and has netting and strings attached. [PB 02/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Akwa Ibom State; Nto Edino\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170232.GIJ - P.170243.GIJ were located in a brown envelope, now numbered C759/1.\n\nFM:310791\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170233_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131566_P.170233.GIJ_001.png"}, {"file_name": "P_170233_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131567_P.170233.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171148.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465209", "metadata": {"title": "Untitled", "idno": "P.171148.GIJ", "description": "Ogbugulu mau masquerade. A portrait of the masquerader wearing a white and black painted face mask adorned with an elaborate superstructure. The top of the mask consists of pieces of cloth, ribbon, felt, tassels, carvings, and mirrors. The carving on the top is wearing a white pith helmet and European clothing. The costume is harlequin-like appliqued material. Spectators and bystanders in the background. [Description from record P.71529.GIJ, PB 20/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767071.GIJ - P.767074.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171148.GIJ\n\nDescription\n\nOgbugulu mau masquerade. A portrait of the masquerader wearing a white and black painted face mask adorned with an elaborate superstructure. The top of the mask consists of pieces of cloth, ribbon, felt, tassels, carvings, and mirrors. The carving on the top is wearing a white pith helmet and European clothing. The costume is harlequin-like appliqued material. Spectators and bystanders in the background. [Description from record P.71529.GIJ, PB 20/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767071.GIJ - P.767074.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311839\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171148_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144364_P.171148.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71818.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365089", "metadata": {"title": "Untitled", "idno": "N.71818.GIJ", "description": "Ajonku masquerade; two masquerade characters in a \u201cparade\u201d of masks. The mask on the left is a dark face mask with humanistic features consisting of almond shaped eyes, nose, and open mouth, defined with white paint. On top of the mask are feathers and raffia twine as a headdress. The masquerader is holding a cutlass painted white with black lines and markings in one hand and some twigs in the other. The torso is covered with a cloth and there are two cloths or handkerchiefs? hanging from the mask. The other mask is rather comical and consists of two horns on the top, bulbous eyes,nose, pouting mouth, prominent ears accentuated with white paint. The hair is made of a coarse fiber material and the masquerader is holding a fly whisk. In the background are supporters and bystanders.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Isu Ikwato", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 82 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Isu Ikwu Ato\n3. Two masks Parade of masks, Ajonku masquerade, Ovim village (4th image).\n\nContext: In reference to the Abam/Ohaffia area, Jones writes that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin-covered heads in the Cross-River Style, usually called Ajonku. But they also had masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, althogh carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of the Abiriba. All these tribes, but particularly the Abiriba, were great doctors and traders and travelled extensively in the Cross River area and through the Ibibio country to the coastal trading states. Anang (Ibibio) sculpture was greatly admired, but it does not seem to have had much influence on the local styles\u201d (Jones, 1984, p.208)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 3/12/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71818.GIJ\n\nDescription\n\nAjonku masquerade; two masquerade characters in a \u201cparade\u201d of masks. The mask on the left is a dark face mask with humanistic features consisting of almond shaped eyes, nose, and open mouth, defined with white paint. On top of the mask are feathers and raffia twine as a headdress. The masquerader is holding a cutlass painted white with black lines and markings in one hand and some twigs in the other. The torso is covered with a cloth and there are two cloths or handkerchiefs? hanging from the mask. The other mask is rather comical and consists of two horns on the top, bulbous eyes,nose, pouting mouth, prominent ears accentuated with white paint. The hair is made of a coarse fiber material and the masquerader is holding a fly whisk. In the background are supporters and bystanders.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isu Ikwato\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 82 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Isu Ikwu Ato\n3. Two masks Parade of masks, Ajonku masquerade, Ovim village (4th image).\n\nContext: In reference to the Abam/Ohaffia area, Jones writes that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin-covered heads in the Cross-River Style, usually called Ajonku. But they also had masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, althogh carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of the Abiriba. All these tribes, but particularly the Abiriba, were great doctors and traders and travelled extensively in the Cross River area and through the Ibibio country to the coastal trading states. Anang (Ibibio) sculpture was greatly admired, but it does not seem to have had much influence on the local styles\u201d (Jones, 1984, p.208)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 3/12/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206468\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71818_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656915_N.71818.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13175.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306447", "metadata": {"title": "Untitled", "idno": "N.13175.GIJ", "description": "An Ekpo panel mask. The panel is rounded at the top with a flat bottom, the oval face is raised in the centre and is naturalistic and serene in form. The mask consists of a rounded border at the top of the head, high forehead, slit eyes with overhanging eyelids, squarish nose, and diamond shaped open mouth, elliptical shaped ears, and keloid markings on the side.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Jones, 1984, p. 129, Plate 40 with the caption, \u201cEkpo mask, naturalistic in style.\n\nContext: \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]", "raw_text_dump": "IDNO\n\nN.13175.GIJ\n\nDescription\n\nAn Ekpo panel mask. The panel is rounded at the top with a flat bottom, the oval face is raised in the centre and is naturalistic and serene in form. The mask consists of a rounded border at the top of the head, high forehead, slit eyes with overhanging eyelids, squarish nose, and diamond shaped open mouth, elliptical shaped ears, and keloid markings on the side.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Jones, 1984, p. 129, Plate 40 with the caption, \u201cEkpo mask, naturalistic in style.\n\nContext: \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]\n\n\nFM:147825\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13175_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000437_N.13175.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171317.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465378", "metadata": {"title": "Untitled", "idno": "P.171317.GIJ", "description": "Onu Kamma (Mouth stronger than sword) masquerade showing a close up view of three masqueraders wearing large conical shaped faceless masks made of layers of fibre and with a cloth panel in the front. The masqueraders are wearing tie-dyed/batik? tops and striped woven cloth trousers adorned with fibre skirts around the waist (cowrie shells are seen on the masquerader in the far right.) One of the masqueraders (left) is holding a metal gong and hitting it with a stick, the middle figure is also holding a gong. Behind the masqueraders is a large audience of bystanders in the background.[Description from record P.71567.GIJ, PB 01/08/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767241.GIJ is mounted on card.", "raw_text_dump": "IDNO\n\nP.171317.GIJ\n\nDescription\n\nOnu Kamma (Mouth stronger than sword) masquerade showing a close up view of three masqueraders wearing large conical shaped faceless masks made of layers of fibre and with a cloth panel in the front. The masqueraders are wearing tie-dyed/batik? tops and striped woven cloth trousers adorned with fibre skirts around the waist (cowrie shells are seen on the masquerader in the far right.) One of the masqueraders (left) is holding a metal gong and hitting it with a stick, the middle figure is also holding a gong. Behind the masqueraders is a large audience of bystanders in the background.[Description from record P.71567.GIJ, PB 01/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767241.GIJ is mounted on card.\n\n\n\nFM:312008\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171317_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144533_P.171317.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71613.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364884", "metadata": {"title": "Untitled", "idno": "N.71613.GIJ", "description": "Members of a band playing various musical instruments, including an igba (membrane drum) which is slung over the shoulder of the drummer with a shoulder strap and beaten by the drummer, udu (pot drum), ogene (gong) made of metal, rattles made from basket containers, and a ngedegwu (xylophone). In the right of the photograph, one young man is wearing a white striped cloth wrapper and a white woven cap and appears to be playing a wind instrument such as an oja (flute). The man standing next is wearing woven white trousers rolled up to his knees and appears to be playing an instrument. The man next to him is wearing a loin cloth with feathers attached to a head covering and holding a machete/cutlass. Behind are more band members of varying ages and in the background are spectators and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River area", "cultural_affliation": "Igbo [historically Ibo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 7 of the negative album now numbered C15/.\n\nOn the GI Jones website, www.siu.edu/~anthro/mccall/jones/, under,\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Igbo Musicians\n3. Band playing in Northern Igboland (3rd image).\n\nContext: Jones describes the various types of musical instruments and the way they were played during masquerades. \u201cDrums of both types (slit and membrane) were combined with flutes, whistles, rattles, clappers of various sorts, single and double iron gongs and pots to form orchestras of varying size for dances and masquerades. The flutes and whistles were carved out of wood or were the horns of goats or small antelopes with a mouthpiece cut in the side or the end: the rattles were small basketwork or calabash containers half filled with hard seeds or shells or calabashes covered with loose net on which beads or seeds had been threaded. The pots were round narrow-necked water pots with a circular hole cut out the side which was beaten with the palm of the hand. Drums predominated and provided most of the variations and improvisations. There was usually one slit drum that was used for most of these, while the others were limited to the regular repetition of one or two notes: as were the other instruments. In masquerades where the characters danced and where the dancing and mining was at all elaborate, as amongst the Kalabari, the movements of the characters were governed not only by the rhythm of the drumming but by the coded instructions played on one particular drum, which the actor had to distinguish from the notes which accompanied it on the drums.\u201d (Jones, 1984, p.115)\n\nContext: Echezona provides a detailed description of the various Ibo musical instruments and discusses their various uses. Interestingly, he notes that, \u201cAlmost any type of Ibo musical instrument is used in \u201ctalking\u201d. Here are a few reasons why this is possible. Ibo language is tonal and the language calls to mind an agreeable succession of tones which combine themselves into interesting patterns and rhythms using syncopation, asymmetric divisions, nonaccented rhythms, changing meters, and shifted accents as some of the devices. In reference to drums he notes that the drum is extensively used for dancing, rejoicing, and wrestling. Gongs or ogene are also important because the, Ogene is principally used to supply rhythms for dancers. The two different pitches often employed in the use of the ogene can show whether a dancer is expected to use his right or his left leg or, when one foot is doing the motion, whether the foot should move up or done. The ogene is also used as a an accompaniment for other percussive instruments such as the ngededgwu (xylophone), abia (set of drums) and in combination with the udu (earthen pot instrument). The aja (clappers) are used to mark rhythms in a song or dance (Echezona, 1964)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nEchezona, W. Wilberforce 1964. \u201cIbo Musical Instruments\u201d Music Educators Journal, Vol. 50, No.5 pp.23-27+130-131.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71613.GIJ\n\nDescription\n\nMembers of a band playing various musical instruments, including an igba (membrane drum) which is slung over the shoulder of the drummer with a shoulder strap and beaten by the drummer, udu (pot drum), ogene (gong) made of metal, rattles made from basket containers, and a ngedegwu (xylophone). In the right of the photograph, one young man is wearing a white striped cloth wrapper and a white woven cap and appears to be playing a wind instrument such as an oja (flute). The man standing next is wearing woven white trousers rolled up to his knees and appears to be playing an instrument. The man next to him is wearing a loin cloth with feathers attached to a head covering and holding a machete/cutlass. Behind are more band members of varying ages and in the background are spectators and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River area\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 7 of the negative album now numbered C15/.\n\nOn the GI Jones website, www.siu.edu/~anthro/mccall/jones/, under,\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Igbo Musicians\n3. Band playing in Northern Igboland (3rd image).\n\nContext: Jones describes the various types of musical instruments and the way they were played during masquerades. \u201cDrums of both types (slit and membrane) were combined with flutes, whistles, rattles, clappers of various sorts, single and double iron gongs and pots to form orchestras of varying size for dances and masquerades. The flutes and whistles were carved out of wood or were the horns of goats or small antelopes with a mouthpiece cut in the side or the end: the rattles were small basketwork or calabash containers half filled with hard seeds or shells or calabashes covered with loose net on which beads or seeds had been threaded. The pots were round narrow-necked water pots with a circular hole cut out the side which was beaten with the palm of the hand. Drums predominated and provided most of the variations and improvisations. There was usually one slit drum that was used for most of these, while the others were limited to the regular repetition of one or two notes: as were the other instruments. In masquerades where the characters danced and where the dancing and mining was at all elaborate, as amongst the Kalabari, the movements of the characters were governed not only by the rhythm of the drumming but by the coded instructions played on one particular drum, which the actor had to distinguish from the notes which accompanied it on the drums.\u201d (Jones, 1984, p.115)\n\nContext: Echezona provides a detailed description of the various Ibo musical instruments and discusses their various uses. Interestingly, he notes that, \u201cAlmost any type of Ibo musical instrument is used in \u201ctalking\u201d. Here are a few reasons why this is possible. Ibo language is tonal and the language calls to mind an agreeable succession of tones which combine themselves into interesting patterns and rhythms using syncopation, asymmetric divisions, nonaccented rhythms, changing meters, and shifted accents as some of the devices. In reference to drums he notes that the drum is extensively used for dancing, rejoicing, and wrestling. Gongs or ogene are also important because the, Ogene is principally used to supply rhythms for dancers. The two different pitches often employed in the use of the ogene can show whether a dancer is expected to use his right or his left leg or, when one foot is doing the motion, whether the foot should move up or done. The ogene is also used as a an accompaniment for other percussive instruments such as the ngededgwu (xylophone), abia (set of drums) and in combination with the udu (earthen pot instrument). The aja (clappers) are used to mark rhythms in a song or dance (Echezona, 1964)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nEchezona, W. Wilberforce 1964. \u201cIbo Musical Instruments\u201d Music Educators Journal, Vol. 50, No.5 pp.23-27+130-131.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206263\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71613_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656724_N.71613.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71594.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364865", "metadata": {"title": "Untitled", "idno": "N.71594.GIJ", "description": "Agu Necheanyi (lion waits for elephant) mask. The mask is unfinished and is being \u201cmodelled\u2019 by a seated male. The mask is unpainted and consists of a carved face with large rounded eyes, pointed nose and large muzzle with pointed teeth, jutting out from the side of the jaw are two curved horns and on the forehead is a small head and emanating from that are two pointed horns making up the front part of the \u201csuperstructure\u201d with four other projections behind, perched on top is a carved animal with a curled tail. In the background are wooden chairs, thatched huts and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 43 of the negative album now numbered C15/.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) (Jones, 1984).\n\nContext: The wide variety of masks in the Nri Akwa area is discussed further. Antelopes, goats, and similar animal spirits were given head masks and those with long muzzles were called Oji Onu (long mouth) or Ulaga. Some animals (for example, Tortoise) were carved as a complete figure which was worn on the actor\u2019s head. There was a range of masks in various shapes, sizes, styles and materials representing comic, stupid, and other human and animal types. There was also faceless characters where the actor\u2019s own face was concealed under a cloth or raffia hood. Some of these were said to be very old and senior, other were abstractions like the spirit called Government or three raffia-covered characters who sang together in thirds and were called Onukamma (the tongue is stronger than the sword). Some of the masks used in Nri-Akwa masquerades were borrowed from elsewhere, mainly from the Ibibio. (Jones, 1989, pp.46-47.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71594.GIJ\n\nDescription\n\nAgu Necheanyi (lion waits for elephant) mask. The mask is unfinished and is being \u201cmodelled\u2019 by a seated male. The mask is unpainted and consists of a carved face with large rounded eyes, pointed nose and large muzzle with pointed teeth, jutting out from the side of the jaw are two curved horns and on the forehead is a small head and emanating from that are two pointed horns making up the front part of the \u201csuperstructure\u201d with four other projections behind, perched on top is a carved animal with a curled tail. In the background are wooden chairs, thatched huts and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 43 of the negative album now numbered C15/.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) (Jones, 1984).\n\nContext: The wide variety of masks in the Nri Akwa area is discussed further. Antelopes, goats, and similar animal spirits were given head masks and those with long muzzles were called Oji Onu (long mouth) or Ulaga. Some animals (for example, Tortoise) were carved as a complete figure which was worn on the actor\u2019s head. There was a range of masks in various shapes, sizes, styles and materials representing comic, stupid, and other human and animal types. There was also faceless characters where the actor\u2019s own face was concealed under a cloth or raffia hood. Some of these were said to be very old and senior, other were abstractions like the spirit called Government or three raffia-covered characters who sang together in thirds and were called Onukamma (the tongue is stronger than the sword). Some of the masks used in Nri-Akwa masquerades were borrowed from elsewhere, mainly from the Ibibio. (Jones, 1989, pp.46-47.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206244\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71594_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656696_N.71594.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169882.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463901", "metadata": {"title": "Untitled", "idno": "P.169882.GIJ", "description": "View of Ekpe (Egbo) society meeting house in Umuajatta (Olokoro) village. The house had a tall thatched roof, and a wall painted by an Anang artist in the style of Ngwomo ghost houses. Surrounded by trees. [Description from record N.13220.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River Area; Umuajatta village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169882.GIJ\n\nDescription\n\nView of Ekpe (Egbo) society meeting house in Umuajatta (Olokoro) village. The house had a tall thatched roof, and a wall painted by an Anang artist in the style of Ngwomo ghost houses. Surrounded by trees. [Description from record N.13220.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River Area; Umuajatta village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310369\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169882_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127850_P.169882.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.13339.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306611", "metadata": {"title": "Untitled", "idno": "N.13339.GIJ", "description": "OOji Onu (or Long Mouth) wooden head mask with a forward projecting muzzle, middle section carved with human nose and eyes, followed by animal? ears, and a pointed cone-shaped protrusion at the rear.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka; Nimo [town]", "cultural_affliation": "Nri-Awka Igbo; Northern Igbo; Igbo", "named_person": "Oji Onu; Long Mouth [names of masque character]", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "Prior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nContext: Jones defines a headmask as one that can be worn horizontally on top of the actor\u2019s head (Jones, 1989, p.31)\nThe character in this masquerade was called Ulaga or Oji Onu (lLong Mouth); he belonged to the benign or comic animal category. The frontal part of his head mask projected forward as a muzzle or pair of jaws, the middle section carried a high human forehead and a high carinated human nose, occasionally flanked by bulbous eyes; the rear part was finished off with horns or animal ears or more abstract projections. Whatever its origin, whether it the Lower Niger or Delta area, this type of mask seems to have ranged from the central Delta confluence of the Niger and Benue River and as far up the latter as the Jukun and Chamba Territory (Jones, 1984, p.140).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]", "raw_text_dump": "IDNO\n\nN.13339.GIJ\n\nDescription\n\nOOji Onu (or Long Mouth) wooden head mask with a forward projecting muzzle, middle section carved with human nose and eyes, followed by animal? ears, and a pointed cone-shaped protrusion at the rear.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka; Nimo [town]\n\nCultural Affliation\n\nNri-Awka Igbo; Northern Igbo; Igbo\n\nNamed Person\n\nOji Onu; Long Mouth [names of masque character]\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPrior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nContext: Jones defines a headmask as one that can be worn horizontally on top of the actor\u2019s head (Jones, 1989, p.31)\nThe character in this masquerade was called Ulaga or Oji Onu (lLong Mouth); he belonged to the benign or comic animal category. The frontal part of his head mask projected forward as a muzzle or pair of jaws, the middle section carried a high human forehead and a high carinated human nose, occasionally flanked by bulbous eyes; the rear part was finished off with horns or animal ears or more abstract projections. Whatever its origin, whether it the Lower Niger or Delta area, this type of mask seems to have ranged from the central Delta confluence of the Niger and Benue River and as far up the latter as the Jukun and Chamba Territory (Jones, 1984, p.140).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]\n\n\nFM:147989\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13339_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000602_N.13339.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13227.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306499", "metadata": {"title": "Untitled", "idno": "N.13227.GIJ", "description": "Close up photograph of wall painting on the wall of a large building with a corrugated iron roof. The painting shows a canoe", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area", "cultural_affliation": "?Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nThis image is one of a series of four photographs of the wall paintings around the outside of a building with a large corrugated iron roof. It is painted in a slightly different style than the work of the artist who painted the Ekpe (Egbo) society house in Umuajatta (Olokoro) village, and the \u2018Mbaja\u2019 wall on two sides of their market and public meeting place in Okwu village.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13227.GIJ\n\nDescription\n\nClose up photograph of wall painting on the wall of a large building with a corrugated iron roof. The painting shows a canoe\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area\n\nCultural Affliation\n\n?Ibibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nThis image is one of a series of four photographs of the wall paintings around the outside of a building with a large corrugated iron roof. It is painted in a slightly different style than the work of the artist who painted the Ekpe (Egbo) society house in Umuajatta (Olokoro) village, and the \u2018Mbaja\u2019 wall on two sides of their market and public meeting place in Okwu village.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147877\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13227_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000490_N.13227.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169751.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463760", "metadata": {"title": "Untitled", "idno": "P.169751.GIJ", "description": "Half-length portrait of an old person. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169751.GIJ\n\nDescription\n\nHalf-length portrait of an old person. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310238\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169751_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127596_P.169751.GIJ_001.png"}, {"file_name": "P_169751_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127597_P.169751.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171262.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465323", "metadata": {"title": "Untitled", "idno": "P.171262.GIJ", "description": "An object documentation photograph of a painted wooden face mask. The mask has two thick inward curving horns painted in a dark pigment. The face is painted in light pigment, with a dark line running from the top of the mask to the tip of the narrow nose. Eyeslits, nostrils and mouth are also highlighted in dark pigment. The mouth is open with several large square teeth. [PB 12/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra state; Idemili", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767185.GIJ - P.767186.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171262.GIJ\n\nDescription\n\nAn object documentation photograph of a painted wooden face mask. The mask has two thick inward curving horns painted in a dark pigment. The face is painted in light pigment, with a dark line running from the top of the mask to the tip of the narrow nose. Eyeslits, nostrils and mouth are also highlighted in dark pigment. The mouth is open with several large square teeth. [PB 12/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra state; Idemili\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767185.GIJ - P.767186.GIJ are mounted together on card.\n\nFM:311953\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171262_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144478_P.171262.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13185.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306457", "metadata": {"title": "Untitled", "idno": "N.13185.GIJ", "description": "Headdress: net cloth attached to ?helmet at base, with wooden superstructure above ?helmet with faces carved around the shaft, and small figures carved seated on a platform at the top of the superstructure.\n\nObject documentation photograph.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 5/3/2008]", "raw_text_dump": "IDNO\n\nN.13185.GIJ\n\nDescription\n\nHeaddress: net cloth attached to ?helmet at base, with wooden superstructure above ?helmet with faces carved around the shaft, and small figures carved seated on a platform at the top of the superstructure.\n\nObject documentation photograph.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 5/3/2008]\n\nFM:147835\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13185_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000447_N.13185.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.35317.ACH2", "source_url": "https://collections.maa.cam.ac.uk/photographs/328589", "metadata": {"title": "Untitled", "idno": "N.35317.ACH2", "description": "On Catalogue Card: Small-fox medicine, Ekoi country. S. N.", "place": "W Africa; Nigeria; south eastern Nigeria; near Cross River", "cultural_affliation": "", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Unmounted Haddon Collection", "source": "", "format": "Film Negative", "primary_documentation": "", "other_information": "The negative was previously stored in an envelope now numbered C106/86/ which was in a wooden box now marked C106/. The envelope (C106/86/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.", "raw_text_dump": "IDNO\n\nN.35317.ACH2\n\nDescription\n\nOn Catalogue Card: Small-fox medicine, Ekoi country. S. N.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; near Cross River\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nUnmounted Haddon Collection\n\nSource\n\nFormat\n\nFilm Negative\n\nPrimary Documentation\n\nOther Information\n\nThe negative was previously stored in an envelope now numbered C106/86/ which was in a wooden box now marked C106/. The envelope (C106/86/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.\n\nFM:169967\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_35317_ACH2_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/607072_cat.P.7038.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71510.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364781", "metadata": {"title": "Untitled", "idno": "N.71510.GIJ", "description": "Obugulu Mau masqueraders sitting down. One of the masqueraders is wearing an elaborate headdress consisting of colourful felt, string and tassels. The mask is painted white with black markings around the eyes, nose, mouth and accentuating the eyebrows and cheeks and attached to a harlequin-like costume. The other masquerader is also wearing a white face mask, headdress and harlequin like costume. In the background are spectators and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; IsuOchi", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 99 of the negative album now numbered C15/.\n\nPublication: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe\nFame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71510.GIJ\n\nDescription\n\nObugulu Mau masqueraders sitting down. One of the masqueraders is wearing an elaborate headdress consisting of colourful felt, string and tassels. The mask is painted white with black markings around the eyes, nose, mouth and accentuating the eyebrows and cheeks and attached to a harlequin-like costume. The other masquerader is also wearing a white face mask, headdress and harlequin like costume. In the background are spectators and trees.\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; IsuOchi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 99 of the negative album now numbered C15/.\n\nPublication: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe\nFame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206160\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71510_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656648_N.71510.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171331.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465392", "metadata": {"title": "Untitled", "idno": "P.171331.GIJ", "description": "Mural decorations on a wall in Nri Akwa. The murals depict two raised figures in relief. The stylised figure on the left is standing with his arms stretched out. The figure has a white painted face, painted clothing and body decorations, and his left arm is holding a gun? and is painted in spots. The figure on the right is standing and has his arms placed on his hips; he is also painted with white markings and wearing a medal around his neck. Around the figures are designs and swirled patterns. A geometric pattern is painted in the far right and a white figure in the far left?[Description from record P.71442.GIJ, PB 02/08/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nobi", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767255.GIJ is mounted on paper.", "raw_text_dump": "IDNO\n\nP.171331.GIJ\n\nDescription\n\nMural decorations on a wall in Nri Akwa. The murals depict two raised figures in relief. The stylised figure on the left is standing with his arms stretched out. The figure has a white painted face, painted clothing and body decorations, and his left arm is holding a gun? and is painted in spots. The figure on the right is standing and has his arms placed on his hips; he is also painted with white markings and wearing a medal around his neck. Around the figures are designs and swirled patterns. A geometric pattern is painted in the far right and a white figure in the far left?[Description from record P.71442.GIJ, PB 02/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nobi\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767255.GIJ is mounted on paper.\n\nFM:312022\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171331_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144547_P.171331.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171168.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465229", "metadata": {"title": "Untitled", "idno": "P.171168.GIJ", "description": "An Alose (tutelary deity) standing on a rock plinth inside a shrine. The Alose wooden sculpture has an elaborately decorated horned headdress painted in different colours with different figures - a snake? The face is white but accentuated with black markings outlining the eyes, nose, and mouth with painted black designs (uli?) on the cheek. The figure is wearing a harlequin-like outfit in various colours. The figure is holding a staff in one hand and a mirror? in the other. In front of the figure are other carved objects and behind are pieces of raffia. The figure is housed under a corrugated iron roof supported by wooden beams. [Description from record P.71459.GIJ, PB 21/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Obioma", "cultural_affliation": "Igbo [historically Ibo]; Abaja", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767091.GIJ - P.767092.GIJ are mounted together on paper.", "raw_text_dump": "IDNO\n\nP.171168.GIJ\n\nDescription\n\nAn Alose (tutelary deity) standing on a rock plinth inside a shrine. The Alose wooden sculpture has an elaborately decorated horned headdress painted in different colours with different figures - a snake? The face is white but accentuated with black markings outlining the eyes, nose, and mouth with painted black designs (uli?) on the cheek. The figure is wearing a harlequin-like outfit in various colours. The figure is holding a staff in one hand and a mirror? in the other. In front of the figure are other carved objects and behind are pieces of raffia. The figure is housed under a corrugated iron roof supported by wooden beams. [Description from record P.71459.GIJ, PB 21/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Obioma\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abaja\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767091.GIJ - P.767092.GIJ are mounted together on paper.\n\nFM:311859\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171168_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144384_P.171168.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13211.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306483", "metadata": {"title": "Untitled", "idno": "N.13211.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts four figures; the one on the left is sitting; the second figure is standing with his arms stretched out, the third figure is standing and the fourth is sitting; each has an elaborate coiffure. An arched pattern frames the four figures at the top. Geometric borders and designs surround the scene.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13211.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts four figures; the one on the left is sitting; the second figure is standing with his arms stretched out, the third figure is standing and the fourth is sitting; each has an elaborate coiffure. An arched pattern frames the four figures at the top. Geometric borders and designs surround the scene.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147861\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13211_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000473_N.13211.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169762.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463771", "metadata": {"title": "Untitled", "idno": "P.169762.GIJ", "description": "Half-length portrait of a man in profile. He is standing in open ground, with bush in the background. He is wearing a belt in his shorts/trousers. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169762.GIJ\n\nDescription\n\nHalf-length portrait of a man in profile. He is standing in open ground, with bush in the background. He is wearing a belt in his shorts/trousers. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310249\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169762_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127618_P.169762.GIJ_001.png"}, {"file_name": "P_169762_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127619_P.169762.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.170289.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464350", "metadata": {"title": "Untitled", "idno": "P.170289.GIJ", "description": "Documentary photograph of a carved wooden headdress with a complete human figure seated on a wooden plinth on a circular concave base. The figure is elongated with his hands (incised with markings to denote fingers) stretched out in front. The humanistic face depicts large almond-shaped eyes defined with incised eyelashes, small nose and rounded mouth, and protruding ears. On the head is a large clover-shaped hat.\nThe headdress is photographed in front of a blanket backdrop. [Description from record N.13147.GIJ, PB 10/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170288.GIJ - P.170277.GIJ were located in a folder, now numbered C759/7.", "raw_text_dump": "IDNO\n\nP.170289.GIJ\n\nDescription\n\nDocumentary photograph of a carved wooden headdress with a complete human figure seated on a wooden plinth on a circular concave base. The figure is elongated with his hands (incised with markings to denote fingers) stretched out in front. The humanistic face depicts large almond-shaped eyes defined with incised eyelashes, small nose and rounded mouth, and protruding ears. On the head is a large clover-shaped hat.\nThe headdress is photographed in front of a blanket backdrop. [Description from record N.13147.GIJ, PB 10/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170288.GIJ - P.170277.GIJ were located in a folder, now numbered C759/7.\n\nFM:310847\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170289_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1132145_P.170289.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.71869.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365140", "metadata": {"title": "Untitled", "idno": "N.71869.GIJ", "description": "The interior of an Obu House with the close up view of two large sculptures. The figure on the left is carrying a pot on her head. The figure is stylised and had a rounded face, elongated decorated neck, a rectangular torso, protruding umbilicus, and squat legs. It is painted white with darker decorations. The other figure is standing and holding a head? in one hand. The figure is stylised with a rounded head, thick neck, elongated torso and thin legs. It is painted white with dark decorative designs. In the far right is a partial view of another figure. The walls of the house are smoothed and in the front of the figures is an incised wooden drum?.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 55 of the negative album now numbered C19/.\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]", "raw_text_dump": "IDNO\n\nN.71869.GIJ\n\nDescription\n\nThe interior of an Obu House with the close up view of two large sculptures. The figure on the left is carrying a pot on her head. The figure is stylised and had a rounded face, elongated decorated neck, a rectangular torso, protruding umbilicus, and squat legs. It is painted white with darker decorations. The other figure is standing and holding a head? in one hand. The figure is stylised with a rounded head, thick neck, elongated torso and thin legs. It is painted white with dark decorative designs. In the far right is a partial view of another figure. The walls of the house are smoothed and in the front of the figures is an incised wooden drum?.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 55 of the negative album now numbered C19/.\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\n\nFM:206519\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71869_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656960_N.71869.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171115.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465176", "metadata": {"title": "Untitled", "idno": "P.171115.GIJ", "description": "Documentation object image of an Idoma face mask. The face is painted white with the characteristic Idoma markings consisting of three rows of vertical markings representing keloids painted black located in the centre of the forehead and on each temple and two circular markings on either side of the mouth. The eyes consist of narrow slits with defined black eyebrows, wide nose and open mouth painted black with white teeth. The ears are painted black and the top of the head is painted black symbolising hair. Attached to the chin of the mask are pieces of yarn, possibly symbolising a beard?; cloth is attached to the side of the mask. [Description from record N.71485.GIJ, PB 18/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Northern Ibo area", "cultural_affliation": "Idoma", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767039.GIJ is mounted on paper.\n\nThis mask is in the Pitt Rivers Museum collection. 1932.33.3. Description: 'Face mask of man with beard, with carved slits for eyes and open mouth. The eyes, eyebrows, mouth and ears are black. There are raised markings running from the top of the nose to the forehead, and between the eyes and ears. A painted line runs from mouth to chin. The mask has a scalloped hairline. A ?woollen and textile beard, dyed with indigo, is stitched around the edge'", "raw_text_dump": "IDNO\n\nP.171115.GIJ\n\nDescription\n\nDocumentation object image of an Idoma face mask. The face is painted white with the characteristic Idoma markings consisting of three rows of vertical markings representing keloids painted black located in the centre of the forehead and on each temple and two circular markings on either side of the mouth. The eyes consist of narrow slits with defined black eyebrows, wide nose and open mouth painted black with white teeth. The ears are painted black and the top of the head is painted black symbolising hair. Attached to the chin of the mask are pieces of yarn, possibly symbolising a beard?; cloth is attached to the side of the mask. [Description from record N.71485.GIJ, PB 18/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Northern Ibo area\n\nCultural Affliation\n\nIdoma\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767039.GIJ is mounted on paper.\n\nThis mask is in the Pitt Rivers Museum collection. 1932.33.3. Description: 'Face mask of man with beard, with carved slits for eyes and open mouth. The eyes, eyebrows, mouth and ears are black. There are raised markings running from the top of the nose to the forehead, and between the eyes and ears. A painted line runs from mouth to chin. The mask has a scalloped hairline. A ?woollen and textile beard, dyed with indigo, is stitched around the edge'\n\nFM:311806\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171115_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144331_P.171115.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169664.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463668", "metadata": {"title": "Untitled", "idno": "P.169664.GIJ", "description": "Agu Necheni (lion-elephant) or Mbdekike masquerade in which the masquerader is dressed in a bulky fibrous quill studded costume with a large, wooden mask standing in front of a barrier?/fence? The mask is comprised of large, curved horns and in between the horns is a carved figure also adorned with horns. The \u2018face\u2019 of the mark shows bulging eyes encircled in white? paint, long triangular nose , and oversized mouth with large teeth. In the background are bystanders, huts, and trees. [Description from record P.71563.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Ibo [historically Igbo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169664.GIJ\n\nDescription\n\nAgu Necheni (lion-elephant) or Mbdekike masquerade in which the masquerader is dressed in a bulky fibrous quill studded costume with a large, wooden mask standing in front of a barrier?/fence? The mask is comprised of large, curved horns and in between the horns is a carved figure also adorned with horns. The \u2018face\u2019 of the mark shows bulging eyes encircled in white? paint, long triangular nose , and oversized mouth with large teeth. In the background are bystanders, huts, and trees. [Description from record P.71563.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\n\n\nFM:310151\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169664_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127434_P.169664.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.71520.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364791", "metadata": {"title": "Untitled", "idno": "N.71520.GIJ", "description": "bugulu Mau masquerade. The character is identified as Ayalugwe. The masquerader is standing in the centre of the arena and is holding a cutlass in one hand and a whisk in the other. The mask consists of a white painted face with black markings and an elaborate headdress consisting of feathers, cloth and felt and wearing a harlequin-like costume with pointed breasts and white gloves/sleeves. In the background are spectators and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Ibo [historically Igbo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 61 of the negative album now numbered C15/.\nPublication: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe\nFame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/11/2007]Publication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71520.GIJ\n\nDescription\n\nbugulu Mau masquerade. The character is identified as Ayalugwe. The masquerader is standing in the centre of the arena and is holding a cutlass in one hand and a whisk in the other. The mask consists of a white painted face with black markings and an elaborate headdress consisting of feathers, cloth and felt and wearing a harlequin-like costume with pointed breasts and white gloves/sleeves. In the background are spectators and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 61 of the negative album now numbered C15/.\nPublication: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe\nFame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/11/2007]Publication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206170\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71520_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656653_N.71520.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13261.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306533", "metadata": {"title": "Untitled", "idno": "N.13261.GIJ", "description": "Young adult males performing in an age set dance, surrounded by crowds. They are wearing waist ornaments and bands, some of which have bells attached to them, knee-rattles, and head-gear (which appears to be a wig with pale round ornaments sewn onto it).", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha province; near Awka", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: This image has been reproduced as a postcard by the University of Cambridge Museum of Archaeology and Anthropology, captioned as follows:\n\u201cNigerian Art\nIbo Masquerades\nNo. 1: Northern Ibo. Age Set Dance.\u201d [JD 11/6/2010]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13261.GIJ\n\nDescription\n\nYoung adult males performing in an age set dance, surrounded by crowds. They are wearing waist ornaments and bands, some of which have bells attached to them, knee-rattles, and head-gear (which appears to be a wig with pale round ornaments sewn onto it).\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha province; near Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: This image has been reproduced as a postcard by the University of Cambridge Museum of Archaeology and Anthropology, captioned as follows:\n\u201cNigerian Art\nIbo Masquerades\nNo. 1: Northern Ibo. Age Set Dance.\u201d [JD 11/6/2010]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147911\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13261_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000524_N.13261.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13243.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306515", "metadata": {"title": "Untitled", "idno": "N.13243.GIJ", "description": "Obugulu Mau (Ghost) masquerade.\n\nUdu Ezuo (World Famous) and Iro Ekeptu (Merciless) performing in a masquerade. Udo Ezuo is standing in the foreground, wearing a white (painted in white clay or gypsum?) head-mask to the top of the head attached to a geometric patterned cloth top, striped leggings, raffia skirt, and ankle-rattles. The mask appears to be similar to a female helmet mask, though the face is above the head of the wearer.\nIro Ekpetu is standing behind Udo Ezuo and is wearing a black,fierce face mask, with eyes and teeth painted white?, raffia hair, cloth tights and top, and a raffia skirt.\nThere are mud and thatch huts, trees, and vegetation in the background.", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village", "cultural_affliation": "Isuochi; Nri-Awka Igbo; Northern Igbo; Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: During the Mau or ghost masquerades, there are different \u2019characters\u2019\u2019 who perform in the masquerade. Jones writes about the division between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated head-dresses. The fierce were black and red. The modes of the former were rounded and angular, those of the latter also included the stylised and occasionally abstract, and the carving often incorporated fangs, horns, beaks and other fearsome animal features (Jones, 1984, p. 139). More specifically in reference to Iro Ekpetu, Jones describes a masquerade performance in Amoebae in which there were many different characters and one of the masqueraders was a black fierce and masculine creature with masks that combined animal and human features (p.59).\n\nBibliographical Reference: Aniakor and Cole also discuss the differences between beauty and beast; good and bad; white and black.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/10/2007]", "raw_text_dump": "IDNO\n\nN.13243.GIJ\n\nDescription\n\nObugulu Mau (Ghost) masquerade.\n\nUdu Ezuo (World Famous) and Iro Ekeptu (Merciless) performing in a masquerade. Udo Ezuo is standing in the foreground, wearing a white (painted in white clay or gypsum?) head-mask to the top of the head attached to a geometric patterned cloth top, striped leggings, raffia skirt, and ankle-rattles. The mask appears to be similar to a female helmet mask, though the face is above the head of the wearer.\nIro Ekpetu is standing behind Udo Ezuo and is wearing a black,fierce face mask, with eyes and teeth painted white?, raffia hair, cloth tights and top, and a raffia skirt.\nThere are mud and thatch huts, trees, and vegetation in the background.\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIsuochi; Nri-Awka Igbo; Northern Igbo; Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: During the Mau or ghost masquerades, there are different \u2019characters\u2019\u2019 who perform in the masquerade. Jones writes about the division between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated head-dresses. The fierce were black and red. The modes of the former were rounded and angular, those of the latter also included the stylised and occasionally abstract, and the carving often incorporated fangs, horns, beaks and other fearsome animal features (Jones, 1984, p. 139). More specifically in reference to Iro Ekpetu, Jones describes a masquerade performance in Amoebae in which there were many different characters and one of the masqueraders was a black fierce and masculine creature with masks that combined animal and human features (p.59).\n\nBibliographical Reference: Aniakor and Cole also discuss the differences between beauty and beast; good and bad; white and black.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/10/2007]\n\nFM:147893\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13243_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000506_N.13243.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.71957.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365228", "metadata": {"title": "Untitled", "idno": "N.71957.GIJ", "description": "A Ngbagba Ikoro masquerade with the principle masquerade character called Otiri who is being touched by an older woman. Otiri is wearing a large head mask consisting of several long feathers, his face is covered with a cloth sack, his body with a woven cloth, and around his waist is a raffia skirt. Otiri is holding a thick white plume in his hand and around his ankles are seed anklets. A group of older women are around him and one is touching him. In the background are spectators watching the play.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 37 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Older woman touching Otiri Ngbagba Ikoro, Abiriba. (4th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71957.GIJ\n\nDescription\n\nA Ngbagba Ikoro masquerade with the principle masquerade character called Otiri who is being touched by an older woman. Otiri is wearing a large head mask consisting of several long feathers, his face is covered with a cloth sack, his body with a woven cloth, and around his waist is a raffia skirt. Otiri is holding a thick white plume in his hand and around his ankles are seed anklets. A group of older women are around him and one is touching him. In the background are spectators watching the play.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 37 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Older woman touching Otiri Ngbagba Ikoro, Abiriba. (4th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206607\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71957_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657058_N.71957.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169851.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463865", "metadata": {"title": "Untitled", "idno": "P.169851.GIJ", "description": "Close up portrait of a drummer at a masquerade. He is wearing a head cloth. He has a thin metal chain over his shoulder. There is a second drummer in the background. [PB 05/01/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo {Ibo]; South Ikwerri", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169851.GIJ\n\nDescription\n\nClose up portrait of a drummer at a masquerade. He is wearing a head cloth. He has a thin metal chain over his shoulder. There is a second drummer in the background. [PB 05/01/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo {Ibo]; South Ikwerri\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310338\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169851_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127797_P.169851.GIJ_001.png"}, {"file_name": "P_169851_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127799_P.169851.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13305.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306577", "metadata": {"title": "Untitled", "idno": "N.13305.GIJ", "description": "Close up portrait of a young man posing with his hands on his hips. Behind him is a wooden door.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13305.GIJ\n\nDescription\n\nClose up portrait of a young man posing with his hands on his hips. Behind him is a wooden door.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147955\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13305_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000568_N.13305.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169667.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463673", "metadata": {"title": "Untitled", "idno": "P.169667.GIJ", "description": "Ghost policemen standing in line and carrying wooden guns; the sergeant or more senior police official is on the right hand side. The policemen are wearing dark uniforms which consist of black shirts with rank markings in white, pockets, cropped trousers and socks. Belted around the waist are pouches. Their heads are covered with dark knitted face masks outlining the facial features in white with a cap on top. [Description from record N.71639.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169667.GIJ\n\nDescription\n\nGhost policemen standing in line and carrying wooden guns; the sergeant or more senior police official is on the right hand side. The policemen are wearing dark uniforms which consist of black shirts with rank markings in white, pockets, cropped trousers and socks. Belted around the waist are pouches. Their heads are covered with dark knitted face masks outlining the facial features in white with a cap on top. [Description from record N.71639.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\n\n\nFM:310154\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169667_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127439_P.169667.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.71524.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364795", "metadata": {"title": "Untitled", "idno": "N.71524.GIJ", "description": "Obugulu Mau masquerade. A frontal profile of a standing masquerader wearing a delicate white face mask with black markings accentuating the eyes, nose and lips. There are black painted designs on the top of the forehead, a key shaped design on the cheeks and lines under the eyes and on either side of the mouth with a carved crested and curved shape on top painted white and black. The costume is patterned in a harlequin-like design with appliqu\u00e9d detail with two pronounced pointed breasts. and white gloves/sleeves covering the hands. In the background is a building with a thatched roof and mud wall.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Ibo [historically Igbo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 54 of the negative album now numbered C15/.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe\nFame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/11/2007]", "raw_text_dump": "IDNO\n\nN.71524.GIJ\n\nDescription\n\nObugulu Mau masquerade. A frontal profile of a standing masquerader wearing a delicate white face mask with black markings accentuating the eyes, nose and lips. There are black painted designs on the top of the forehead, a key shaped design on the cheeks and lines under the eyes and on either side of the mouth with a carved crested and curved shape on top painted white and black. The costume is patterned in a harlequin-like design with appliqu\u00e9d detail with two pronounced pointed breasts. and white gloves/sleeves covering the hands. In the background is a building with a thatched roof and mud wall.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 54 of the negative album now numbered C15/.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe\nFame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/11/2007]\n\nFM:206174\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71524_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656655_N.71524.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13235.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306507", "metadata": {"title": "Untitled", "idno": "N.13235.GIJ", "description": "An Ogoni antelope mask consisting of a rounded shape with a square peg like projection at the mouth, arched nose, rounded hole for eye and two small horns.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ogoni", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ibibio, Ijo and Ogoni\n2. Ogoni\n3. Antelope Mask (2nd image).\n\nContext: Jones writes about the different styles found in Eastern Nigeria and he discusses the unique characteristics of the Ogoni specific style. He notes, \u201cThe Ogoni are an obscure group of people who seem to have become isolated on the Delta margin between the Ijo, Ibibio and Ibo, where they developed their own culture and styles of carving. Little is known about them and no one has studied the masquerades and dramatic plays for which they were made. Their sculpture has been grouped by some with Ibibio, but their masks were very different and although some of the more stylised Anang figures are very similar to some Ogoni ones, most of the figures which I have seen were not. Ogoni masks representing human faces had their own specific, indeed unique style. They were small, covering only the upper part o the wearer\u2019s face, and projecting forward from it. They were coloured white and had a hinged lower jaw and behind it a grille formed of strips of cane which represented the teeth. Some were carved in a bulging, rounded style and looked as though they were intended to be caricatures, others were more graceful and refined. Another form represented a goat or antelope and was carved without a separate lower jaw and designed to fit over the wearer\u2019s face. Two very old ones collected by Murray were small with short horns and were carved in a rounded and highly stylised mode. Others carved more recently were large and in a naturalistic mode representing long-horned antelopes and coloured realistically with brown and white pigments. It is unusual to find antelope heads carved in the form of a face mask.\u201d (Jones, 1984, pp.189-190).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]", "raw_text_dump": "IDNO\n\nN.13235.GIJ\n\nDescription\n\nAn Ogoni antelope mask consisting of a rounded shape with a square peg like projection at the mouth, arched nose, rounded hole for eye and two small horns.\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nOgoni\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ibibio, Ijo and Ogoni\n2. Ogoni\n3. Antelope Mask (2nd image).\n\nContext: Jones writes about the different styles found in Eastern Nigeria and he discusses the unique characteristics of the Ogoni specific style. He notes, \u201cThe Ogoni are an obscure group of people who seem to have become isolated on the Delta margin between the Ijo, Ibibio and Ibo, where they developed their own culture and styles of carving. Little is known about them and no one has studied the masquerades and dramatic plays for which they were made. Their sculpture has been grouped by some with Ibibio, but their masks were very different and although some of the more stylised Anang figures are very similar to some Ogoni ones, most of the figures which I have seen were not. Ogoni masks representing human faces had their own specific, indeed unique style. They were small, covering only the upper part o the wearer\u2019s face, and projecting forward from it. They were coloured white and had a hinged lower jaw and behind it a grille formed of strips of cane which represented the teeth. Some were carved in a bulging, rounded style and looked as though they were intended to be caricatures, others were more graceful and refined. Another form represented a goat or antelope and was carved without a separate lower jaw and designed to fit over the wearer\u2019s face. Two very old ones collected by Murray were small with short horns and were carved in a rounded and highly stylised mode. Others carved more recently were large and in a naturalistic mode representing long-horned antelopes and coloured realistically with brown and white pigments. It is unusual to find antelope heads carved in the form of a face mask.\u201d (Jones, 1984, pp.189-190).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]\n\n\nFM:147885\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13235_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000498_N.13235.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71925.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365196", "metadata": {"title": "Untitled", "idno": "N.71925.GIJ", "description": "A young boy wearing a large helmet shaped mask.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 29 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nN.71925.GIJ\n\nDescription\n\nA young boy wearing a large helmet shaped mask.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 29 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nFM:206575\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71925_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657019_N.71925.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171175.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465236", "metadata": {"title": "Untitled", "idno": "P.171175.GIJ", "description": "A man standing next to a carved wooden \u2018title emblem\u2019 which is stuck in the ground in a settlement; thatched houses in background. The man is looking intently at the photographer, and is wearing a waist cloth. The \u2018title emblem\u2019 is a piece of carved wood consisting of a cylindrical \u2018head\u2019 with an etched face, neck and elongated torso incised with horizontal striations and a waved pattern. The base is tapered and is inserted into the ground. [Description from record N.13043.GIJ, PB 21/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767095.GIJ - P.767099.GIJ are mounted together on paper.", "raw_text_dump": "IDNO\n\nP.171175.GIJ\n\nDescription\n\nA man standing next to a carved wooden \u2018title emblem\u2019 which is stuck in the ground in a settlement; thatched houses in background. The man is looking intently at the photographer, and is wearing a waist cloth. The \u2018title emblem\u2019 is a piece of carved wood consisting of a cylindrical \u2018head\u2019 with an etched face, neck and elongated torso incised with horizontal striations and a waved pattern. The base is tapered and is inserted into the ground. [Description from record N.13043.GIJ, PB 21/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767095.GIJ - P.767099.GIJ are mounted together on paper.\n\nFM:311866\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171175_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144391_P.171175.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.170057.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464087", "metadata": {"title": "Untitled", "idno": "T.170057.GIJ", "description": "Agu Necheni (lion-elephant) or Mbdekike masquerade in which the masquerader is dressed in a bulky fibrous quill studded costume with a large, wooden mask standing in front of a barrier?/fence? The mask is comprised of large, curved horns and in between the horns is a carved figure also adorned with horns. The \u2018face\u2019 of the mask shows bulging eyes encircled in white? paint, long triangular nose, and oversized mouth with large teeth. In the background are bystanders, huts, and trees. [Description from record N.71564.GIJ , PB 14/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170057.GIJ\n\nDescription\n\nAgu Necheni (lion-elephant) or Mbdekike masquerade in which the masquerader is dressed in a bulky fibrous quill studded costume with a large, wooden mask standing in front of a barrier?/fence? The mask is comprised of large, curved horns and in between the horns is a carved figure also adorned with horns. The \u2018face\u2019 of the mask shows bulging eyes encircled in white? paint, long triangular nose, and oversized mouth with large teeth. In the background are bystanders, huts, and trees. [Description from record N.71564.GIJ , PB 14/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310585\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170057_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128173_T.170057.GIJ_001.png"}, {"file_name": "T_170057_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128176_T.170057.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13230.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306502", "metadata": {"title": "Untitled", "idno": "N.13230.GIJ", "description": "Object documentation photograph of a stylised carved wooden face mask represnting an animal, with the base sections of two curling horns on top of the head, protruding ridge from horns down to peg like snout, square holes for eyes, and rounded patterns on either side.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "?Ogoni", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/3/2008]", "raw_text_dump": "IDNO\n\nN.13230.GIJ\n\nDescription\n\nObject documentation photograph of a stylised carved wooden face mask represnting an animal, with the base sections of two curling horns on top of the head, protruding ridge from horns down to peg like snout, square holes for eyes, and rounded patterns on either side.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\n?Ogoni\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/3/2008]\n\nFM:147880\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13230_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000493_N.13230.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13290.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306562", "metadata": {"title": "Untitled", "idno": "N.13290.GIJ", "description": "A masquerade character called Otili (dancer) performing in the Okwanku masquerade. The masquerader is wearing a wooden round face mask with large round eyes, nose and slit mouth and long raffia hair to the waist. He is wearing shorts, legs are exposed, and anklets. In the background are spectators.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village", "cultural_affliation": "Igbo [historically Ibo]; Ohaffia", "named_person": "Otili; Dancer [names of masque character]", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: A similar image is reproduced in Jones.G.I. 1989 as plate 50 on p. 58, with the caption \u201cOkwanku masquerade. Akanu town. Ohaffia tribe, Cross River Ibo. Dibia (doctor) with his bag of medicines. Onyenachumiri (Rain Driver) with gum boots and broom to drive the rain away and, in begrimed straw hat, Obaji (Chin Beard). Dibia, having poisoned Onyechumiri, is now trying to revive him.\u201d\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestingly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13290.GIJ\n\nDescription\n\nA masquerade character called Otili (dancer) performing in the Okwanku masquerade. The masquerader is wearing a wooden round face mask with large round eyes, nose and slit mouth and long raffia hair to the waist. He is wearing shorts, legs are exposed, and anklets. In the background are spectators.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ohaffia\n\nNamed Person\n\nOtili; Dancer [names of masque character]\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: A similar image is reproduced in Jones.G.I. 1989 as plate 50 on p. 58, with the caption \u201cOkwanku masquerade. Akanu town. Ohaffia tribe, Cross River Ibo. Dibia (doctor) with his bag of medicines. Onyenachumiri (Rain Driver) with gum boots and broom to drive the rain away and, in begrimed straw hat, Obaji (Chin Beard). Dibia, having poisoned Onyechumiri, is now trying to revive him.\u201d\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestingly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147940\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13290_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000553_N.13290.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.170210.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464271", "metadata": {"title": "Untitled", "idno": "P.170210.GIJ", "description": "Two bottles carved out of hard wood in shape of local clay ones. They are hollow and will hold liquids. The technique is to cut a piece out of the side to enable one to hollow the interior and then replace it. The bottle on the left is comprised of a handle with wooden supports around the base. The neck of the bottle is plain with coiled rings and the body of the bottle is incised with geometric relief decorations, cross-hatching patterns, zigzag designs, striations and with lettering, \u201cOFUNWA\u201d. The bottle on the right consists of a handle, the neck of the bottle is plain with coiled rings and the body of the bottle is incised with geometric relief decorations, zigzags, striations, lines and cross-hatching. In the background is a brick wall. [Description from record P.71498.GIJ, PB 20/10/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.758001.GIJ - P.758022.GIJ were located together in a green \"Guildhall\" folder, now numbered C758/.", "raw_text_dump": "IDNO\n\nP.170210.GIJ\n\nDescription\n\nTwo bottles carved out of hard wood in shape of local clay ones. They are hollow and will hold liquids. The technique is to cut a piece out of the side to enable one to hollow the interior and then replace it. The bottle on the left is comprised of a handle with wooden supports around the base. The neck of the bottle is plain with coiled rings and the body of the bottle is incised with geometric relief decorations, cross-hatching patterns, zigzag designs, striations and with lettering, \u201cOFUNWA\u201d. The bottle on the right consists of a handle, the neck of the bottle is plain with coiled rings and the body of the bottle is incised with geometric relief decorations, zigzags, striations, lines and cross-hatching. In the background is a brick wall. [Description from record P.71498.GIJ, PB 20/10/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.758001.GIJ - P.758022.GIJ were located together in a green \"Guildhall\" folder, now numbered C758/.\n\nFM:310765\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170210_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131520_P.170210.GIJ_001.png"}, {"file_name": "P_170210_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131521_P.170210.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171618.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465679", "metadata": {"title": "Untitled", "idno": "P.171618.GIJ", "description": "A documentation photograph of a carved wooden face mask. The lower section of the mask, to fit over the masquerader's head, is dome shaped, with narrow eye slits, and nose painted white. On the forehead is a face painted white with features highlighted in dark pigment. A beard of long white hair is attached to the chin of this face and dangle down between the eyeslits and over the nose of the mask. The upper section of the mask is a superstructure in the shape of a human figure, with outstretched arms. A face painted white with a black hairpiece is at the top. [PB 05/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171617.GIJ and P.171618.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171618.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden face mask. The lower section of the mask, to fit over the masquerader's head, is dome shaped, with narrow eye slits, and nose painted white. On the forehead is a face painted white with features highlighted in dark pigment. A beard of long white hair is attached to the chin of this face and dangle down between the eyeslits and over the nose of the mask. The upper section of the mask is a superstructure in the shape of a human figure, with outstretched arms. A face painted white with a black hairpiece is at the top. [PB 05/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171617.GIJ and P.171618.GIJ are mounted on card.\n\nFM:312338\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171618_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144931_P.171618.GIJ_001.jpg"}, {"file_name": "P_171618_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144932_P.171618.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169818.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463827", "metadata": {"title": "Untitled", "idno": "P.169818.GIJ", "description": "An Ibibio tripod drum: skin covered wooden carved drum with three carved wooden human figures. [Description from record N.13200.GIJ, PB 18/112022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169804.GIJ - P.169819.GIJ were located in an blue Seltona envelope now numbered C754/9/.", "raw_text_dump": "IDNO\n\nP.169818.GIJ\n\nDescription\n\nAn Ibibio tripod drum: skin covered wooden carved drum with three carved wooden human figures. [Description from record N.13200.GIJ, PB 18/112022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169804.GIJ - P.169819.GIJ were located in an blue Seltona envelope now numbered C754/9/.\n\nFM:310305\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169818_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127715_P.169818.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "T.170054.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464081", "metadata": {"title": "Untitled", "idno": "T.170054.GIJ", "description": "A Lughulu \u2018beautiful\u2019 female mask; the mask is carved in oval shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long triangular shaped nose, open mouth with teeth painted white, elliptical shaped ears and linear markings in the centre of the forehead and to the sides. On top are two carved shapes resembling a coiffure? with incised v-markings. There is white paint/chalk visible on the top right.[Description from record P.71799.GIJ , PB 14/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Alayi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170054.GIJ\n\nDescription\n\nA Lughulu \u2018beautiful\u2019 female mask; the mask is carved in oval shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long triangular shaped nose, open mouth with teeth painted white, elliptical shaped ears and linear markings in the centre of the forehead and to the sides. On top are two carved shapes resembling a coiffure? with incised v-markings. There is white paint/chalk visible on the top right.[Description from record P.71799.GIJ , PB 14/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Alayi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310582\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170054_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128162_T.170054.GIJ_001.png"}, {"file_name": "T_170054_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128163_T.170054.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.30460.NWT", "source_url": "https://collections.maa.cam.ac.uk/photographs/323732", "metadata": {"title": "Untitled", "idno": "P.30460.NWT", "description": "On Negative Listing: \"2036. 24. Burning of sheep. [Thomas' manuscript on RAI MS 467-2(1801-2475)]\n\nIn Blench and Alexander Catalogue for N. W. Thomas photograph collection: \u201c2036 location: Amobia; associations: religion?;\u201d [printed text]", "place": "W Africa; Nigeria; south eastern Nigeria; near Awka; Amobia village", "cultural_affliation": "", "named_person": "", "photographer": "Thomas, Northcote Whitridge", "collector_/_expedition": "", "date": "1909 - 1913", "collection_name": "Northcote Thomas Collection", "source": "Thomas, Northcote Whitridge", "format": "Print Black & White", "primary_documentation": "", "other_information": "This print was previously stored in a box in the fourth drawer of a container which has four drawers. The cataloguer has marked the container C70/, the fourth drawer C70/4/ and the box in which this print was kept C70/4/6/.", "raw_text_dump": "IDNO\n\nP.30460.NWT\n\nDescription\n\nOn Negative Listing: \"2036. 24. Burning of sheep. [Thomas' manuscript on RAI MS 467-2(1801-2475)]\n\nIn Blench and Alexander Catalogue for N. W. Thomas photograph collection: \u201c2036 location: Amobia; associations: religion?;\u201d [printed text]\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; near Awka; Amobia village\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nThomas, Northcote Whitridge\n\nCollector / Expedition\n\nDate\n\n1909 - 1913\n\nCollection Name\n\nNorthcote Thomas Collection\n\nSource\n\nThomas, Northcote Whitridge\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis print was previously stored in a box in the fourth drawer of a container which has four drawers. The cataloguer has marked the container C70/, the fourth drawer C70/4/ and the box in which this print was kept C70/4/6/.\n\n\n\nFM:165110\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_30460_NWT_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/860116_P.30460.NWT_001.png"}, {"file_name": "P_30460_NWT_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/860117_P.30460.NWT_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171621.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465682", "metadata": {"title": "Untitled", "idno": "P.171621.GIJ", "description": "A documentation photograph of a carved face mask in dark wood. The mask has a beard of black hair. The mouth is straight and wide, from one edge of the mask to the other, with many teeth indicated by notches. The eye slits are narrow, set into almond shaped eyelids. The top of the mask is formed by a flat disk. A string of beads is draped over the top and down both sides of the mask. [PB 05/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Ezenihite", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171621.GIJ and P.171622.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171621.GIJ\n\nDescription\n\nA documentation photograph of a carved face mask in dark wood. The mask has a beard of black hair. The mouth is straight and wide, from one edge of the mask to the other, with many teeth indicated by notches. The eye slits are narrow, set into almond shaped eyelids. The top of the mask is formed by a flat disk. A string of beads is draped over the top and down both sides of the mask. [PB 05/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Ezenihite\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171621.GIJ and P.171622.GIJ are mounted on card.\n\nFM:312341\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171621_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144937_P.171621.GIJ_001.jpg"}, {"file_name": "P_171621_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144938_P.171621.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.170228.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464289", "metadata": {"title": "Untitled", "idno": "P.170228.GIJ", "description": "Onye Ocha or Oybio (white man) masquerade character. The mask consists of a white face with black arched brows, slits for eyes, long nose and mouth with a black moustache. On the top is a carved white sun helmet with a black brim. The costume consists of a white drill jacket and trousers; the character is posed with one hand on his hip and in the other, he is holding a walking stick. On his feet are white shoes / slippers and his hands are covered in white mittens / gloves. In the background are spectators and trees. [Description from record P.71603.GIJ, PB 20/10/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; ?Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.758001.GIJ - P.758022.GIJ were located together in a green \"Guildhall\" folder, now numbered C758/.", "raw_text_dump": "IDNO\n\nP.170228.GIJ\n\nDescription\n\nOnye Ocha or Oybio (white man) masquerade character. The mask consists of a white face with black arched brows, slits for eyes, long nose and mouth with a black moustache. On the top is a carved white sun helmet with a black brim. The costume consists of a white drill jacket and trousers; the character is posed with one hand on his hip and in the other, he is holding a walking stick. On his feet are white shoes / slippers and his hands are covered in white mittens / gloves. In the background are spectators and trees. [Description from record P.71603.GIJ, PB 20/10/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; ?Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.758001.GIJ - P.758022.GIJ were located together in a green \"Guildhall\" folder, now numbered C758/.\n\nFM:310783\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170228_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131556_P.170228.GIJ_001.png"}, {"file_name": "P_170228_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131557_P.170228.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71518.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364789", "metadata": {"title": "Untitled", "idno": "N.71518.GIJ", "description": "Obugulu Mau masquerade, a grandmother mask character. The masquerader is performing in front of an audience. The mask consists of a white face with black markings around the eyes, nose and three linear markings on the forehead. The top of the mask consists of cone-shaped headdress (coiffure) with a curved structure in the centre, painted white and black. There is woven cloth attached to the mask, a scarf tied around the neck and a harlequin-like costume, the sleeves are white covering the hands. In one hand there is a fly whisk and around the ankles are very thick ivory anklets. In the background are spectators and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 91 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Grandmother Mask, Obugula Mmau Amuobia village (10th image).\n\nPublication: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe\nFame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71518.GIJ\n\nDescription\n\nObugulu Mau masquerade, a grandmother mask character. The masquerader is performing in front of an audience. The mask consists of a white face with black markings around the eyes, nose and three linear markings on the forehead. The top of the mask consists of cone-shaped headdress (coiffure) with a curved structure in the centre, painted white and black. There is woven cloth attached to the mask, a scarf tied around the neck and a harlequin-like costume, the sleeves are white covering the hands. In one hand there is a fly whisk and around the ankles are very thick ivory anklets. In the background are spectators and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 91 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Grandmother Mask, Obugula Mmau Amuobia village (10th image).\n\nPublication: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe\nFame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206168\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71518_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656652_N.71518.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171335.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465396", "metadata": {"title": "Untitled", "idno": "P.171335.GIJ", "description": "Ogbugulu Mau Mask Series. An Ogbugulu Mau helmet mask. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with painted teeth. There are painted designs above and beneath the eyes and on the cheek. The top of the mask consists of a dark arched crest with a cut out zigzag design, with swirled incised designs representing uli on the sides of the crest. Strips of a felt bands are stitched to the mask attached with pieces of fabric.\n[Description from record N.13322.GIJ, PB 02/08/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri-Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767259.GIJ is mounted on card.", "raw_text_dump": "IDNO\n\nP.171335.GIJ\n\nDescription\n\nOgbugulu Mau Mask Series. An Ogbugulu Mau helmet mask. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with painted teeth. There are painted designs above and beneath the eyes and on the cheek. The top of the mask consists of a dark arched crest with a cut out zigzag design, with swirled incised designs representing uli on the sides of the crest. Strips of a felt bands are stitched to the mask attached with pieces of fabric.\n[Description from record N.13322.GIJ, PB 02/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri-Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767259.GIJ is mounted on card.\n\nFM:312026\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171335_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144551_P.171335.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171256.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465317", "metadata": {"title": "Untitled", "idno": "P.171256.GIJ", "description": "A close up portrait in profile of a masquerader in the Mau masquerade, sitting in front of a wall. The character is called Oji Ulaga representing a foolish antelope spirit. He is wearing wooden helmet mask which has short fully curled horns at the back and a rectangular snout at the front, with eyes raised above the snout. The masquerader a mantle of grass over his head and shoulders. [PB 12/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra state; Idemili; Ogidi", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767180.GIJ - P.767181.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171256.GIJ\n\nDescription\n\nA close up portrait in profile of a masquerader in the Mau masquerade, sitting in front of a wall. The character is called Oji Ulaga representing a foolish antelope spirit. He is wearing wooden helmet mask which has short fully curled horns at the back and a rectangular snout at the front, with eyes raised above the snout. The masquerader a mantle of grass over his head and shoulders. [PB 12/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra state; Idemili; Ogidi\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767180.GIJ - P.767181.GIJ are mounted together on card.\n\nFM:311947\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171256_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144472_P.171256.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169771.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463780", "metadata": {"title": "Untitled", "idno": "P.169771.GIJ", "description": "A shrine standing in open ground among trees and bushes. There is a small thatched roof resting on four uprights made from thin tree branches. There is a female deity figure made from mud? wood? The figure is sitting. The face of the figure has eyes with white painted (or shell?) insets. The mouth is open holding a stick (pipe?). The arms are outstretched with hands roughly shaped. The figure has a distended stomach. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169771.GIJ - P.169779.GIJ were located in an brown envelope now numbered C754/6/.", "raw_text_dump": "IDNO\n\nP.169771.GIJ\n\nDescription\n\nA shrine standing in open ground among trees and bushes. There is a small thatched roof resting on four uprights made from thin tree branches. There is a female deity figure made from mud? wood? The figure is sitting. The face of the figure has eyes with white painted (or shell?) insets. The mouth is open holding a stick (pipe?). The arms are outstretched with hands roughly shaped. The figure has a distended stomach. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169771.GIJ - P.169779.GIJ were located in an brown envelope now numbered C754/6/.\n\nFM:310258\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169771_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127636_P.169771.GIJ_001.png"}, {"file_name": "P_169771_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127637_P.169771.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13228.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306500", "metadata": {"title": "Untitled", "idno": "N.13228.GIJ", "description": "View of a large building with a raised corrugated iron roof and wall paintings on the external wall.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area", "cultural_affliation": "?Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: This image is one of a series of four photographs of the wall paintings around the outside of a building with a large corrugated iron roof. It is painted in a slightly different style than the work of the artist who painted the Ekpe (Egbo) society house in Umuajatta (Olokoro) village, and the \u2018Mbaja\u2019 wall on two sides of their market and public meeting place in Okwu village.\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13228.GIJ\n\nDescription\n\nView of a large building with a raised corrugated iron roof and wall paintings on the external wall.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area\n\nCultural Affliation\n\n?Ibibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: This image is one of a series of four photographs of the wall paintings around the outside of a building with a large corrugated iron roof. It is painted in a slightly different style than the work of the artist who painted the Ekpe (Egbo) society house in Umuajatta (Olokoro) village, and the \u2018Mbaja\u2019 wall on two sides of their market and public meeting place in Okwu village.\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147878\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13228_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000491_N.13228.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169859.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463878", "metadata": {"title": "Untitled", "idno": "P.169859.GIJ", "description": "A scene from the ogbukere masquerade. Men and women dancing with spectators looking on. The man dancing in the foreground holds a long stick which has a head made from strips of material. There are houses in the background. [PB 05/01/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Ekpeya", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169859.GIJ\n\nDescription\n\nA scene from the ogbukere masquerade. Men and women dancing with spectators looking on. The man dancing in the foreground holds a long stick which has a head made from strips of material. There are houses in the background. [PB 05/01/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ekpeya\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310346\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169859_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127818_P.169859.GIJ_001.png"}, {"file_name": "P_169859_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127819_P.169859.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "T.170127.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464188", "metadata": {"title": "Untitled", "idno": "T.170127.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two figures: an antelope and a man holding reins. The scene is framed with linear and chevron designs around them. [PB 29/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River Area", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170127.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two figures: an antelope and a man holding reins. The scene is framed with linear and chevron designs around them. [PB 29/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River Area\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310655\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170127_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128377_T.170127.GIJ_001.png"}, {"file_name": "T_170127_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128378_T.170127.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71552.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364823", "metadata": {"title": "Untitled", "idno": "N.71552.GIJ", "description": "Side view of Aguneche euyi (lion elephant) mask displayed on an animal skin; the mask is wooden and consists of anthropomorphised elements - a carved face with arched eyebrows encasing rounded eyes encircled in white? paint, a triangular nose with white line in the centre, a large mouth and extended jaw line depicting large pointed teeth painted white? and two curved horns as \u201cears\u201d, above the face of the mask are two curved horns in the centre, and other pointed horns emanating from the sides. In the centre of the larger horns is a small carved figure - with horns and a white face. On top of the superstructure is a carved animal with a white face. In the background are buildings and vegetation.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 58 of the negative album now numbered C15/.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71552.GIJ\n\nDescription\n\nSide view of Aguneche euyi (lion elephant) mask displayed on an animal skin; the mask is wooden and consists of anthropomorphised elements - a carved face with arched eyebrows encasing rounded eyes encircled in white? paint, a triangular nose with white line in the centre, a large mouth and extended jaw line depicting large pointed teeth painted white? and two curved horns as \u201cears\u201d, above the face of the mask are two curved horns in the centre, and other pointed horns emanating from the sides. In the centre of the larger horns is a small carved figure - with horns and a white face. On top of the superstructure is a carved animal with a white face. In the background are buildings and vegetation.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 58 of the negative album now numbered C15/.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206202\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71552_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656661_N.71552.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171259.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465320", "metadata": {"title": "Untitled", "idno": "P.171259.GIJ", "description": "A documentation photograph of a wooden ikenga figure, standing on a low pedestal. The figure is sitting on a stool, holding in right hand a matchet and in the left an inverted human face. The figure's head has two curled horns. [PB 12/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767180.GIJ - P.767181.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171259.GIJ\n\nDescription\n\nA documentation photograph of a wooden ikenga figure, standing on a low pedestal. The figure is sitting on a stool, holding in right hand a matchet and in the left an inverted human face. The figure's head has two curled horns. [PB 12/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767180.GIJ - P.767181.GIJ are mounted together on card.\n\nFM:311950\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171259_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144475_P.171259.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171301.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465362", "metadata": {"title": "Untitled", "idno": "P.171301.GIJ", "description": "Onye Ocha or Oybio (white man) masquerade character. The mask consists of a white face with black arched brows, slits for eyes, long nose and mouth with a black moustache. On the top is a carved white sun helmet with a black brim. The costume consists of a white drill jacket and trousers; the character is posed with one hand on his hip and in the other, he is holding a walking stick. On his feet are white shoes/slippers and his hands are covered in white mittens/gloves. In the background are spectators and trees. [Description from record P.71603.GIJ, PB 30/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767225.GIJ and P.767226.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171301.GIJ\n\nDescription\n\nOnye Ocha or Oybio (white man) masquerade character. The mask consists of a white face with black arched brows, slits for eyes, long nose and mouth with a black moustache. On the top is a carved white sun helmet with a black brim. The costume consists of a white drill jacket and trousers; the character is posed with one hand on his hip and in the other, he is holding a walking stick. On his feet are white shoes/slippers and his hands are covered in white mittens/gloves. In the background are spectators and trees. [Description from record P.71603.GIJ, PB 30/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767225.GIJ and P.767226.GIJ are mounted together on card.\n\nFM:311992\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171301_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144517_P.171301.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.7056.ACH1", "source_url": "https://collections.maa.cam.ac.uk/photographs/300328", "metadata": {"title": "Untitled", "idno": "P.7056.ACH1", "description": "On Catalogue Card: Ibo women with brass anklets, Nigeria.", "place": "W Africa; Nigeria; south eastern Nigeria", "cultural_affliation": "?Igbo", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Mounted Haddon Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "", "raw_text_dump": "IDNO\n\nP.7056.ACH1\n\nDescription\n\nOn Catalogue Card: Ibo women with brass anklets, Nigeria.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria\n\nCultural Affliation\n\n?Igbo\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nMounted Haddon Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nFM:141706\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_7056_ACH1_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/866779_P.7056.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13271.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306543", "metadata": {"title": "Untitled", "idno": "N.13271.GIJ", "description": "Close up view of an Akwa stool (in its early stage) being carved by a man. The stool is on its side depicting a round or \u2018saucer like seat\u2019, pedestal and splayed out at the base into four feet. The carver is sitting on a small stool and holding the Akwa stool with one hand carving whit a wooden handled axe and iron blade. The carver is wearing a wrapper or cloth around his waist.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?Amobia village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nOn the GI Jones website, www.siu.edu/~anthro/mccall/jones/, under,\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Other Igbo cultural items\n3. Carving a stool Amobia Village, Nri-Awka (15th image).\n\nContext: The Akwa stool consisted of the usual saucer like seat, which was supported on a narrow pedestal splayed out at the base into four feet. Another Akwa variant resembled in profile is an Ashanti stool, but the top and bottom were oval and pointed and not rectangular like the Ashanti one. These and other stools were part of the regalia of the members of the Ozo title society and their carving was developed into a fine art unmatched anywhere in the region (jones, 1984, p.117)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/10/2007]", "raw_text_dump": "IDNO\n\nN.13271.GIJ\n\nDescription\n\nClose up view of an Akwa stool (in its early stage) being carved by a man. The stool is on its side depicting a round or \u2018saucer like seat\u2019, pedestal and splayed out at the base into four feet. The carver is sitting on a small stool and holding the Akwa stool with one hand carving whit a wooden handled axe and iron blade. The carver is wearing a wrapper or cloth around his waist.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nOn the GI Jones website, www.siu.edu/~anthro/mccall/jones/, under,\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Other Igbo cultural items\n3. Carving a stool Amobia Village, Nri-Awka (15th image).\n\nContext: The Akwa stool consisted of the usual saucer like seat, which was supported on a narrow pedestal splayed out at the base into four feet. Another Akwa variant resembled in profile is an Ashanti stool, but the top and bottom were oval and pointed and not rectangular like the Ashanti one. These and other stools were part of the regalia of the members of the Ozo title society and their carving was developed into a fine art unmatched anywhere in the region (jones, 1984, p.117)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/10/2007]\n\nFM:147921\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13271_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000534_N.13271.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171261.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465322", "metadata": {"title": "Untitled", "idno": "P.171261.GIJ", "description": "A head and shoulders portrait of a masquerader sitting in front of a thatched building. The masquerader is wearing a face mask painted in light pigment, with eyes, nose, mouth and ears highlighted in dark pigment. On top of the masquerader's head above a grass pad there is a a tall towered superstructure, with notched wood ridges adorned with hardnut shells. There are wooden spikes sticking out from each side, and on top a painted blade-like crest, from which hands wooden animal-shaped charms. The masquerader is wearing a dark waistcoat over plain cloth tunic covering arms and hands. [PB 12/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra state; Idemili", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767185.GIJ - P.767186.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171261.GIJ\n\nDescription\n\nA head and shoulders portrait of a masquerader sitting in front of a thatched building. The masquerader is wearing a face mask painted in light pigment, with eyes, nose, mouth and ears highlighted in dark pigment. On top of the masquerader's head above a grass pad there is a a tall towered superstructure, with notched wood ridges adorned with hardnut shells. There are wooden spikes sticking out from each side, and on top a painted blade-like crest, from which hands wooden animal-shaped charms. The masquerader is wearing a dark waistcoat over plain cloth tunic covering arms and hands. [PB 12/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra state; Idemili\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767185.GIJ - P.767186.GIJ are mounted together on card.\n\nFM:311952\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171261_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144477_P.171261.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.169953.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463972", "metadata": {"title": "Untitled", "idno": "T.169953.GIJ", "description": "A Lughulu comic male face mask. The mask is wooden and square in shape with an overly exaggerated high rounded forehead, square bulbous eyes, rectangular shaped nose between the eyes, and protruding mouth with a slit; the cheeks are rounded, swollen and puffy. The mask is placed on a woven raffia cloth. [Description from record N.71784.GIJ, PB 27/07/2023]\n\nA documentation photograph of an image of a man wearing a wooden face mask. The man is wearing a sackcloth over his head. The mask has bulbous eyes, cheeks, mouth and forehead. [PB 27/07/23]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Item", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nPublication: Cropped version of image published online on 'Jones Archive', Southern Illonois University, as 'Item4. Lugbulu [sic 'Lughulu'] Mask Comic male mask'. [Source: https://jonesarchive.siu.edu/photo-indexes/item-igbo/, PB 27/07/23]", "raw_text_dump": "IDNO\n\nT.169953.GIJ\n\nDescription\n\nA Lughulu comic male face mask. The mask is wooden and square in shape with an overly exaggerated high rounded forehead, square bulbous eyes, rectangular shaped nose between the eyes, and protruding mouth with a slit; the cheeks are rounded, swollen and puffy. The mask is placed on a woven raffia cloth. [Description from record N.71784.GIJ, PB 27/07/2023]\n\nA documentation photograph of an image of a man wearing a wooden face mask. The man is wearing a sackcloth over his head. The mask has bulbous eyes, cheeks, mouth and forehead. [PB 27/07/23]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nItem\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nPublication: Cropped version of image published online on 'Jones Archive', Southern Illonois University, as 'Item4. Lugbulu [sic 'Lughulu'] Mask Comic male mask'. [Source: https://jonesarchive.siu.edu/photo-indexes/item-igbo/, PB 27/07/23]\n\nFM:310481\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_169953_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127945_T.169953.GIJ_001.png"}, {"file_name": "T_169953_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127946_T.169953.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169669.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463678", "metadata": {"title": "Untitled", "idno": "P.169669.GIJ", "description": "Obugulu Mau (Ghost) masquerade.\nA masquerader performing in a female masquerade, wearing a helmet mask, and brightly coloured harlequin-like costume covering the whole body. There is a cloth scarf tied round the shoulders, and another cloth around the waist, and ankle-rattles. The names of female mask characters include Nwabogho Efi and Heifer.\nThe second mask character, \u2018Iro Ekpetu\u2019 or \u2018Merciless\u2019, standing at left, with a fierce darkened face mask, with eyes and teeth painted white, cloth tights and top, and a raffia skirt. To the left of the photograph is a man with a drum? In the background are mud and thatch huts and trees. [Description from record N.13240.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nAssociated images: N.13239.GIJ; N.13241.GIJ; N.13242.GIJ; N.13243.GIJ; N.13244.GIJ; N.13245.GIJ; N.13246.GIJ; N.13247.GIJ; N.13248.GIJ; N.13249.GIJ; N.13250GIJ; N.13251.GIJ; N.13252.GIJ; N.13253.GIJ; N.13254.GIJ; N.13255.GIJ; N.13256.GIJ; N.13257.GIJ [all images depicting the Obugulu Mau masquerade in Amuda village]", "raw_text_dump": "IDNO\n\nP.169669.GIJ\n\nDescription\n\nObugulu Mau (Ghost) masquerade.\nA masquerader performing in a female masquerade, wearing a helmet mask, and brightly coloured harlequin-like costume covering the whole body. There is a cloth scarf tied round the shoulders, and another cloth around the waist, and ankle-rattles. The names of female mask characters include Nwabogho Efi and Heifer.\nThe second mask character, \u2018Iro Ekpetu\u2019 or \u2018Merciless\u2019, standing at left, with a fierce darkened face mask, with eyes and teeth painted white, cloth tights and top, and a raffia skirt. To the left of the photograph is a man with a drum? In the background are mud and thatch huts and trees. [Description from record N.13240.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nAssociated images: N.13239.GIJ; N.13241.GIJ; N.13242.GIJ; N.13243.GIJ; N.13244.GIJ; N.13245.GIJ; N.13246.GIJ; N.13247.GIJ; N.13248.GIJ; N.13249.GIJ; N.13250GIJ; N.13251.GIJ; N.13252.GIJ; N.13253.GIJ; N.13254.GIJ; N.13255.GIJ; N.13256.GIJ; N.13257.GIJ [all images depicting the Obugulu Mau masquerade in Amuda village]\n\nFM:310156\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169669_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127443_P.169669.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.169643.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463627", "metadata": {"title": "Untitled", "idno": "P.169643.GIJ", "description": "A group of eight musicians sitting in front of bushes and houses with one man standing looking at the group. The musicians are all men. They are playing a variety of instruments: in the foreground a man beating a semicircular wooden gong with two wooden hammers, a man playing a large wooden xylophone with five thick keys, and a man holding a horn sideways, blowing into or across it halfway along the horn. in the background there is a man beating a small drum with both hands. In one hand he is using a wooden hammer. [PB 24/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibo [historically Igbo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nNote : this is a duplicate of P.754004.GIJ.", "raw_text_dump": "IDNO\n\nP.169643.GIJ\n\nDescription\n\nA group of eight musicians sitting in front of bushes and houses with one man standing looking at the group. The musicians are all men. They are playing a variety of instruments: in the foreground a man beating a semicircular wooden gong with two wooden hammers, a man playing a large wooden xylophone with five thick keys, and a man holding a horn sideways, blowing into or across it halfway along the horn. in the background there is a man beating a small drum with both hands. In one hand he is using a wooden hammer. [PB 24/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nNote : this is a duplicate of P.754004.GIJ.\n\nFM:310130\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169643_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127370_P.169643.GIJ_001.png"}, {"file_name": "P_169643_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127372_P.169643.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169803.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463812", "metadata": {"title": "Untitled", "idno": "P.169803.GIJ", "description": "A head and shoulders portrait of a man, wearing a collarless shirt, and facing the camera. There is a car in the background and several me standing. There are buildings in the background to the right. [PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169791.GIJ - P.169803.GIJ were located in an brown envelope now numbered C754/8/.", "raw_text_dump": "IDNO\n\nP.169803.GIJ\n\nDescription\n\nA head and shoulders portrait of a man, wearing a collarless shirt, and facing the camera. There is a car in the background and several me standing. There are buildings in the background to the right. [PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169791.GIJ - P.169803.GIJ were located in an brown envelope now numbered C754/8/.\n\nFM:310290\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169803_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127699_P.169803.GIJ_001.png"}, {"file_name": "P_169803_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127700_P.169803.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71857.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365128", "metadata": {"title": "Untitled", "idno": "N.71857.GIJ", "description": "The interior of an Obu House with four wooden Obu house figures. The figures are all painted in white and darker colour pigments. From left to right: the first figure depicts a male standing in a frontal position. The figure is painted white with darker colours. He is wearing a rounded hat with a rim, stylised facial features, elongated torso and adorned with a woven cloth around the waist. He is holding a gun? in one hand; the second figure depicts a female and she is standing in a frontal position and holding a bowl or calabash in one hand. She has an elaborate cone-like hairstyle with a rounded top, a stylised face, a long torso with etched scarification markings down the centre of the body and two geometric square patterns around the umbilicus; she is wearing a cloth wrapper around the waist; the third figure depicts a male and he is wearing a rounded hat, sitting on a stool an holding an umbrella or parasol. The head is rounded and the face is stylised; his torso is painted in stripes, and he is wearing a wrapper around the waist; the fourth figure appears to be kneeling and is carrying a rounded tray on his head with two carved heads ad a bird. The head is round and with almond shaped eyes, nose and large lips,torso of the figure is painted in light and dark stripes. He is holding a lead and an animal, probably a dog? is carved with a rounded, spiralled tail. The figures are \u201cframed\u201d by two decorated walls? or columns? on either side. The interior of the room is decorated and painted.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 34 of the negative album now numbered C19/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting house)\n3. Four Obu figures Abiriba. (10th image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 31/10/2012]", "raw_text_dump": "IDNO\n\nN.71857.GIJ\n\nDescription\n\nThe interior of an Obu House with four wooden Obu house figures. The figures are all painted in white and darker colour pigments. From left to right: the first figure depicts a male standing in a frontal position. The figure is painted white with darker colours. He is wearing a rounded hat with a rim, stylised facial features, elongated torso and adorned with a woven cloth around the waist. He is holding a gun? in one hand; the second figure depicts a female and she is standing in a frontal position and holding a bowl or calabash in one hand. She has an elaborate cone-like hairstyle with a rounded top, a stylised face, a long torso with etched scarification markings down the centre of the body and two geometric square patterns around the umbilicus; she is wearing a cloth wrapper around the waist; the third figure depicts a male and he is wearing a rounded hat, sitting on a stool an holding an umbrella or parasol. The head is rounded and the face is stylised; his torso is painted in stripes, and he is wearing a wrapper around the waist; the fourth figure appears to be kneeling and is carrying a rounded tray on his head with two carved heads ad a bird. The head is round and with almond shaped eyes, nose and large lips,torso of the figure is painted in light and dark stripes. He is holding a lead and an animal, probably a dog? is carved with a rounded, spiralled tail. The figures are \u201cframed\u201d by two decorated walls? or columns? on either side. The interior of the room is decorated and painted.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 34 of the negative album now numbered C19/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting house)\n3. Four Obu figures Abiriba. (10th image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 31/10/2012]\n\n\nFM:206507\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71857_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656948_N.71857.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171224.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465285", "metadata": {"title": "Untitled", "idno": "P.171224.GIJ", "description": "An object documentation image of a carved wooden ikenga figure. The figure is of a man with a head in one hand and a machete in the other. Two horns protrude from the top of the man's head. [PB 04/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767148.GIJ - P.767149.GIJ are mounted together on card.\n\nThis figure is in the Pitt Rivers Museum. 1938.15.45. Description:\n'Carved wooden figure of a man with a head in one hand & a knife in the other. With two horns protruding from top of the head. Painted black, pink & yellow. It shows horns, a machete and a severed head and a stool. The genitals are clearly visible and the face has ichi markings. All the elements in this figure clearly refer to a successful manhunt by its owner, the personal achievement that allows a young man to set up house, get married and start a family.'", "raw_text_dump": "IDNO\n\nP.171224.GIJ\n\nDescription\n\nAn object documentation image of a carved wooden ikenga figure. The figure is of a man with a head in one hand and a machete in the other. Two horns protrude from the top of the man's head. [PB 04/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767148.GIJ - P.767149.GIJ are mounted together on card.\n\nThis figure is in the Pitt Rivers Museum. 1938.15.45. Description:\n'Carved wooden figure of a man with a head in one hand & a knife in the other. With two horns protruding from top of the head. Painted black, pink & yellow. It shows horns, a machete and a severed head and a stool. The genitals are clearly visible and the face has ichi markings. All the elements in this figure clearly refer to a successful manhunt by its owner, the personal achievement that allows a young man to set up house, get married and start a family.'\n\nFM:311915\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171224_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144440_P.171224.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71847.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365118", "metadata": {"title": "Untitled", "idno": "N.71847.GIJ", "description": "A close up view of a large wooden sculpture inside an Obu (meetng house.)The face of the sculpture consists of a humanised figure with carved arched eyebrows, elliptical shaped eyes, string nose, lips and curved ears, around the neck is a deeply incised circular base. On top of the head is a defined hairline with two linear projections with rounded tops painted with white dots in front of a rectangular base. The top is rounded and curved with thickly incised markings. Behind the sculpture is a block wall.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 66 of the negative album now numbered C19/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. figure of woman and baby (Note the ikoro drums hanging from the ceiling of the obu), Abiriba. (12th image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]", "raw_text_dump": "IDNO\n\nN.71847.GIJ\n\nDescription\n\nA close up view of a large wooden sculpture inside an Obu (meetng house.)The face of the sculpture consists of a humanised figure with carved arched eyebrows, elliptical shaped eyes, string nose, lips and curved ears, around the neck is a deeply incised circular base. On top of the head is a defined hairline with two linear projections with rounded tops painted with white dots in front of a rectangular base. The top is rounded and curved with thickly incised markings. Behind the sculpture is a block wall.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 66 of the negative album now numbered C19/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. figure of woman and baby (Note the ikoro drums hanging from the ceiling of the obu), Abiriba. (12th image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\nFM:206497\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71847_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656939_N.71847.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13187.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306459", "metadata": {"title": "Untitled", "idno": "N.13187.GIJ", "description": "A close up view of an Ibibio masquerader in the Uzuakoli area. The face of the wooden mask is round and consists of slit eyes, nose and mouth with three markings on the side of the face. There is a border around the forehead and two coiled horns emenate from the sides of the head. The face is dark with white diagonal markings from the eyelids to the cheeks and around the border of the head. Raffia or plant fibre is attached as a \u201charipiece\u201d. In the background are spectators.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Umuahia; Uzuakoli area", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008", "raw_text_dump": "IDNO\n\nN.13187.GIJ\n\nDescription\n\nA close up view of an Ibibio masquerader in the Uzuakoli area. The face of the wooden mask is round and consists of slit eyes, nose and mouth with three markings on the side of the face. There is a border around the forehead and two coiled horns emenate from the sides of the head. The face is dark with white diagonal markings from the eyelids to the cheeks and around the border of the head. Raffia or plant fibre is attached as a \u201charipiece\u201d. In the background are spectators.\n\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Umuahia; Uzuakoli area\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008\n\nFM:147837\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13187_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000449_N.13187.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.30451.NWT", "source_url": "https://collections.maa.cam.ac.uk/photographs/323723", "metadata": {"title": "Untitled", "idno": "P.30451.NWT", "description": "On Negative Listing: \"2030. 18. Okike & Auajiku of Amaobia. [Thomas' manuscript on RAI MS 467-2(1801-2475)]\n\nIn Blench and Alexander Catalogue for N. W. Thomas photograph collection: \u201c2030 location: Amobia; associations: religion;?\u201d [printed text]", "place": "W Africa; Nigeria; south eastern Nigeria; near Awka; Amobia village", "cultural_affliation": "", "named_person": "", "photographer": "Thomas, Northcote Whitridge", "collector_/_expedition": "", "date": "1909 - 1913", "collection_name": "Northcote Thomas Collection", "source": "Thomas, Northcote Whitridge", "format": "Print Black & White", "primary_documentation": "", "other_information": "This print was previously stored in a box in the fourth drawer of a container which has four drawers. The cataloguer has marked the container C70/, the fourth drawer C70/4/ and the box in which this print was kept C70/4/6/.", "raw_text_dump": "IDNO\n\nP.30451.NWT\n\nDescription\n\nOn Negative Listing: \"2030. 18. Okike & Auajiku of Amaobia. [Thomas' manuscript on RAI MS 467-2(1801-2475)]\n\nIn Blench and Alexander Catalogue for N. W. Thomas photograph collection: \u201c2030 location: Amobia; associations: religion;?\u201d [printed text]\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; near Awka; Amobia village\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nThomas, Northcote Whitridge\n\nCollector / Expedition\n\nDate\n\n1909 - 1913\n\nCollection Name\n\nNorthcote Thomas Collection\n\nSource\n\nThomas, Northcote Whitridge\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis print was previously stored in a box in the fourth drawer of a container which has four drawers. The cataloguer has marked the container C70/, the fourth drawer C70/4/ and the box in which this print was kept C70/4/6/.\n\nFM:165101\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_30451_NWT_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/860107_P.30451.NWT_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.71796.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365067", "metadata": {"title": "Untitled", "idno": "N.71796.GIJ", "description": "A Lughulu \u2018beautiful\u2019 female mask worn by a male; the mask is carved in an oval shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long triangular shaped nose, open mouth with teeth painted white, elliptical shaped ears, and scarification markings in the centre of the forehead. The top of the mask is made up of an open curved arched design. The mask is painted white with black paint which defines the hairline, eyes, mouth and top of the mask; the top of the mask was painted white but the colour is fading. The male modelling the mask is seated and next to him are bamboo poles and behind him is a house.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Alayi", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 9 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Alayi Igbo (Isu-Ikem)\n3. Mask Ugwu Eke village (6th image).\n\nPublication: Similar images are found in Jones, 1989, p.16, Figure 8. The caption reads: \u201cLughulu masquerade, Ugwueke Alayi town, Isu-Item Ibo. Mask representing a beautiful female spirit.\u201d and in Jones, 1973, Figure 3, p.59.\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that it conforms to a stylized mode which converts the salient features to geometrical forms. In the Isu-Item maskerade, the beautiful female masks are carved in either a rounded or naturalistic mode while the fierce or comic male masks are stylized(Jones, 1973, pp. 60-61).\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]Publication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]", "raw_text_dump": "IDNO\n\nN.71796.GIJ\n\nDescription\n\nA Lughulu \u2018beautiful\u2019 female mask worn by a male; the mask is carved in an oval shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long triangular shaped nose, open mouth with teeth painted white, elliptical shaped ears, and scarification markings in the centre of the forehead. The top of the mask is made up of an open curved arched design. The mask is painted white with black paint which defines the hairline, eyes, mouth and top of the mask; the top of the mask was painted white but the colour is fading. The male modelling the mask is seated and next to him are bamboo poles and behind him is a house.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Alayi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 9 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Alayi Igbo (Isu-Ikem)\n3. Mask Ugwu Eke village (6th image).\n\nPublication: Similar images are found in Jones, 1989, p.16, Figure 8. The caption reads: \u201cLughulu masquerade, Ugwueke Alayi town, Isu-Item Ibo. Mask representing a beautiful female spirit.\u201d and in Jones, 1973, Figure 3, p.59.\n\nContext: The Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206) In describing the style of this Lughulu mask Jones writes that it conforms to a stylized mode which converts the salient features to geometrical forms. In the Isu-Item maskerade, the beautiful female masks are carved in either a rounded or naturalistic mode while the fierce or comic male masks are stylized(Jones, 1973, pp. 60-61).\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I. 1973 \u201cSculpture of the Umuahia Area of Nigeria\u201d, in African Arts, Vol. 6, No.4, pp.58-63+96.\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]Publication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n\nFM:206446\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71796_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656893_N.71796.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169676.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463685", "metadata": {"title": "Untitled", "idno": "P.169676.GIJ", "description": "Omuko (very old elder) standing, holding a staff surrounded by three attendants. The masked character is wearing a white cloth covering the entire body and face. ( a hole is visible in the cloth). Attached to the cloth is a wooden face mask with slit eyes and mouth, painted dark with white paint accentuating the eyes, nose, and ears, attached to the chin is a black beard. On top of the head is a white sun helmet. A dark shawl is draped around the shoulders, and he is holding a long staff with a u shaped point. The attendant to the left is playing a metal gong and he is wearing a plaid wrapper and felt hat. Another attendant is behind the masked character and he is wearing a felt hat. The third attendant is seated and he is wearing a white shirt, wrapper and felt hat. In the background are trees and vegetation. [Description from record N.71629.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169676.GIJ\n\nDescription\n\nOmuko (very old elder) standing, holding a staff surrounded by three attendants. The masked character is wearing a white cloth covering the entire body and face. ( a hole is visible in the cloth). Attached to the cloth is a wooden face mask with slit eyes and mouth, painted dark with white paint accentuating the eyes, nose, and ears, attached to the chin is a black beard. On top of the head is a white sun helmet. A dark shawl is draped around the shoulders, and he is holding a long staff with a u shaped point. The attendant to the left is playing a metal gong and he is wearing a plaid wrapper and felt hat. Another attendant is behind the masked character and he is wearing a felt hat. The third attendant is seated and he is wearing a white shirt, wrapper and felt hat. In the background are trees and vegetation. [Description from record N.71629.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\n\nFM:310163\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169676_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127452_P.169676.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171210.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465271", "metadata": {"title": "Untitled", "idno": "P.171210.GIJ", "description": "A wooden Ikenga figure seated on a round circular stool. The figure is holding a cutlass in one hand wrapped in twine, and a white staff in the other. The head of the carved figure depicts a white painted face with carved facial features accentuated by black paint, around the face are two curved horns and on top of the head are two larger curved horns and a few pieces of twine attached to them. The neck of the figure is thick and the figure is carved with a wooden neck ring, a waist cloth, and there are two carved white leg rings. Leaning against the figure is a calabash.[Description from record P.71654.GIJ, PB 04/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767134.GIJ - P.767139.GIJ are mounted together on paper.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Ikenga Nri-Awka Igbo (1st image).", "raw_text_dump": "IDNO\n\nP.171210.GIJ\n\nDescription\n\nA wooden Ikenga figure seated on a round circular stool. The figure is holding a cutlass in one hand wrapped in twine, and a white staff in the other. The head of the carved figure depicts a white painted face with carved facial features accentuated by black paint, around the face are two curved horns and on top of the head are two larger curved horns and a few pieces of twine attached to them. The neck of the figure is thick and the figure is carved with a wooden neck ring, a waist cloth, and there are two carved white leg rings. Leaning against the figure is a calabash.[Description from record P.71654.GIJ, PB 04/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767134.GIJ - P.767139.GIJ are mounted together on paper.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Ikenga Nri-Awka Igbo (1st image).\n\nFM:311901\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171210_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144426_P.171210.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.35337.ACH2", "source_url": "https://collections.maa.cam.ac.uk/photographs/328609", "metadata": {"title": "Untitled", "idno": "N.35337.ACH2", "description": "On Catalogue Card: Ekoi people. No. 21 side face from a village farther N. than the others. He is in a yam stack.", "place": "W Africa; Nigeria; south eastern Nigeria", "cultural_affliation": "", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Unmounted Haddon Collection", "source": "", "format": "Film Negative", "primary_documentation": "", "other_information": "The negative was previously stored in an envelope now numbered C106/106/ which was in a wooden box now marked C106/. The envelope (C106/106/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.", "raw_text_dump": "IDNO\n\nN.35337.ACH2\n\nDescription\n\nOn Catalogue Card: Ekoi people. No. 21 side face from a village farther N. than the others. He is in a yam stack.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nUnmounted Haddon Collection\n\nSource\n\nFormat\n\nFilm Negative\n\nPrimary Documentation\n\nOther Information\n\nThe negative was previously stored in an envelope now numbered C106/106/ which was in a wooden box now marked C106/. The envelope (C106/106/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.\n\nFM:169987\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_35337_ACH2_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/607095_cat.P.7052.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71845.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365116", "metadata": {"title": "Untitled", "idno": "N.71845.GIJ", "description": "The interior of an Obu House with a large wooden sculpture of a woman holding a baby. The sculpture consists of a figure standing with legs slightly bent at the knees. The figure has a crested projection on top of the head serene rounded face, muscular torso with etched markings in the centre to the umbelicus, a dark cloth wrapped around the waist, and large feet placed on an incised pedestal, around the ankles are circled ankle rings. The figure is holding a small carving of a figure. On the right of the figure are two large ikoro slit drums which are hanging from rafters of the roofing. A group of children are visible along the side of the wall. The ceiling is made of a wooden rafters and purlins, and the walls are smoothed and made of mud? or cement?. [AF 12/12/2007]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 67 of the negative album now numbered C19/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. figure of woman and baby (Note the ikoro drums hanging from the ceiling of the obu), Abiriba. (12th image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nExhibition: Digital reproduction of photograph exhibited in \u2018Afrique, mille vies d\u2019objects / Africa, a thousand lives of objects\u2019 at Mus\u00e9e de Confluences, Lyon, France, from June 2023 \u2013 February 2024. See www.museedesconfluences.fr/en. [JD 25/01/2023]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]", "raw_text_dump": "IDNO\n\nN.71845.GIJ\n\nDescription\n\nThe interior of an Obu House with a large wooden sculpture of a woman holding a baby. The sculpture consists of a figure standing with legs slightly bent at the knees. The figure has a crested projection on top of the head serene rounded face, muscular torso with etched markings in the centre to the umbelicus, a dark cloth wrapped around the waist, and large feet placed on an incised pedestal, around the ankles are circled ankle rings. The figure is holding a small carving of a figure. On the right of the figure are two large ikoro slit drums which are hanging from rafters of the roofing. A group of children are visible along the side of the wall. The ceiling is made of a wooden rafters and purlins, and the walls are smoothed and made of mud? or cement?. [AF 12/12/2007]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 67 of the negative album now numbered C19/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. figure of woman and baby (Note the ikoro drums hanging from the ceiling of the obu), Abiriba. (12th image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nExhibition: Digital reproduction of photograph exhibited in \u2018Afrique, mille vies d\u2019objects / Africa, a thousand lives of objects\u2019 at Mus\u00e9e de Confluences, Lyon, France, from June 2023 \u2013 February 2024. See www.museedesconfluences.fr/en. [JD 25/01/2023]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\nFM:206495\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71845_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656936_N.71845.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13278.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306550", "metadata": {"title": "Untitled", "idno": "N.13278.GIJ", "description": "A close up view of the masquerade character called Onyenachumiri (Rain Driver) performing in the Okwanku masquerade. The masquerader is wearing a dark wooden round face mask with slits for eyes, nose and open mouth and long raffia hair and a hat on top. In the background are spectators, a thatched building and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village", "cultural_affliation": "Igbo [historically Ibo]; Ohaffia", "named_person": "Onyenachumiri; Rain Driver [names of masque character] Onyechumiri [alternative spelling of name of masque character]", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ohafia/Abam Igbo\n2. Okwanko masquerade, Akanu Ohafia\n3. Another mask depicting a dibia (healer) (4th image).\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13278.GIJ\n\nDescription\n\nA close up view of the masquerade character called Onyenachumiri (Rain Driver) performing in the Okwanku masquerade. The masquerader is wearing a dark wooden round face mask with slits for eyes, nose and open mouth and long raffia hair and a hat on top. In the background are spectators, a thatched building and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ohaffia\n\nNamed Person\n\nOnyenachumiri; Rain Driver [names of masque character] Onyechumiri [alternative spelling of name of masque character]\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ohafia/Abam Igbo\n2. Okwanko masquerade, Akanu Ohafia\n3. Another mask depicting a dibia (healer) (4th image).\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestinly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147928\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13278_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1123352_N.13278.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.61179.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/354450", "metadata": {"title": "Untitled", "idno": "N.61179.GIJ", "description": "A ceremonial stool at a road side shrine in Benin. The stool is placed inside the shrine, and consists of a rounded saucer like top, entwined base with decorative designs. Behind the shrine is an altar that is decorated with cowerie shells. On the raised platform are ceremonial objects consisting of pots and other items. In the background is a window with raffia fronds in the front.", "place": "Africa; Nigeria; South Eastern Nigeria; ?Benin City", "cultural_affliation": "Ibibio; Edo [historically Bini]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 29 of the negative album now numbered C22/.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 11/3/2008]", "raw_text_dump": "IDNO\n\nN.61179.GIJ\n\nDescription\n\nA ceremonial stool at a road side shrine in Benin. The stool is placed inside the shrine, and consists of a rounded saucer like top, entwined base with decorative designs. Behind the shrine is an altar that is decorated with cowerie shells. On the raised platform are ceremonial objects consisting of pots and other items. In the background is a window with raffia fronds in the front.\n\nPlace\n\nAfrica; Nigeria; South Eastern Nigeria; ?Benin City\n\nCultural Affliation\n\nIbibio; Edo [historically Bini]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 29 of the negative album now numbered C22/.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 11/3/2008]\n\nFM:195829\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_61179_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/954368_N.61179.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.35312.ACH2", "source_url": "https://collections.maa.cam.ac.uk/photographs/328584", "metadata": {"title": "Untitled", "idno": "N.35312.ACH2", "description": "On Catalogue Card: Native of Ekong.", "place": "W Africa; Nigeria; south eastern Nigeria; Ekong", "cultural_affliation": "", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Unmounted Haddon Collection", "source": "", "format": "Film Negative", "primary_documentation": "", "other_information": "The negative was previously stored in an envelope now numbered C106/81/ which was in a wooden box now marked C106/. The envelope (C106/81/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.", "raw_text_dump": "IDNO\n\nN.35312.ACH2\n\nDescription\n\nOn Catalogue Card: Native of Ekong.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; Ekong\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nUnmounted Haddon Collection\n\nSource\n\nFormat\n\nFilm Negative\n\nPrimary Documentation\n\nOther Information\n\nThe negative was previously stored in an envelope now numbered C106/81/ which was in a wooden box now marked C106/. The envelope (C106/81/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.\n\nFM:169962\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_35312_ACH2_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/607064_cat.P.7045.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71435.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364706", "metadata": {"title": "Untitled", "idno": "N.71435.GIJ", "description": "An Alose (tutelary deity) figure standing next to a tree with a small carved Ikenga?. The Alose figure is quite stylised and standing upright. The head appears to be adorned with a hat? with strings attached. The eyes are defined, a long pointed nose, and small mouth. The neck is coiled and adorned with white markings. The torso is fairly square with two small markings (breasts?), and a protruding umbilicus. The wrists are painted white and the hands are flush against the sides of the body with incised markings indicating fingers. There is an outline of trousers? and the feet are quite square. Next to the Alose is a smaller wooden figure, probably an Ikenga. The figure is carved and shows a horned headdress ( axe head shape), a square face with markings for eyes, nose, mouth and a small waist (no arms). Behind the figures is a large tree and smaller trees and vegetation in the background.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Orsu", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "Context: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d(Jones, 1989, p. 37).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1989, p.54)\n\nContext: In relation to the Alusi figures, Cole and Aniakor write that, \u201cthe dead are conceived as part of the everyday world, and just as clearly, their presence can hold a positive or negative valence for the living; exactly the same is true of the tutelary deities, alusi. These forces, however, are neither personal (chi or ancestors) nor universal (Chineke, Chukwu). Rather, they are in part specific, usually tangible phenomena such as: Earth, the Niger or Imo river, Eke, Afo, Orie/Oye, or Nkwo market, an extraordinary tree, a binding oath at a particular shrine, or the canyon of erosion in Agulu. The preeminence of Ala/Ani does not eclipse the vitality of these other deities, especially those associated with water, or of Amadioha, god of thunder and lightening and, by extension, rain. These anthropomorphic male and female deities have priests and often elaborate cult apparatus, symbolic works of art, and finely decorated compounds. Each has general and specific powers, and although their priesthoods may be held by certain lineages, the more commanding of these cults have constituencies cutting across lines of kinship and stressing communal worship. Such tutelary deities are close to people, fast-acting (for good or ill), and often capricious, thus requiring frequent attention and sacrifice. ...(Cole and Aniakor, 1984, p.16).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1984, p.54)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989, Ibo Art (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/11/2007]", "raw_text_dump": "IDNO\n\nN.71435.GIJ\n\nDescription\n\nAn Alose (tutelary deity) figure standing next to a tree with a small carved Ikenga?. The Alose figure is quite stylised and standing upright. The head appears to be adorned with a hat? with strings attached. The eyes are defined, a long pointed nose, and small mouth. The neck is coiled and adorned with white markings. The torso is fairly square with two small markings (breasts?), and a protruding umbilicus. The wrists are painted white and the hands are flush against the sides of the body with incised markings indicating fingers. There is an outline of trousers? and the feet are quite square. Next to the Alose is a smaller wooden figure, probably an Ikenga. The figure is carved and shows a horned headdress ( axe head shape), a square face with markings for eyes, nose, mouth and a small waist (no arms). Behind the figures is a large tree and smaller trees and vegetation in the background.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Orsu\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d(Jones, 1989, p. 37).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1989, p.54)\n\nContext: In relation to the Alusi figures, Cole and Aniakor write that, \u201cthe dead are conceived as part of the everyday world, and just as clearly, their presence can hold a positive or negative valence for the living; exactly the same is true of the tutelary deities, alusi. These forces, however, are neither personal (chi or ancestors) nor universal (Chineke, Chukwu). Rather, they are in part specific, usually tangible phenomena such as: Earth, the Niger or Imo river, Eke, Afo, Orie/Oye, or Nkwo market, an extraordinary tree, a binding oath at a particular shrine, or the canyon of erosion in Agulu. The preeminence of Ala/Ani does not eclipse the vitality of these other deities, especially those associated with water, or of Amadioha, god of thunder and lightening and, by extension, rain. These anthropomorphic male and female deities have priests and often elaborate cult apparatus, symbolic works of art, and finely decorated compounds. Each has general and specific powers, and although their priesthoods may be held by certain lineages, the more commanding of these cults have constituencies cutting across lines of kinship and stressing communal worship. Such tutelary deities are close to people, fast-acting (for good or ill), and often capricious, thus requiring frequent attention and sacrifice. ...(Cole and Aniakor, 1984, p.16).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1984, p.54)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989, Ibo Art (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/11/2007]\n\nFM:206085\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71435_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656583_N.71435.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71512.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364783", "metadata": {"title": "Untitled", "idno": "N.71512.GIJ", "description": "Obugulu Mau masquerade, a grandmother mask. The masquerader is sitting down on a wooden chair. The mask constats of a white face with black markings around the eyes, nose and three markings on the forehead. The top of the mask consists of cone-shaped headdress (coiffure) with a curved structure in the centre, painted white and black. There is woven cloth attached to the mask, a scarf tied around the neck and a harlequin-like costume. In the background is an open space and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 95 of the negative album now numbered C15/.\n\nPublication: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\nPublication: Same masquerade character is shown dancing in Jones, 1985,p.64, Figure 1.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe\nFame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71512.GIJ\n\nDescription\n\nObugulu Mau masquerade, a grandmother mask. The masquerader is sitting down on a wooden chair. The mask constats of a white face with black markings around the eyes, nose and three markings on the forehead. The top of the mask consists of cone-shaped headdress (coiffure) with a curved structure in the centre, painted white and black. There is woven cloth attached to the mask, a scarf tied around the neck and a harlequin-like costume. In the background is an open space and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 95 of the negative album now numbered C15/.\n\nPublication: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\nPublication: Same masquerade character is shown dancing in Jones, 1985,p.64, Figure 1.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe\nFame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206162\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71512_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656649_N.71512.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169788.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463797", "metadata": {"title": "Untitled", "idno": "P.169788.GIJ", "description": "Four men standing in a canoe at the side of a river. They are carrying long-bladed knives and cutting palms and reeds. There are trees in the background. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169780.GIJ - P.169790.GIJ were located in an brown envelope now numbered C754/7/.", "raw_text_dump": "IDNO\n\nP.169788.GIJ\n\nDescription\n\nFour men standing in a canoe at the side of a river. They are carrying long-bladed knives and cutting palms and reeds. There are trees in the background. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169780.GIJ - P.169790.GIJ were located in an brown envelope now numbered C754/7/.\n\nFM:310275\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169788_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127669_P.169788.GIJ_001.png"}, {"file_name": "P_169788_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127670_P.169788.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13217.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306489", "metadata": {"title": "Untitled", "idno": "N.13217.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts four figures (from left to right): the figure on the left is seated and holding a smaller figure decorated in spots; the second figure is a woman with a baby on her back and carrying something on her head; the third figure is wearing a pith helmet and white trousers and shirt and the fourth figure is wearing a dark top and light trousers. All three standing figures are holding umbrellas. A geometric border is at the bottom of the painting.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13217.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts four figures (from left to right): the figure on the left is seated and holding a smaller figure decorated in spots; the second figure is a woman with a baby on her back and carrying something on her head; the third figure is wearing a pith helmet and white trousers and shirt and the fourth figure is wearing a dark top and light trousers. All three standing figures are holding umbrellas. A geometric border is at the bottom of the painting.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147867\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13217_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000479_N.13217.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169869.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463888", "metadata": {"title": "Untitled", "idno": "P.169869.GIJ", "description": "Two attendants in the masquerade looking left towards the spectators. One is wearing a bandana style head cloth, a cloth tied around his chest, and a cloth wrapper around waist and legs. His legs and feet are bare. He carries a long staff made from a tree in his right hand. The staff is upright and touching the ground. Behind him the other attendant wears a hat and shorts, with bare upper body, arms and legs. He is carrying a rifle in his right hand. [PB 12/01/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169869.GIJ\n\nDescription\n\nTwo attendants in the masquerade looking left towards the spectators. One is wearing a bandana style head cloth, a cloth tied around his chest, and a cloth wrapper around waist and legs. His legs and feet are bare. He carries a long staff made from a tree in his right hand. The staff is upright and touching the ground. Behind him the other attendant wears a hat and shorts, with bare upper body, arms and legs. He is carrying a rifle in his right hand. [PB 12/01/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310356\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169869_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127831_P.169869.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171095.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465156", "metadata": {"title": "Untitled", "idno": "P.171095.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nOjo (Eju) Onu (Long Mouth) masquerade character wearing a carved and painted wooden head mask, attached to a woven cloth costume which covers the whole of the top half of the wearer. The \u201canimal-like\u201d mask is carved with two horns, eyes, nose, ears, snout with teeth, and a criss-cross pattern in the centre of the forehead. It is painted with dark pigment, onto which pale spots and lines have been added. In the background are grasses, huts and trees. [Description from record P.71539.GIJ, PB 13/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767019.GIJ - P.767028.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"", "raw_text_dump": "IDNO\n\nP.171095.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nOjo (Eju) Onu (Long Mouth) masquerade character wearing a carved and painted wooden head mask, attached to a woven cloth costume which covers the whole of the top half of the wearer. The \u201canimal-like\u201d mask is carved with two horns, eyes, nose, ears, snout with teeth, and a criss-cross pattern in the centre of the forehead. It is painted with dark pigment, onto which pale spots and lines have been added. In the background are grasses, huts and trees. [Description from record P.71539.GIJ, PB 13/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767019.GIJ - P.767028.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nFM:311786\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171095_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144311_P.171095.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71877.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365148", "metadata": {"title": "Untitled", "idno": "N.71877.GIJ", "description": "The interior of an Obu House with the close up view of two large sculptures. The figure on the left has an abstract black face with white markings indicating white slit eyes, nose, and curved markings in white lines and dots along the cheek. A small pointed protrusion emanates at the top of the head which is surrounded by a rounded circular plate at the back of the head. The upper torso is pained in striped colours and the neck is adorned with a raffia neck ornament. The figure has a large protruding umbilicus and is standing with its hands to the side and in one hand holding a cup?. A piece of cloth is tied around the waist. The figure to right is standing upright and only the upper torso and the chin are visible. The figure is female and the face is rounded with full lips, ornaments around the neck, pert breasts, and scarification marks etched in a linear pattern down the chest, There are three dark markings on the stomach. The lower arm is coiled. A piece of cloth is tied around the waist. A wall is in the background.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 39 of the negative album now numbered C19/.\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]", "raw_text_dump": "IDNO\n\nN.71877.GIJ\n\nDescription\n\nThe interior of an Obu House with the close up view of two large sculptures. The figure on the left has an abstract black face with white markings indicating white slit eyes, nose, and curved markings in white lines and dots along the cheek. A small pointed protrusion emanates at the top of the head which is surrounded by a rounded circular plate at the back of the head. The upper torso is pained in striped colours and the neck is adorned with a raffia neck ornament. The figure has a large protruding umbilicus and is standing with its hands to the side and in one hand holding a cup?. A piece of cloth is tied around the waist. The figure to right is standing upright and only the upper torso and the chin are visible. The figure is female and the face is rounded with full lips, ornaments around the neck, pert breasts, and scarification marks etched in a linear pattern down the chest, There are three dark markings on the stomach. The lower arm is coiled. A piece of cloth is tied around the waist. A wall is in the background.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 39 of the negative album now numbered C19/.\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\n\nFM:206527\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71877_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656967_N.71877.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169825.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463834", "metadata": {"title": "Untitled", "idno": "P.169825.GIJ", "description": "Three men attending to pieces of cooked meat (possibly of a leopard?) lying on matting. The men are squatting. Two are moving a shoulder/leg joint. There are other pieces of meat and bones lying on the mat. The other man is looking at the camera smiling. There is a crowd of people standing gathered close around looking on. [PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169822.GIJ - P.169904.GIJ were located in an brown envelope now numbered C754/11/.", "raw_text_dump": "IDNO\n\nP.169825.GIJ\n\nDescription\n\nThree men attending to pieces of cooked meat (possibly of a leopard?) lying on matting. The men are squatting. Two are moving a shoulder/leg joint. There are other pieces of meat and bones lying on the mat. The other man is looking at the camera smiling. There is a crowd of people standing gathered close around looking on. [PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169822.GIJ - P.169904.GIJ were located in an brown envelope now numbered C754/11/.\n\nFM:310312\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169825_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127730_P.169825.GIJ_001.png"}, {"file_name": "P_169825_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127731_P.169825.GIJ_002.png"}, {"file_name": "P_169825_GIJ_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127732_P.169825.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.13328.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306600", "metadata": {"title": "Untitled", "idno": "N.13328.GIJ", "description": "A mau (ghost) face mask painted white with black paint consisting of slit eyes, elongated nose, mouth with teeth and ears. It is carved and painted in darker colour(s) in extended triangles underneath the eyes and on the forehead. In the centre of the forehead iand the near the teimples are etched markings. There are additional areas of darkly painted incised decorations on the chin and above the main panel on the forehead. The holes for attaching the mask are visible.\n\nObject documentation photograph of a face mask.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "Prior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nContext: In reference to this photograph Jones describes the markings as representations of these facial scars can easily be confused with the circles, crosses and other simple figures that were painted on peple and reproduced on their carvings. The most striking of these are the curved triangles stretched diagonally across the cheeks and foreheads of many of the Nri Akwa Ibo white faced masks.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) (Jones, 1984)\n\nBibliographical Reference: Jones, G.I. 1989 Ibo Art (Shire).\n\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]", "raw_text_dump": "IDNO\n\nN.13328.GIJ\n\nDescription\n\nA mau (ghost) face mask painted white with black paint consisting of slit eyes, elongated nose, mouth with teeth and ears. It is carved and painted in darker colour(s) in extended triangles underneath the eyes and on the forehead. In the centre of the forehead iand the near the teimples are etched markings. There are additional areas of darkly painted incised decorations on the chin and above the main panel on the forehead. The holes for attaching the mask are visible.\n\nObject documentation photograph of a face mask.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPrior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nContext: In reference to this photograph Jones describes the markings as representations of these facial scars can easily be confused with the circles, crosses and other simple figures that were painted on peple and reproduced on their carvings. The most striking of these are the curved triangles stretched diagonally across the cheeks and foreheads of many of the Nri Akwa Ibo white faced masks.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) (Jones, 1984)\n\nBibliographical Reference: Jones, G.I. 1989 Ibo Art (Shire).\n\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]\n\n\n\nFM:147978\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13328_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000591_N.13328.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71663.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364934", "metadata": {"title": "Untitled", "idno": "N.71663.GIJ", "description": "A wood carver carving an Ikenga figure. The figure is placed on its front and there is a piece of wood to balance it. The base of the figure is circular. The carver is sitting on the ground with a metal tool (knife?) which he is using to carve the figure. Around him are wood shavings, an adze, and other pieces of wood. The carver is wearing a cotton loin cloth. There are steps in the background and an animal skin.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "P.71660.GIJ to P.71662.GIJ were found wrapped in paper, now numbered C301/16/. and were presumed to come from box 4 now numbered C301/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Wood carver Carving Ikenga (10th image).\n\nContext: In reference to wood carving techniques, Jones writes that \u201cWood-carving techniques began with roughing out the object by hacking and slashing it into the required shape with cutlass, axe and adze. It was then finished off by whittling and cutting with smaller knives and chisels or , in the case of harder woods, by the use of a short heavy-headed knife and a mallet. In cases where a smooth finish was required, it was rubbed down with abrasive leaves specially dried for such purposes or, in these days, with imported sandpaper (Jones, 1984, p.112) In particular reference to masks, figures and sculpture he notes that various approaches by carver were used In some areas it was a matter-of-fact profane occupation, to others a \u2018sacred\u2019 and secret one surrounded by special rituals and prohibitions. The methods used in carving masks and figures naturally differed in minor details from artist to artist and were also governed to some extent by the kinds of wood and other materials that were available and by the different attitudes towards such work evinced by the people for whom and amongst whom they worked (Jones, 1984, pp.123-124).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d In reference to Ikenga figures, he writes, \u201c The best known Ibo personal cult and the one that has given rise to the greatest number of carvings is that of Ikenga, a Lower Niger cult of a man\u2019s right arm and of success associated with it, which the Edo shared with the Western, Northern, most of the Southern Ibo and with Igala groups. The Ohuhu-Ngwa, Cross River and Northeastern Ibo did not participate in it. Most Ibo and Edo had a small cylindrical object with some geometrical carving on it and ending in a pair of pointed horns. Some Western Ibo increased the size so that it looked more like a circular stool . Other Ibo and Edo added a head and some carved a whole figure. The Nri-Akwa Ibo produced the most elaborate cult objects and in the greatest number. Older examples carved by them elaborated the horns and the head, which was shown smoking a pipe. Later ones consisted of complete figures which were shown standing or more usually seated on a circular stool with a cutlass in one hand and a human head in the other or, alternatively, holding a tusk horn and an ornamental staff (Jones, 1989, p.40). Also, see Jones, 1984, pp. 141-142.\n\nContext: Cole and Aniakor write in detail about Ikenga (see Chapter Two). They show that the concept of Ikenga reverberates throughout much of Igbo life . These images are found in the shrines of individual diviners and corporate tutelary cults and as representatives of age-grades and communities. ...They continue to describe that the basic Igbo Ikenga image is a human with horns, sometimes rendered very simply as an abstract head and horns base. Larger, more elaborate examples include fully realized males seated on stools, holding and wearing various symbols, and with more or less complex headdresses determined in part by horns and often including several other motifs (Cole and Aniakor, 1984, p.24).\n\nPublications: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989 Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71663.GIJ\n\nDescription\n\nA wood carver carving an Ikenga figure. The figure is placed on its front and there is a piece of wood to balance it. The base of the figure is circular. The carver is sitting on the ground with a metal tool (knife?) which he is using to carve the figure. Around him are wood shavings, an adze, and other pieces of wood. The carver is wearing a cotton loin cloth. There are steps in the background and an animal skin.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71660.GIJ to P.71662.GIJ were found wrapped in paper, now numbered C301/16/. and were presumed to come from box 4 now numbered C301/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Wood carver Carving Ikenga (10th image).\n\nContext: In reference to wood carving techniques, Jones writes that \u201cWood-carving techniques began with roughing out the object by hacking and slashing it into the required shape with cutlass, axe and adze. It was then finished off by whittling and cutting with smaller knives and chisels or , in the case of harder woods, by the use of a short heavy-headed knife and a mallet. In cases where a smooth finish was required, it was rubbed down with abrasive leaves specially dried for such purposes or, in these days, with imported sandpaper (Jones, 1984, p.112) In particular reference to masks, figures and sculpture he notes that various approaches by carver were used In some areas it was a matter-of-fact profane occupation, to others a \u2018sacred\u2019 and secret one surrounded by special rituals and prohibitions. The methods used in carving masks and figures naturally differed in minor details from artist to artist and were also governed to some extent by the kinds of wood and other materials that were available and by the different attitudes towards such work evinced by the people for whom and amongst whom they worked (Jones, 1984, pp.123-124).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d In reference to Ikenga figures, he writes, \u201c The best known Ibo personal cult and the one that has given rise to the greatest number of carvings is that of Ikenga, a Lower Niger cult of a man\u2019s right arm and of success associated with it, which the Edo shared with the Western, Northern, most of the Southern Ibo and with Igala groups. The Ohuhu-Ngwa, Cross River and Northeastern Ibo did not participate in it. Most Ibo and Edo had a small cylindrical object with some geometrical carving on it and ending in a pair of pointed horns. Some Western Ibo increased the size so that it looked more like a circular stool . Other Ibo and Edo added a head and some carved a whole figure. The Nri-Akwa Ibo produced the most elaborate cult objects and in the greatest number. Older examples carved by them elaborated the horns and the head, which was shown smoking a pipe. Later ones consisted of complete figures which were shown standing or more usually seated on a circular stool with a cutlass in one hand and a human head in the other or, alternatively, holding a tusk horn and an ornamental staff (Jones, 1989, p.40). Also, see Jones, 1984, pp. 141-142.\n\nContext: Cole and Aniakor write in detail about Ikenga (see Chapter Two). They show that the concept of Ikenga reverberates throughout much of Igbo life . These images are found in the shrines of individual diviners and corporate tutelary cults and as representatives of age-grades and communities. ...They continue to describe that the basic Igbo Ikenga image is a human with horns, sometimes rendered very simply as an abstract head and horns base. Larger, more elaborate examples include fully realized males seated on stools, holding and wearing various symbols, and with more or less complex headdresses determined in part by horns and often including several other motifs (Cole and Aniakor, 1984, p.24).\n\nPublications: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989 Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206313\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71663_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656766_N.71663.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171238.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465299", "metadata": {"title": "Untitled", "idno": "P.171238.GIJ", "description": "A portrait of an Mgbedike or Agu neche enyi masquerade character wearing a carved and painted wooden head mask, attached to a feather costume which covers the whole of the top the wearer. The \u201canimal-like\u201d mask is carved with two horns, eyes, nose, ears, snout with teeth. It is painted with light pigment, on to which pale spots and lines have been added. The masquerader carries aloft a shield made of woven raffia in his left hand and a long stick in his right. On the left and right of the masquerader is a kneeling attendant, each wearing a waist wrapper with band from which hang cloth (or leather?) straps, and each armed with long stick and shield. The attendant on the right wears a woollen hat and has white face paint on his cheeks. They are in front of a thatched building. [PB 05/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra state; Idemili; Oba town", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767161.GIJ - P.767162.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171238.GIJ\n\nDescription\n\nA portrait of an Mgbedike or Agu neche enyi masquerade character wearing a carved and painted wooden head mask, attached to a feather costume which covers the whole of the top the wearer. The \u201canimal-like\u201d mask is carved with two horns, eyes, nose, ears, snout with teeth. It is painted with light pigment, on to which pale spots and lines have been added. The masquerader carries aloft a shield made of woven raffia in his left hand and a long stick in his right. On the left and right of the masquerader is a kneeling attendant, each wearing a waist wrapper with band from which hang cloth (or leather?) straps, and each armed with long stick and shield. The attendant on the right wears a woollen hat and has white face paint on his cheeks. They are in front of a thatched building. [PB 05/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra state; Idemili; Oba town\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767161.GIJ - P.767162.GIJ are mounted together on card.\n\nFM:311929\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171238_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144454_P.171238.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171578.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465639", "metadata": {"title": "Untitled", "idno": "P.171578.GIJ", "description": "A documentation photograph of a carved wooden face mask, painted in dark pigment with features highlighted in white, sitting on the ledge of a mud wall, above a carved wooden figure of an animal (possibly a goat or antelope?). [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171577.GIJ and P.171578.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171578.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden face mask, painted in dark pigment with features highlighted in white, sitting on the ledge of a mud wall, above a carved wooden figure of an animal (possibly a goat or antelope?). [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171577.GIJ and P.171578.GIJ are mounted on card.\n\nFM:312298\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171578_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144851_P.171578.GIJ_001.jpg"}, {"file_name": "P_171578_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144852_P.171578.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.71944.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365215", "metadata": {"title": "Untitled", "idno": "P.71944.GIJ", "description": "The Ngbangbo Ikoro masquerade. The masquerade character is crouched in the centre of the \u2018arena\u2019 and playing a clown. The mask is a dark wooden mask painted with a white pigment and with a projection (painted white) from the centre of the head. Around the mask is a woven cloth. There are spectators sitting and standing in the background. One young boy standing is holding branches in one hand.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Clown mask Ngbagba Ikoro, Abiriba. (10th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nP.71944.GIJ\n\nDescription\n\nThe Ngbangbo Ikoro masquerade. The masquerade character is crouched in the centre of the \u2018arena\u2019 and playing a clown. The mask is a dark wooden mask painted with a white pigment and with a projection (painted white) from the centre of the head. Around the mask is a woven cloth. There are spectators sitting and standing in the background. One young boy standing is holding branches in one hand.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Clown mask Ngbagba Ikoro, Abiriba. (10th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nFM:206594\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_71944_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657037_N.71945.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "T.170103.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464164", "metadata": {"title": "Untitled", "idno": "T.170103.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts three figures walking in a procession. The figures on the left and middle are holding umbrellas and the figure on the right is holding a rifle on his shoulders. A geometric patterned border frames the painting.[Description from record N.13215.GIJ , PB 22/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170103.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts three figures walking in a procession. The figures on the left and middle are holding umbrellas and the figure on the right is holding a rifle on his shoulders. A geometric patterned border frames the painting.[Description from record N.13215.GIJ , PB 22/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310631\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170103_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128329_T.170103.GIJ_001.png"}, {"file_name": "T_170103_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128330_T.170103.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13218.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306490", "metadata": {"title": "Untitled", "idno": "N.13218.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts a large horse on the left, a cat and a figure on the right. A geometric border is at the bottom of the painting.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13218.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts a large horse on the left, a cat and a figure on the right. A geometric border is at the bottom of the painting.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147868\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13218_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000480_N.13218.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71481.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364752", "metadata": {"title": "Untitled", "idno": "N.71481.GIJ", "description": "A documentation photograph of four Agwu Nsi Figures. From left to right: the figure on the left is standing with a round head with crest, rounded shoulders, arms at the waist, and thick legs. The second figure is more abstract and has a pointed head with a beak like protrusion, curved markings for arms, and bent legs. The third figure consists of a large head with two pointed horns, rounded upper torso on a round pedestal base. The fourth figure is large and consists of a square head with rounded top, tusk like ears protruding upwards, and holding a pipe in his hands,", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; ?Nri Awka", "cultural_affliation": "Igbo [historically Ibo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 79 of the negative album now numbered C16/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Agwu Nsi Figures\n3. Agwu Nsi figures (Dibia) Nri-Awka Igbo (2nd image).\n\nContext: Jones writes about these figures and explains they were used by diviners. \u201cQuite as importantly, particularly in the Lower Niger area, were the figures representing personal deities decorating the meeting houses of wealthy Northern Ibo men, who vied each other in such displays. The best known of these cults was the Ikenga. Northern and Southern Ibo diviners carried with them as part of their paraphernalia their Agu Nsi, small carvings of humans, animals, Ikenga and other ritual objects which were believed to help them in their divination.\u201d (Jones, 1989, p.38)\n\nContext: As the Owerri creation story indicates, the deity Agwushi is a a critical force in Igbo life, standing between mankind and the various gods and ancestors. The priest/doctor/diviner, dibia, consults Agwushi to interpret the needs and dissatifactions of other deities. Diviners are wise, educated men who can elicit the meanings of things and see the past, present and future with clarity. They prescribe ritual procedures and sacrifices and prepare substances - magical medicines, ogwu - which correct mistakes, cure diseases, and otherwise bring the world of the client back into proper balance. Some of these medicinal preparations are rubbed on a patient or swallowed, but others are considered just for their existence. Agwushi creates order by arbitrating between mankind and the gods, giving something to each (Cole and Aniakor, 1984, pp. 16-17.)\n\nBibliographical Reference: Jones, G.I. Ibo Art. 1989 (Shire);\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 4/3/2008]\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 4/3/2008]", "raw_text_dump": "IDNO\n\nN.71481.GIJ\n\nDescription\n\nA documentation photograph of four Agwu Nsi Figures. From left to right: the figure on the left is standing with a round head with crest, rounded shoulders, arms at the waist, and thick legs. The second figure is more abstract and has a pointed head with a beak like protrusion, curved markings for arms, and bent legs. The third figure consists of a large head with two pointed horns, rounded upper torso on a round pedestal base. The fourth figure is large and consists of a square head with rounded top, tusk like ears protruding upwards, and holding a pipe in his hands,\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; ?Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 79 of the negative album now numbered C16/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Agwu Nsi Figures\n3. Agwu Nsi figures (Dibia) Nri-Awka Igbo (2nd image).\n\nContext: Jones writes about these figures and explains they were used by diviners. \u201cQuite as importantly, particularly in the Lower Niger area, were the figures representing personal deities decorating the meeting houses of wealthy Northern Ibo men, who vied each other in such displays. The best known of these cults was the Ikenga. Northern and Southern Ibo diviners carried with them as part of their paraphernalia their Agu Nsi, small carvings of humans, animals, Ikenga and other ritual objects which were believed to help them in their divination.\u201d (Jones, 1989, p.38)\n\nContext: As the Owerri creation story indicates, the deity Agwushi is a a critical force in Igbo life, standing between mankind and the various gods and ancestors. The priest/doctor/diviner, dibia, consults Agwushi to interpret the needs and dissatifactions of other deities. Diviners are wise, educated men who can elicit the meanings of things and see the past, present and future with clarity. They prescribe ritual procedures and sacrifices and prepare substances - magical medicines, ogwu - which correct mistakes, cure diseases, and otherwise bring the world of the client back into proper balance. Some of these medicinal preparations are rubbed on a patient or swallowed, but others are considered just for their existence. Agwushi creates order by arbitrating between mankind and the gods, giving something to each (Cole and Aniakor, 1984, pp. 16-17.)\n\nBibliographical Reference: Jones, G.I. Ibo Art. 1989 (Shire);\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 4/3/2008]\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 4/3/2008]\n\nFM:206131\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71481_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656611_N.71481.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171215.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465276", "metadata": {"title": "Untitled", "idno": "P.171215.GIJ", "description": "An Ikenga figure carved of wood. The figure is standing on a circular base, holding a cutlass in one hand and another long object(possibly a pipe?) in the other. The face of the figure is painted white with black etched designs on the forehead, almond shaped eyes, nose and lips painted black, protruding from the head are two curled horns painted black. The figure has a thick neck, squat torso and thick legs with rounded knee bands. The figure is painted a dark colour but accentuated with a lighter colour to show a necklace, waist bands, and knee rings. [Description from record P.71652.GIJ, PB 04/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767134.GIJ - P.767139.GIJ are mounted together on paper.", "raw_text_dump": "IDNO\n\nP.171215.GIJ\n\nDescription\n\nAn Ikenga figure carved of wood. The figure is standing on a circular base, holding a cutlass in one hand and another long object(possibly a pipe?) in the other. The face of the figure is painted white with black etched designs on the forehead, almond shaped eyes, nose and lips painted black, protruding from the head are two curled horns painted black. The figure has a thick neck, squat torso and thick legs with rounded knee bands. The figure is painted a dark colour but accentuated with a lighter colour to show a necklace, waist bands, and knee rings. [Description from record P.71652.GIJ, PB 04/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767134.GIJ - P.767139.GIJ are mounted together on paper.\n\nFM:311906\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171215_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144431_P.171215.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13254.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306526", "metadata": {"title": "Untitled", "idno": "N.13254.GIJ", "description": "Obugulu Mau (Ghost) masquerade.\n\nA close up view of Iro Ekpetu (Merciless) wearing a fierce, black wooden face mask; the forehead is incised with decoration, the eyes consist of two small holes but accentuated with white paint around the eyes, a pointed nose, round ears and protruding mouth and teeth, accentuated by white paint. On the head is a protrusion, such as a keloid? or rhomboid?; raffia \u2018hair\u2019 is attached to the back of the mask. The upper torso is covered in a cloth top, which is attached to the mask. The masquerader is holding up a stick switch. In the background is a mud and thatch building surrounded by trees and vegetation.", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village", "cultural_affliation": "Isuochi; Nri-Awka Igbo; Northern Igbo; Igbo", "named_person": "Iro Ekpetu; Merciless [names of mask character]", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: During the Mau or ghost masquerades, there are different \u2019characters\u2019\u2019 who perform in the masquerade. Jones writes about the division between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair an gaily decorated head-dresses. The fierce were black and red. The modes of the former were rounded and angular, those of the latter also included the stylised and occasionally abstract, and the carving often incorporated fangs, horns, beaks and other fearsome animal features (Jones, 1984, p. 139). More specifically in relation to Iro Ekpetu:, Jones describes a masquerade performance in Amobia in which there were many different characters and one of the masqueraders was a black fierce and masculine creature with masks that combined animal and human features (Jones, 1984, p.59)\n\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/10/2007]", "raw_text_dump": "IDNO\n\nN.13254.GIJ\n\nDescription\n\nObugulu Mau (Ghost) masquerade.\n\nA close up view of Iro Ekpetu (Merciless) wearing a fierce, black wooden face mask; the forehead is incised with decoration, the eyes consist of two small holes but accentuated with white paint around the eyes, a pointed nose, round ears and protruding mouth and teeth, accentuated by white paint. On the head is a protrusion, such as a keloid? or rhomboid?; raffia \u2018hair\u2019 is attached to the back of the mask. The upper torso is covered in a cloth top, which is attached to the mask. The masquerader is holding up a stick switch. In the background is a mud and thatch building surrounded by trees and vegetation.\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIsuochi; Nri-Awka Igbo; Northern Igbo; Igbo\n\nNamed Person\n\nIro Ekpetu; Merciless [names of mask character]\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: During the Mau or ghost masquerades, there are different \u2019characters\u2019\u2019 who perform in the masquerade. Jones writes about the division between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair an gaily decorated head-dresses. The fierce were black and red. The modes of the former were rounded and angular, those of the latter also included the stylised and occasionally abstract, and the carving often incorporated fangs, horns, beaks and other fearsome animal features (Jones, 1984, p. 139). More specifically in relation to Iro Ekpetu:, Jones describes a masquerade performance in Amobia in which there were many different characters and one of the masqueraders was a black fierce and masculine creature with masks that combined animal and human features (Jones, 1984, p.59)\n\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/10/2007]\n\nFM:147904\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13254_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000517_N.13254.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171576.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465637", "metadata": {"title": "Untitled", "idno": "P.171576.GIJ", "description": "A documentation photograph of two standing carved wooden juju figures, in front of a mud wall, facing the camera. The figure on the left has a hair bun, necklace and fringed collar, with a row of parallel lines of studs from chest to a cross motif on waist. The figure wears a cloth wrapper. The figure on the right is of a woman. Her coiffure has two hair crest. Her face is rimmed by a board on which earrings are carved in relief. She has a a row of parallel lines of studs from chest to a cross motif on waist. She carries an infant in her left hand. She is wearing a cloth waist wrapper. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Orogwe", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171574.GIJ to P.171576.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171576.GIJ\n\nDescription\n\nA documentation photograph of two standing carved wooden juju figures, in front of a mud wall, facing the camera. The figure on the left has a hair bun, necklace and fringed collar, with a row of parallel lines of studs from chest to a cross motif on waist. The figure wears a cloth wrapper. The figure on the right is of a woman. Her coiffure has two hair crest. Her face is rimmed by a board on which earrings are carved in relief. She has a a row of parallel lines of studs from chest to a cross motif on waist. She carries an infant in her left hand. She is wearing a cloth waist wrapper. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Orogwe\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171574.GIJ to P.171576.GIJ are mounted on card.\n\nFM:312296\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171576_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144847_P.171576.GIJ_001.jpg"}, {"file_name": "P_171576_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144848_P.171576.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171254.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465315", "metadata": {"title": "Untitled", "idno": "P.171254.GIJ", "description": "A close up view of a masquerade character wearing a 'fierce' face mask. The mask is unpainted apart from the rims of the oval shaped eye slits. The forehead of the mask has prominent eyebrows and a deep inverted v-shaped groove from top to mouth. The mouth is open and dome shaped with one upper and two lower large teeth. There is an ichi mark on each cheek. The mark has a sackcloth head band over tresses of grass which hand down onto the shoulders. [PB 12/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra state; Nnewi", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767177.GIJ - P.767179.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171254.GIJ\n\nDescription\n\nA close up view of a masquerade character wearing a 'fierce' face mask. The mask is unpainted apart from the rims of the oval shaped eye slits. The forehead of the mask has prominent eyebrows and a deep inverted v-shaped groove from top to mouth. The mouth is open and dome shaped with one upper and two lower large teeth. There is an ichi mark on each cheek. The mark has a sackcloth head band over tresses of grass which hand down onto the shoulders. [PB 12/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra state; Nnewi\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767177.GIJ - P.767179.GIJ are mounted together on card.\n\nFM:311945\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171254_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144470_P.171254.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171582.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465643", "metadata": {"title": "Untitled", "idno": "P.171582.GIJ", "description": "A documentation photograph of a carved wooden juju figure, in front of a wooden post. The figure is sunk into the ground at the thighs. There is a slit gong on the ground behind. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Emeke Obibi", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171581.GIJ and P.171582.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171582.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden juju figure, in front of a wooden post. The figure is sunk into the ground at the thighs. There is a slit gong on the ground behind. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Emeke Obibi\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171581.GIJ and P.171582.GIJ are mounted on card.\n\nFM:312302\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171582_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144859_P.171582.GIJ_001.jpg"}, {"file_name": "P_171582_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144860_P.171582.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.71464.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364735", "metadata": {"title": "Untitled", "idno": "P.71464.GIJ", "description": "A mau (ghost) face mask painted white with black. The wooden mask is oval shaped with slit eyed, elongated nose, open mouth with teeth, and ears. The mask is accentuated with black painted triangular shaped designs with incised markings above and below the eyes. In the centre of the forehead is a dotted line crossed in the centre. The holes for attaching the mask are visible.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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.71463.GIJ to P.71464.GIJ were presumed to be from box 5, now numbered C302/.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) (Jones, 1984)\n\nContext: In reference to this photograph Jones describes the markings as representations of these facial scars can easily be confused with the circles, crosses and other simple figures that were painted on peple and reproduced on their carvings. The most striking of these are the curved triangles stretched diagonally across the cheeks and foreheads of many of the Nri Akwa Ibo white faced masks (Jones, 1989, p.18)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]", "raw_text_dump": "IDNO\n\nP.71464.GIJ\n\nDescription\n\nA mau (ghost) face mask painted white with black. The wooden mask is oval shaped with slit eyed, elongated nose, open mouth with teeth, and ears. The mask is accentuated with black painted triangular shaped designs with incised markings above and below the eyes. In the centre of the forehead is a dotted line crossed in the centre. The holes for attaching the mask are visible.\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71463.GIJ to P.71464.GIJ were presumed to be from box 5, now numbered C302/.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) (Jones, 1984)\n\nContext: In reference to this photograph Jones describes the markings as representations of these facial scars can easily be confused with the circles, crosses and other simple figures that were painted on peple and reproduced on their carvings. The most striking of these are the curved triangles stretched diagonally across the cheeks and foreheads of many of the Nri Akwa Ibo white faced masks (Jones, 1989, p.18)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]\n\nFM:206114\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_71464_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656601_N.13227.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13180.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306452", "metadata": {"title": "Untitled", "idno": "N.13180.GIJ", "description": "A small Ibibio panel mask. The mask is round with a raised face in the centre. The face is surrounded by a designed and indented border painted white.The face consists of a high forehead, half-moon slit eyes with white pigment underneath, nose, gaunt cheeks and mouth.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]", "raw_text_dump": "IDNO\n\nN.13180.GIJ\n\nDescription\n\nA small Ibibio panel mask. The mask is round with a raised face in the centre. The face is surrounded by a designed and indented border painted white.The face consists of a high forehead, half-moon slit eyes with white pigment underneath, nose, gaunt cheeks and mouth.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]\n\n\n\nFM:147830\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13180_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000442_N.13180.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71867.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365138", "metadata": {"title": "Untitled", "idno": "N.71867.GIJ", "description": "The interior of an Obu House with the close up view of a central pillar with carvings of heads and geometric designs. To the side of the pillar are two free standing sculptures. One figure is painted white with a rounded face, crest like headdress, and painted in white and black markings. Another figure is more abstract. The roof of the room is made of bamboo and raffia, the walls are smoothed and a slit drum is in the background.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 56 of the negative album now numbered C19/.\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and enga\nge in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]", "raw_text_dump": "IDNO\n\nN.71867.GIJ\n\nDescription\n\nThe interior of an Obu House with the close up view of a central pillar with carvings of heads and geometric designs. To the side of the pillar are two free standing sculptures. One figure is painted white with a rounded face, crest like headdress, and painted in white and black markings. Another figure is more abstract. The roof of the room is made of bamboo and raffia, the walls are smoothed and a slit drum is in the background.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 56 of the negative album now numbered C19/.\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and enga\nge in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\n\nFM:206517\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71867_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656958_N.71867.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.71942.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365213", "metadata": {"title": "Untitled", "idno": "P.71942.GIJ", "description": "A wooden female face mask. The mask is oval in shape and consists of a delicate white face with two open holes for the eye. On top of the mask is a coiffure consisting of a central white parting and two pointed bunches of hair. The face is painted white but with black to accentuate the eyebrows, frame of the eyes, nostrils and on the chin is a black and white chequered design. The mask appears to be hanging on a wall.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nP.71942.GIJ\n\nDescription\n\nA wooden female face mask. The mask is oval in shape and consists of a delicate white face with two open holes for the eye. On top of the mask is a coiffure consisting of a central white parting and two pointed bunches of hair. The face is painted white but with black to accentuate the eyebrows, frame of the eyes, nostrils and on the chin is a black and white chequered design. The mask appears to be hanging on a wall.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nFM:206592\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_71942_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657035_N.71943.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169662.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463663", "metadata": {"title": "Untitled", "idno": "P.169662.GIJ", "description": "Masquerade character called \u2018Government\u2019 and attendant. The masquerader is a faceless character with a piece of cloth covering his face, dressed in patterned cloth, wearing a Homburg hat with a feather tucked into the side. \u2018Government\u2019 is holding a piece of paper in his hand, symbolising authority. His \u2018attendant\u2019 is to his side holding a large metal gong. The attendant is wearing a cloth tunic and on his head is a Homburg hat. Placed in front of \u2018government\u2019 is a staff or walking stick that is placed in the ground. In the background are spectators and thatched houses.[Description from record P.71618.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Ibo [historically Igbo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169662.GIJ\n\nDescription\n\nMasquerade character called \u2018Government\u2019 and attendant. The masquerader is a faceless character with a piece of cloth covering his face, dressed in patterned cloth, wearing a Homburg hat with a feather tucked into the side. \u2018Government\u2019 is holding a piece of paper in his hand, symbolising authority. His \u2018attendant\u2019 is to his side holding a large metal gong. The attendant is wearing a cloth tunic and on his head is a Homburg hat. Placed in front of \u2018government\u2019 is a staff or walking stick that is placed in the ground. In the background are spectators and thatched houses.[Description from record P.71618.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\n\n\nFM:310149\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169662_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127429_P.169662.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.170292.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464353", "metadata": {"title": "Untitled", "idno": "P.170292.GIJ", "description": "A documentation photograph of a painted carved wooden doll-like female figure. The figure is standing on a slatted wooden floor in front of a mud wall.\nThe figure is a of a mother carrying a baby in her arms. The mother has long hair parted in the middle, a deep forehead, pointed nose and chin and almond-shaped eyes. Eyebrows, nose, mouth and centre chin are picked out in dark paint. There are geeometric shapes painted on the abdomen and legs.\nThe baby is lying horizontally in side profile in the mother's outstretched hands. [PB 10/11/23]", "place": "W Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Etinan", "cultural_affliation": "Anang; Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170288.GIJ - P.170277.GIJ were located in a folder, now numbered C759/7.", "raw_text_dump": "IDNO\n\nP.170292.GIJ\n\nDescription\n\nA documentation photograph of a painted carved wooden doll-like female figure. The figure is standing on a slatted wooden floor in front of a mud wall.\nThe figure is a of a mother carrying a baby in her arms. The mother has long hair parted in the middle, a deep forehead, pointed nose and chin and almond-shaped eyes. Eyebrows, nose, mouth and centre chin are picked out in dark paint. There are geeometric shapes painted on the abdomen and legs.\nThe baby is lying horizontally in side profile in the mother's outstretched hands. [PB 10/11/23]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Etinan\n\nCultural Affliation\n\nAnang; Ibibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170288.GIJ - P.170277.GIJ were located in a folder, now numbered C759/7.\n\nFM:310850\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170292_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1132150_P.170292.GIJ_001.png"}, {"file_name": "P_170292_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1132151_P.170292.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71901.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365172", "metadata": {"title": "Untitled", "idno": "N.71901.GIJ", "description": "An Ekpe (Ibo) headdress which consists of an oval shaped face and elongated neck. The facial features are ached shaped brows, slit eyes, long nose, open mouth with white painted teeth, ears, round \u201ctarget\u201d mark on the temple and raised patterns next to the ear. Around the top of the forehead is a piece of twine. The neck is elongated and the base has holes in it and is painted white. In the background is a mud wall and perhaps a pot or part of a shrine?", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 59 of the negative album now numbered C18/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Igbo\n3. Ekpe (Igbo) head Abiriba. (5th image).\n\nContext: Jones writes about the Ohuhu/Ngwa and their sculpture. He also explains the meaning of Ekpe. \u201cThis territory was peopled by the Ibo moving across the Imo river and absorbing the small Northern Ibibio settlements which they encountered in the north and centre, and eventually meeting and establishing a fighting frontier with the Anang Ibibio expanding northward and westward. The Ndokki tribe in the extreme south had Ijo connections and the founders of the Ijo trading state of Bonny are said to have come from one of their villages. Most of the Ohuhu or northern sector had the Ekpe (Egbo) type of secret society under the name Ekpe, Akang, Okonko together with their masquerades and their Egbo runner and other types of net costumes, and they borrowed and copied freely from the masks and masquerades of their Anang neighbours including the Cross River Ikem and its heads. I saw very few skin-covered heads in the 1930s, though I was told that they were more numerous in the past but had gone out of fashion. In some of the Ekpe (Egbo) masquerades the only characters which I saw were in the faceless tight-fitting or flowing net costumes in which the face of the actor was concealed beneath the net. In others these types of costume were combined with Traditional Anang (Ibibio) face masks. The masks were referred to as Isi Ekpo (Ekpo head) but the name of the masquerade was Ekpe. In other masquerades which were called Ekpo, the masks were Anang or local copies of Anang Ekpo masks, but the costumes were of imported cotton cloths and not the traditional raffia fringes and skirts of the Anang Ekpo. Thought they had masquerades called Ekpo they did not have any Ekpo secret societies and the masked characters behaved in a relatively benign fashion. They also copied the Anang dramatic masquerades of the Ekong and Ofiong types...The most impressive surviving examples of sculpture from this area, however, were the heads produced for their Ekpe (Ibo) play and the figures from their trophy or fertility dance called Ugbom.\u201d\n\nIn relation to the Ekpe (Ibo) sculpture Jones says that, \u201cThis masquerade had been fashionable \u2018a long time ago\u2019 according to Uhuhu informants. It had become defunct in this sector in the early part of the century and no one could tell Murray or myself much about it. Further south amongst the Ngwa there were said to be a few villages still playing it in 1920s. The masquerade consisted of the usual parade of a number of stately and fierce characters wearing heads which were carved in a remarkable number of different forms and styles. There were several styles:\n\n1. Small heads, occasionally single, more usually with two or more faces or heads, sometimes surmounted with a bird or other embellishment and carved in the Lower Niger style.\n2. Small to medium heads carved in a naturalistic mode .which emphasised the cheek-bones and chin but omitted the eyes and only indicated eyelids. Many of these were in pairs on a bar or bracket. This type was confined to Oboro and Olokoro tribes and to some of the Northern Ngwa.\n3. Single heads carved in a stylised angular mode and in the Delta style. The eyes were either projecting cones, or were omitted and replaced by slitlike eyelids. The mouth was a rectangular box, the lower jaw was framed with a conventionaised beard and lines of keloids were represented vertically on the forehead and on each temple and diagonally across each cheek.\n4. Single heads, medium to large in size in the Delta style.\n5. Small to medium female heads with hair tied up in bunches or horns in a naturalistic Modern Anang Ibibio style found in Ibeku Ohuhu\n6. Small to medium white faced female heads with crested or horned head-dresses and carved in the Lower Niger style (Jones, 1984, pp. 199-200.).\n\nContext: Cole and Aniakor also write about the distinctive Ekpe masquerades. In their section on Ekpe (Ohuhu, Ngwa, Asa) They note that \u201cThe Ekpe dancers of the Ohuhu and Ngwa, largely defunct even in the 1930s when Jones and Murray conducted their surveys, employed a variety of headpieces (as distinct from face covering masks). The Ekpe festivals were usually year-end harvest celebrations thanking ancestors and Earth for abundant crops and children and honoring great warriors of the past. (Cole and Aniakor, 1984, p.176.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nN.71901.GIJ\n\nDescription\n\nAn Ekpe (Ibo) headdress which consists of an oval shaped face and elongated neck. The facial features are ached shaped brows, slit eyes, long nose, open mouth with white painted teeth, ears, round \u201ctarget\u201d mark on the temple and raised patterns next to the ear. Around the top of the forehead is a piece of twine. The neck is elongated and the base has holes in it and is painted white. In the background is a mud wall and perhaps a pot or part of a shrine?\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 59 of the negative album now numbered C18/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Igbo\n3. Ekpe (Igbo) head Abiriba. (5th image).\n\nContext: Jones writes about the Ohuhu/Ngwa and their sculpture. He also explains the meaning of Ekpe. \u201cThis territory was peopled by the Ibo moving across the Imo river and absorbing the small Northern Ibibio settlements which they encountered in the north and centre, and eventually meeting and establishing a fighting frontier with the Anang Ibibio expanding northward and westward. The Ndokki tribe in the extreme south had Ijo connections and the founders of the Ijo trading state of Bonny are said to have come from one of their villages. Most of the Ohuhu or northern sector had the Ekpe (Egbo) type of secret society under the name Ekpe, Akang, Okonko together with their masquerades and their Egbo runner and other types of net costumes, and they borrowed and copied freely from the masks and masquerades of their Anang neighbours including the Cross River Ikem and its heads. I saw very few skin-covered heads in the 1930s, though I was told that they were more numerous in the past but had gone out of fashion. In some of the Ekpe (Egbo) masquerades the only characters which I saw were in the faceless tight-fitting or flowing net costumes in which the face of the actor was concealed beneath the net. In others these types of costume were combined with Traditional Anang (Ibibio) face masks. The masks were referred to as Isi Ekpo (Ekpo head) but the name of the masquerade was Ekpe. In other masquerades which were called Ekpo, the masks were Anang or local copies of Anang Ekpo masks, but the costumes were of imported cotton cloths and not the traditional raffia fringes and skirts of the Anang Ekpo. Thought they had masquerades called Ekpo they did not have any Ekpo secret societies and the masked characters behaved in a relatively benign fashion. They also copied the Anang dramatic masquerades of the Ekong and Ofiong types...The most impressive surviving examples of sculpture from this area, however, were the heads produced for their Ekpe (Ibo) play and the figures from their trophy or fertility dance called Ugbom.\u201d\n\nIn relation to the Ekpe (Ibo) sculpture Jones says that, \u201cThis masquerade had been fashionable \u2018a long time ago\u2019 according to Uhuhu informants. It had become defunct in this sector in the early part of the century and no one could tell Murray or myself much about it. Further south amongst the Ngwa there were said to be a few villages still playing it in 1920s. The masquerade consisted of the usual parade of a number of stately and fierce characters wearing heads which were carved in a remarkable number of different forms and styles. There were several styles:\n\n1. Small heads, occasionally single, more usually with two or more faces or heads, sometimes surmounted with a bird or other embellishment and carved in the Lower Niger style.\n2. Small to medium heads carved in a naturalistic mode .which emphasised the cheek-bones and chin but omitted the eyes and only indicated eyelids. Many of these were in pairs on a bar or bracket. This type was confined to Oboro and Olokoro tribes and to some of the Northern Ngwa.\n3. Single heads carved in a stylised angular mode and in the Delta style. The eyes were either projecting cones, or were omitted and replaced by slitlike eyelids. The mouth was a rectangular box, the lower jaw was framed with a conventionaised beard and lines of keloids were represented vertically on the forehead and on each temple and diagonally across each cheek.\n4. Single heads, medium to large in size in the Delta style.\n5. Small to medium female heads with hair tied up in bunches or horns in a naturalistic Modern Anang Ibibio style found in Ibeku Ohuhu\n6. Small to medium white faced female heads with crested or horned head-dresses and carved in the Lower Niger style (Jones, 1984, pp. 199-200.).\n\nContext: Cole and Aniakor also write about the distinctive Ekpe masquerades. In their section on Ekpe (Ohuhu, Ngwa, Asa) They note that \u201cThe Ekpe dancers of the Ohuhu and Ngwa, largely defunct even in the 1930s when Jones and Murray conducted their surveys, employed a variety of headpieces (as distinct from face covering masks). The Ekpe festivals were usually year-end harvest celebrations thanking ancestors and Earth for abundant crops and children and honoring great warriors of the past. (Cole and Aniakor, 1984, p.176.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nFM:206551\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71901_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656992_N.71901.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13306.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306578", "metadata": {"title": "Untitled", "idno": "N.13306.GIJ", "description": "Close up portrait of a man wearing a jacket with metal buttons,", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13306.GIJ\n\nDescription\n\nClose up portrait of a man wearing a jacket with metal buttons,\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147956\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13306_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000569_N.13306.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71619.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364890", "metadata": {"title": "Untitled", "idno": "N.71619.GIJ", "description": "Masquerade character called \u2018Government\u2019 and attendant. The masquerader is a facelss character with a piece of cloth covering his face, dressed in patterned cloth, wearing a Homburg hat with a feather tucked into the side. \u2018Government\u2019 is holding a piece of paper in his hand, symbolising authority. His \u2018attendant\u2019 is to his side holding metal gong? or horn?. The attendant is wearing a cloth tunic and on his head is a Homburg hat. Placed in front of \u2018government\u2019 is a staff or walking stick that is placed in the ground. In the background are spectators and thatched houses.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 1 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. A mask called \"Government\" Amuobia village (17th image).\n\nPublication: Similar image of same characters published in Jones, 1984, p. 58, Figure 7 called \u2018Government\u201d .\n\nContext: Jones writes about the Government character, \u201c Thus the faceless character called \u2018Government\u2019 in an Awka masquerade had a hat and an elephant tusk horn as emblems of authority and carried a sheet of paper in its hand as a symbol of bureaucratic power, and in the same masquerade the proverb \u2018The tongue is more powerful than brute force\u2019 was represented by three faceless characters in identical costumes that sang together in thirds and were called Onukamma (\u2018Mouth Stronger than sword\u2019) (Jones, 1984, p.45).\n\nContext: Jones provides a detailed description of the various characters in this masquerade which he had observed and photographed in the field, \u201cA performance in the Northern Ibo village of Amobia was opened by a hooded character called \u201cGovernment\u201d. He had no face and was crowned with a Homburg hat; an elephant tusk horn, symbol of authority, was laid on the ground in front of him and he read in ghostly gibberish from an important-looking document. He and his acolyte withdrew and were succeeded by a parade of ghostly policemen and court messengers wearing imitations of police and messenger uniforms and with cloth masks over their faces and head. They performed a spirited guard drill before being posted by their commander to their stations to control the crowd. Their followed a supercilious white-faced sun-helmeted figure in white drill jacket and trousers called Oyibo (White Man), who inspected the audience and then took his seat amongst the places reserved for the distinguished visitors who had come to watch the play. After him came a succession of characters, some white-faced, representing female spirits, some black or multi-coloured fierce and masculine creatures with masks that combined animal and human features; others again, mainly harmless or comic or benign, representing antelopes, or other animal spirits or characters drawn from village life. Each had his or her special role to play and having acted it withdrew to the secret enclosure or sat on seats at the ringside waiting to repeat his performance. \u201c Jones also writes that this masquerade was \u201c a large concerted display which included characters contributed by all the local societies.\u201d (Jones, 1984, pp.59-60.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71619.GIJ\n\nDescription\n\nMasquerade character called \u2018Government\u2019 and attendant. The masquerader is a facelss character with a piece of cloth covering his face, dressed in patterned cloth, wearing a Homburg hat with a feather tucked into the side. \u2018Government\u2019 is holding a piece of paper in his hand, symbolising authority. His \u2018attendant\u2019 is to his side holding metal gong? or horn?. The attendant is wearing a cloth tunic and on his head is a Homburg hat. Placed in front of \u2018government\u2019 is a staff or walking stick that is placed in the ground. In the background are spectators and thatched houses.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 1 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. A mask called \"Government\" Amuobia village (17th image).\n\nPublication: Similar image of same characters published in Jones, 1984, p. 58, Figure 7 called \u2018Government\u201d .\n\nContext: Jones writes about the Government character, \u201c Thus the faceless character called \u2018Government\u2019 in an Awka masquerade had a hat and an elephant tusk horn as emblems of authority and carried a sheet of paper in its hand as a symbol of bureaucratic power, and in the same masquerade the proverb \u2018The tongue is more powerful than brute force\u2019 was represented by three faceless characters in identical costumes that sang together in thirds and were called Onukamma (\u2018Mouth Stronger than sword\u2019) (Jones, 1984, p.45).\n\nContext: Jones provides a detailed description of the various characters in this masquerade which he had observed and photographed in the field, \u201cA performance in the Northern Ibo village of Amobia was opened by a hooded character called \u201cGovernment\u201d. He had no face and was crowned with a Homburg hat; an elephant tusk horn, symbol of authority, was laid on the ground in front of him and he read in ghostly gibberish from an important-looking document. He and his acolyte withdrew and were succeeded by a parade of ghostly policemen and court messengers wearing imitations of police and messenger uniforms and with cloth masks over their faces and head. They performed a spirited guard drill before being posted by their commander to their stations to control the crowd. Their followed a supercilious white-faced sun-helmeted figure in white drill jacket and trousers called Oyibo (White Man), who inspected the audience and then took his seat amongst the places reserved for the distinguished visitors who had come to watch the play. After him came a succession of characters, some white-faced, representing female spirits, some black or multi-coloured fierce and masculine creatures with masks that combined animal and human features; others again, mainly harmless or comic or benign, representing antelopes, or other animal spirits or characters drawn from village life. Each had his or her special role to play and having acted it withdrew to the secret enclosure or sat on seats at the ringside waiting to repeat his performance. \u201c Jones also writes that this masquerade was \u201c a large concerted display which included characters contributed by all the local societies.\u201d (Jones, 1984, pp.59-60.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206269\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71619_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656731_N.71619.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.170246.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464307", "metadata": {"title": "Untitled", "idno": "P.170246.GIJ", "description": "An Obugulu mau masquerader wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. [PB 02/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Ibo [historically Igbo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170244.GIJ - P.170247.GIJ were located in a brown envelope, now numbered C759/2.", "raw_text_dump": "IDNO\n\nP.170246.GIJ\n\nDescription\n\nAn Obugulu mau masquerader wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. [PB 02/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170244.GIJ - P.170247.GIJ were located in a brown envelope, now numbered C759/2.\n\nFM:310804\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170246_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131596_P.170246.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171263.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465324", "metadata": {"title": "Untitled", "idno": "P.171263.GIJ", "description": "A portrait of a masquerade character in the okanga masquerade. He is standing in the corner of a building. The face of the mask is painted in light pigment, with features highlighted in dark pigment. The face mask is set within an elaborate superstructure composed of two decks. The lower deck is filled with hardnut shells. The upper deck has a mass of columns of geometric shapes and human figures. Above this angled ladders supprt a circular crown. Inside the columns are carvings of leopard and human heads. The crown has a fringe of wooden balls. [PB 12/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767187.GIJ is mounted on card.", "raw_text_dump": "IDNO\n\nP.171263.GIJ\n\nDescription\n\nA portrait of a masquerade character in the okanga masquerade. He is standing in the corner of a building. The face of the mask is painted in light pigment, with features highlighted in dark pigment. The face mask is set within an elaborate superstructure composed of two decks. The lower deck is filled with hardnut shells. The upper deck has a mass of columns of geometric shapes and human figures. Above this angled ladders supprt a circular crown. Inside the columns are carvings of leopard and human heads. The crown has a fringe of wooden balls. [PB 12/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767187.GIJ is mounted on card.\n\nFM:311954\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171263_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144479_P.171263.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71883.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365154", "metadata": {"title": "Untitled", "idno": "N.71883.GIJ", "description": "The interior of an Obu House with the close up view of a central pillar consisting of two figures- one male and one female. The figure at the top depicts a male who is seated. He is wearing a black top hat, his face is humanised and painted in two toned colours, his upper torso is painted a dark colour with white and he is holding a carved head in one hand. The figure below is female and she is seated and has a headdress, rounded face with half painted white and the other half a darker colour. Her torso is designed in the centre and she is wearing a cloth around her waist, and she is holding a baby in her hands. She is seated on an incised platform and placed on a large rounded incised pedestal. The pillar in the left is painted with semi-circular designs in light and dark colors. To the side of the central pillar are two males looking at the camera. The back wall is smooth and a door with incised marking and striped colours is in the background.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 36 of the negative album now numbered C19/.\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nExhibition: Digital reproduction of photograph exhibited in \u2018Afrique, mille vies d\u2019objects / Africa, a thousand lives of objects\u2019 at Mus\u00e9e de Confluences, Lyon, France, from June 2023 \u2013 February 2024. See www.museedesconfluences.fr/en. [JD 25/01/2023]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]", "raw_text_dump": "IDNO\n\nN.71883.GIJ\n\nDescription\n\nThe interior of an Obu House with the close up view of a central pillar consisting of two figures- one male and one female. The figure at the top depicts a male who is seated. He is wearing a black top hat, his face is humanised and painted in two toned colours, his upper torso is painted a dark colour with white and he is holding a carved head in one hand. The figure below is female and she is seated and has a headdress, rounded face with half painted white and the other half a darker colour. Her torso is designed in the centre and she is wearing a cloth around her waist, and she is holding a baby in her hands. She is seated on an incised platform and placed on a large rounded incised pedestal. The pillar in the left is painted with semi-circular designs in light and dark colors. To the side of the central pillar are two males looking at the camera. The back wall is smooth and a door with incised marking and striped colours is in the background.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 36 of the negative album now numbered C19/.\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nExhibition: Digital reproduction of photograph exhibited in \u2018Afrique, mille vies d\u2019objects / Africa, a thousand lives of objects\u2019 at Mus\u00e9e de Confluences, Lyon, France, from June 2023 \u2013 February 2024. See www.museedesconfluences.fr/en. [JD 25/01/2023]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\nFM:206533\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71883_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656975_N.71883.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71885.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365156", "metadata": {"title": "Untitled", "idno": "N.71885.GIJ", "description": "The interior of an Obu House with the close up view (partial) of wooden figures. In the centre is a figure of a woman with a rounded stylised face accentuating the eyebrows, nose and mouth, and ears and with three geometric markings on each side of the face. At the top of her head is an arched crested headdress. She appears to be seated and is holding a figure in her lap, probably a child. To the left is a partial view of the bottom figure on a pillar carrying a rounded incised bowl on its head and with the incised face with the three square markings. Another carving is on the right. Behind are walls decorated with painted designs.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 37 of the negative album now numbered C19/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. figures in Obu [close-up] Amogudu, Abiriba. (4th image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]", "raw_text_dump": "IDNO\n\nN.71885.GIJ\n\nDescription\n\nThe interior of an Obu House with the close up view (partial) of wooden figures. In the centre is a figure of a woman with a rounded stylised face accentuating the eyebrows, nose and mouth, and ears and with three geometric markings on each side of the face. At the top of her head is an arched crested headdress. She appears to be seated and is holding a figure in her lap, probably a child. To the left is a partial view of the bottom figure on a pillar carrying a rounded incised bowl on its head and with the incised face with the three square markings. Another carving is on the right. Behind are walls decorated with painted designs.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 37 of the negative album now numbered C19/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. figures in Obu [close-up] Amogudu, Abiriba. (4th image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\n\nFM:206535\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71885_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656977_N.71885.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13329.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306601", "metadata": {"title": "Untitled", "idno": "N.13329.GIJ", "description": "A Mau helmet mask. The face of the mask is painted white with darker paint / pigments to accentuate the etched and raised eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with painted white teeth. There are painted and incised designs on the forehead, around the eyes, and three circular etched markings on the temples (raised markings representative of keloids). The top of the mask consists of an elaborate carved superstructure depicting swirled incised designs representing uli on the sides of the crest, with horns jutting out, a carved animal, in the middle of the structure is a diamond shaped design supporting a carved tortoise? on the top.", "place": "W Africa; Nigeria; South Eastern Nigeria; Niger River area", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "Prior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\nContext: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The white-faced helmut type was confined to part of the Northern Ibo area and and to some of the Northern Edo. In the majority of examples the crested area, when scene in profile formed a curve which reached from the back of the head to the top of the forehead, while the mask section was flat and set at an angle to it, either coming down vertically over the actor\u2019s face or being extended forward at an angle (Jones, 1984, p.139)\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984, p.143)\n\nContext: Cole and Aniakor provide further in-depth description about the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]", "raw_text_dump": "IDNO\n\nN.13329.GIJ\n\nDescription\n\nA Mau helmet mask. The face of the mask is painted white with darker paint / pigments to accentuate the etched and raised eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with painted white teeth. There are painted and incised designs on the forehead, around the eyes, and three circular etched markings on the temples (raised markings representative of keloids). The top of the mask consists of an elaborate carved superstructure depicting swirled incised designs representing uli on the sides of the crest, with horns jutting out, a carved animal, in the middle of the structure is a diamond shaped design supporting a carved tortoise? on the top.\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Niger River area\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPrior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\nContext: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The white-faced helmut type was confined to part of the Northern Ibo area and and to some of the Northern Edo. In the majority of examples the crested area, when scene in profile formed a curve which reached from the back of the head to the top of the forehead, while the mask section was flat and set at an angle to it, either coming down vertically over the actor\u2019s face or being extended forward at an angle (Jones, 1984, p.139)\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984, p.143)\n\nContext: Cole and Aniakor provide further in-depth description about the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]\n\n\nFM:147979\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13329_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000592_N.13329.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.170237.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464298", "metadata": {"title": "Untitled", "idno": "P.170237.GIJ", "description": "Documentary photograph of an Ibibio wooden mask from Utu Etin Ekpo village. The mask depicts an animal with two curved horns at the top, a rounded border at the top of the forehead, two eyes with overhanging lids, wide nose and moveable jaw.\nThe mask is photographed in front of a plain backdrop. [Description from record N.13191.GIJ, PB 02/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Abak area", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170232.GIJ - P.170243.GIJ were located in a brown envelope, now numbered C759/1.", "raw_text_dump": "IDNO\n\nP.170237.GIJ\n\nDescription\n\nDocumentary photograph of an Ibibio wooden mask from Utu Etin Ekpo village. The mask depicts an animal with two curved horns at the top, a rounded border at the top of the forehead, two eyes with overhanging lids, wide nose and moveable jaw.\nThe mask is photographed in front of a plain backdrop. [Description from record N.13191.GIJ, PB 02/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Abak area\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170232.GIJ - P.170243.GIJ were located in a brown envelope, now numbered C759/1.\n\nFM:310795\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170237_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131574_P.170237.GIJ_001.png"}, {"file_name": "P_170237_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131575_P.170237.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "T.170054.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464080", "metadata": {"title": "Untitled", "idno": "T.170054.GIJ", "description": "A Lughulu \u2018beautiful\u2019 female mask; the mask is carved in oval shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long triangular shaped nose, open mouth with teeth painted white, elliptical shaped ears and linear markings in the centre of the forehead and to the sides. On top are two carved shapes resembling a coiffure? with incised v-markings. There is white paint/chalk visible on the top right.[Description from record P.71799.GIJ , PB 14/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Alayi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170054.GIJ\n\nDescription\n\nA Lughulu \u2018beautiful\u2019 female mask; the mask is carved in oval shape with naturalistic features. The face of the mask consists of two oval slit eyes accentuated with high rounded eyebrows, long triangular shaped nose, open mouth with teeth painted white, elliptical shaped ears and linear markings in the centre of the forehead and to the sides. On top are two carved shapes resembling a coiffure? with incised v-markings. There is white paint/chalk visible on the top right.[Description from record P.71799.GIJ , PB 14/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Alayi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310582\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170054_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128161_T.170054.GIJ_001.png"}, {"file_name": "T_170054_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128164_T.170054.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71749.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365020", "metadata": {"title": "Untitled", "idno": "N.71749.GIJ", "description": "A photograph of part of Ngusu Ada village. The photograph shows the environment and landscape of the village. In the photo are trees and vegetation and a road or path in the centre. In the upper right corner, up the hill is a cluster of rectangular shaped mud and thatched houses.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; ?Northern Bende division; Ngusu Ada", "cultural_affliation": "Igbo [historically Ibo]; Ada", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 77 of the negative album now numbered C19/.\n\nContext: G.I. Jones was a District Officer in eastern Nigeria in 1930s and he photographed and documented the peoples and culture at this time. He has written about his interest in photography and the experiences he encountered while in Nigeria.\n(Jones, 1955). Jones and Forde defined the Afikpo as an Igbo subgroup called Ada or Edda (Forde and Jones, 1950, pp.51-56).\n\nContext: The masks, sculpture, and culture of this area are described in detail by Ottenberg. He writes that, \u201c the Afikpo belong to an Igbo subgroup called Ada or Edda (Forde and Jones 1950, pp.51-56), which includes the Okpoha, Edda, Amaseri, and Unwana village-groups, all of which border on the Afikpo, Nkporo and Akaeze, both short distances away. The Ada have many common features in their history and cul. They have past associations with the famous slave-trading Igbo of Aro Chuku, some forty miles to the south, and their population includes other immigrant groups from various Igbo areas, as well as residue of ancient non-Igbo peoples having Cross-River cultures (the earliest in the Ada area). The Ada are known for the prevalence of double unilineal descent, for well developed age grade organizations, for their military and head-taking activities in the past, and for their characteristic forms of art and rituals. These features differentiate them from other Igbo and from the Cross River groups\u201d (Ottenberg, 1975, p.3)\n\nBibliographical Reference:\nForde and Jones. 1950. \u201cThe Ibo and Ibibio Speaking Peoples of South-Eastern Nigeria\u201d. International African Instititue, Ethnographic Survey of Africa, Western Africa, Part III) (London)\nJones, G.I. 1955 \u201cA Memoir of Early Field Photography\u201d, African Arts, XVIII, no. 4, pp. 64-67.\nOttenberg, S. 1975. Masked Rituals of Afikpo. (University of Washington Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]", "raw_text_dump": "IDNO\n\nN.71749.GIJ\n\nDescription\n\nA photograph of part of Ngusu Ada village. The photograph shows the environment and landscape of the village. In the photo are trees and vegetation and a road or path in the centre. In the upper right corner, up the hill is a cluster of rectangular shaped mud and thatched houses.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; ?Northern Bende division; Ngusu Ada\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ada\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 77 of the negative album now numbered C19/.\n\nContext: G.I. Jones was a District Officer in eastern Nigeria in 1930s and he photographed and documented the peoples and culture at this time. He has written about his interest in photography and the experiences he encountered while in Nigeria.\n(Jones, 1955). Jones and Forde defined the Afikpo as an Igbo subgroup called Ada or Edda (Forde and Jones, 1950, pp.51-56).\n\nContext: The masks, sculpture, and culture of this area are described in detail by Ottenberg. He writes that, \u201c the Afikpo belong to an Igbo subgroup called Ada or Edda (Forde and Jones 1950, pp.51-56), which includes the Okpoha, Edda, Amaseri, and Unwana village-groups, all of which border on the Afikpo, Nkporo and Akaeze, both short distances away. The Ada have many common features in their history and cul. They have past associations with the famous slave-trading Igbo of Aro Chuku, some forty miles to the south, and their population includes other immigrant groups from various Igbo areas, as well as residue of ancient non-Igbo peoples having Cross-River cultures (the earliest in the Ada area). The Ada are known for the prevalence of double unilineal descent, for well developed age grade organizations, for their military and head-taking activities in the past, and for their characteristic forms of art and rituals. These features differentiate them from other Igbo and from the Cross River groups\u201d (Ottenberg, 1975, p.3)\n\nBibliographical Reference:\nForde and Jones. 1950. \u201cThe Ibo and Ibibio Speaking Peoples of South-Eastern Nigeria\u201d. International African Instititue, Ethnographic Survey of Africa, Western Africa, Part III) (London)\nJones, G.I. 1955 \u201cA Memoir of Early Field Photography\u201d, African Arts, XVIII, no. 4, pp. 64-67.\nOttenberg, S. 1975. Masked Rituals of Afikpo. (University of Washington Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]\n\nFM:206399\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71749_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656866_N.71749.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169656.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463651", "metadata": {"title": "Untitled", "idno": "P.169656.GIJ", "description": "Members of a band playing various musical instruments, including an igba (membrane drum) which is slung over the shoulder of the drummer with a shoulder strap and beaten by the drummer, udu (pot drum), ogene (gong) made of metal, rattles made from basket containers, and a ngedegwu (xylophone). In the right of the photograph, one young man is wearing a white striped cloth wrapper and a white woven cap and appears to be playing a wind instrument such as an oja (flute). The man standing next is wearing woven white trousers rolled up to his knees and appears to be playing an instrument. The man next to him is wearing a loin cloth with feathers attached to a head covering and holding a machete/cutlass. Behind are more band members of varying ages and in the background are spectators and trees. [Description from record P.71612.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River area", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169656.GIJ\n\nDescription\n\nMembers of a band playing various musical instruments, including an igba (membrane drum) which is slung over the shoulder of the drummer with a shoulder strap and beaten by the drummer, udu (pot drum), ogene (gong) made of metal, rattles made from basket containers, and a ngedegwu (xylophone). In the right of the photograph, one young man is wearing a white striped cloth wrapper and a white woven cap and appears to be playing a wind instrument such as an oja (flute). The man standing next is wearing woven white trousers rolled up to his knees and appears to be playing an instrument. The man next to him is wearing a loin cloth with feathers attached to a head covering and holding a machete/cutlass. Behind are more band members of varying ages and in the background are spectators and trees. [Description from record P.71612.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River area\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nFM:310143\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169656_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127412_P.169656.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "T.170056.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464084", "metadata": {"title": "Untitled", "idno": "T.170056.GIJ", "description": "Oganochi, a mgbedike masquerader standing, with legs apart and arms to the side, at an angle to the camera. In the background are spectators seated and standing, a thatched hut and trees. There is an attendant beating a side drum.\n\nThe masquerader is wearing a full length cloth costume with light and dark striped ruffles on body and his upper arms and legs, with porcupine quills hanging from the edges of the ruffles. The masquerader is wearing a dark wooden helmet mask, with white paint accentuating the mouth, teeth and eyes. It is similar to an 'lion elephant mask'. There are two feathers held in the front of the band at the bottom of the horns. On the top of the mask are four carved horns curling inwards, with a carved animal finial joining the tips of the horns. [PB 14/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170056.GIJ\n\nDescription\n\nOganochi, a mgbedike masquerader standing, with legs apart and arms to the side, at an angle to the camera. In the background are spectators seated and standing, a thatched hut and trees. There is an attendant beating a side drum.\n\nThe masquerader is wearing a full length cloth costume with light and dark striped ruffles on body and his upper arms and legs, with porcupine quills hanging from the edges of the ruffles. The masquerader is wearing a dark wooden helmet mask, with white paint accentuating the mouth, teeth and eyes. It is similar to an 'lion elephant mask'. There are two feathers held in the front of the band at the bottom of the horns. On the top of the mask are four carved horns curling inwards, with a carved animal finial joining the tips of the horns. [PB 14/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310584\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170056_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128169_T.170056.GIJ_001.png"}, {"file_name": "T_170056_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128171_T.170056.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171178.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465239", "metadata": {"title": "Untitled", "idno": "P.171178.GIJ", "description": "A wooden door, set in a mud wall, with geometric grooved patterns, including chevrons and circles. A girl is standing next to the door. [PB 21/06/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767100.GIJ - P.767105.GIJ are mounted together on paper.", "raw_text_dump": "IDNO\n\nP.171178.GIJ\n\nDescription\n\nA wooden door, set in a mud wall, with geometric grooved patterns, including chevrons and circles. A girl is standing next to the door. [PB 21/06/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767100.GIJ - P.767105.GIJ are mounted together on paper.\n\nFM:311869\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171178_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144394_P.171178.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13219.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306491", "metadata": {"title": "Untitled", "idno": "N.13219.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two figures. The figure on the left is an Ekpo or masquerade character who is bent at the waist and wearing a curved headdress with tassells Another figure is on the right side of the masquerader. A geometric border is at the bottom of the painting.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13219.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two figures. The figure on the left is an Ekpo or masquerade character who is bent at the waist and wearing a curved headdress with tassells Another figure is on the right side of the masquerader. A geometric border is at the bottom of the painting.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147869\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13219_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000481_N.13219.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13322.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306594", "metadata": {"title": "Untitled", "idno": "N.13322.GIJ", "description": "Ogbugulu Mau Mask Series. An Obugulu Mau helmet mask. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with painted teeth. There are painted designs above and beneath the eyes and on the cheek. The top of the mask consists of a dark arched crest with a cut out zigzag design, with swirled incised designs representing uli on the sides of the crest. Strips of a felt bands are stitched to the mask attached with pieces of fabric.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri-Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "Prior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nThis is the seventh image in the Ogbugulu Mau Mask series of eight photographs.\n\nContext: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The white-faced helmut type was confined to part of the Northern Ibo area and and to some of the Northern Edo. In the majority of examples the crested area, when scene in profile formed a curve which reached from the back of the head to the top of the forehead, while the mask section was flat and set at an angle to it, either coming down vertically over the actor\u2019s face or being extended forward at an angle (Jones, 1984, p.139)\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984, p.143)\n\nContext: Cole and Aniakor provide further in-depth description about the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13322.GIJ\n\nDescription\n\nOgbugulu Mau Mask Series. An Obugulu Mau helmet mask. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with painted teeth. There are painted designs above and beneath the eyes and on the cheek. The top of the mask consists of a dark arched crest with a cut out zigzag design, with swirled incised designs representing uli on the sides of the crest. Strips of a felt bands are stitched to the mask attached with pieces of fabric.\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri-Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPrior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nThis is the seventh image in the Ogbugulu Mau Mask series of eight photographs.\n\nContext: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The white-faced helmut type was confined to part of the Northern Ibo area and and to some of the Northern Edo. In the majority of examples the crested area, when scene in profile formed a curve which reached from the back of the head to the top of the forehead, while the mask section was flat and set at an angle to it, either coming down vertically over the actor\u2019s face or being extended forward at an angle (Jones, 1984, p.139)\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984, p.143)\n\nContext: Cole and Aniakor provide further in-depth description about the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147972\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13322_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000585_N.13322.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171554.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465615", "metadata": {"title": "Untitled", "idno": "P.171554.GIJ", "description": "A masquerader in the Owu masquerade, wearing a mask for an animal character Ekuru, and holding a cutlass in the right hand an a staff in the left. The head and shoulders are covered in a white cloth. The face mask has a slab-like top with a head band in relief, a large nose, and a beak like mouth, with a tuft of hair underneath. The whole mask is painted in dark pigment decorated with polkadots in iight pigment. [PB 22/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Edoha", "cultural_affliation": "Igbo [historically Ibo]; Ekpeya", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171553.GIJ to P.171555.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171554.GIJ\n\nDescription\n\nA masquerader in the Owu masquerade, wearing a mask for an animal character Ekuru, and holding a cutlass in the right hand an a staff in the left. The head and shoulders are covered in a white cloth. The face mask has a slab-like top with a head band in relief, a large nose, and a beak like mouth, with a tuft of hair underneath. The whole mask is painted in dark pigment decorated with polkadots in iight pigment. [PB 22/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Edoha\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ekpeya\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171553.GIJ to P.171555.GIJ are mounted on card.\n\nFM:312274\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171554_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144802_P.171554.GIJ_001.jpg"}, {"file_name": "P_171554_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144803_P.171554.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71556.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364827", "metadata": {"title": "Untitled", "idno": "N.71556.GIJ", "description": "A Mgbedike or Agu neche enyi mask displayed on a piece of cloth. The mask or head-dress consists of a fierce looking face with white v-shaped marking on the forehead, large eyes, pointed nose, over-sized mouth and menacing teeth (painted white?, and crescent shaped ears. Protruding (twisted) horns encircle the top of the head in which there is an elaborate superstructure, with animals, horned figures and European or colonial officers (oyibo) dressed in European clothing with pith helmets. There is a painted serpent with its mouth wide open showing its teeth. A male is behind the mask holding it; there is vegetation in the background.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 37 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/Jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Mgbedike or Agu neche Enyi (leopard/elephant) [close-up] Nimo (24th image).\n\nContext: Jones discusses the various types of masks and mentions that some are quite elaborate superstructures. In particular, \u201cNrii/Akwa and some other carvers also made emblem head-dresses in which small human figures were grouped together in a tableau, or more elaborate openwork constructions in which human, animal, bird, and reptile forms were intertwined to form a conical structure brought together at the apex by an animal figure whose legs straddled and held it together.\u201d (Jones, 1984, p. 126)\n\nCole and Aniakor write about the specific characteristics of the Mgbedike or \u2018Time of Brave\u2019 masks. These spirit \u201cheads\u201d are large in size, dark coloration; bold outsized figures such as open mouth with large, menacing teeth; and elaborate, integrally carved head-dresses always displaying horns. Their bulky costumes are studded with quills. Many individually named spirits of Mgbedike type exist, their titles crystallizing the character of the spirits....Mystery, aggression, bravado fearlessness, stubbornness, and medicinal power belong to these spirits (Cole and Aniakor, 1984, p. 131)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nMurray, K.C. 1948 Ibo Headdresses Combining Human and Animal Features, Man 48 (1): 1-2\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71556.GIJ\n\nDescription\n\nA Mgbedike or Agu neche enyi mask displayed on a piece of cloth. The mask or head-dress consists of a fierce looking face with white v-shaped marking on the forehead, large eyes, pointed nose, over-sized mouth and menacing teeth (painted white?, and crescent shaped ears. Protruding (twisted) horns encircle the top of the head in which there is an elaborate superstructure, with animals, horned figures and European or colonial officers (oyibo) dressed in European clothing with pith helmets. There is a painted serpent with its mouth wide open showing its teeth. A male is behind the mask holding it; there is vegetation in the background.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 37 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/Jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Mgbedike or Agu neche Enyi (leopard/elephant) [close-up] Nimo (24th image).\n\nContext: Jones discusses the various types of masks and mentions that some are quite elaborate superstructures. In particular, \u201cNrii/Akwa and some other carvers also made emblem head-dresses in which small human figures were grouped together in a tableau, or more elaborate openwork constructions in which human, animal, bird, and reptile forms were intertwined to form a conical structure brought together at the apex by an animal figure whose legs straddled and held it together.\u201d (Jones, 1984, p. 126)\n\nCole and Aniakor write about the specific characteristics of the Mgbedike or \u2018Time of Brave\u2019 masks. These spirit \u201cheads\u201d are large in size, dark coloration; bold outsized figures such as open mouth with large, menacing teeth; and elaborate, integrally carved head-dresses always displaying horns. Their bulky costumes are studded with quills. Many individually named spirits of Mgbedike type exist, their titles crystallizing the character of the spirits....Mystery, aggression, bravado fearlessness, stubbornness, and medicinal power belong to these spirits (Cole and Aniakor, 1984, p. 131)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nMurray, K.C. 1948 Ibo Headdresses Combining Human and Animal Features, Man 48 (1): 1-2\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206206\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71556_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656665_N.71556.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13234.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306506", "metadata": {"title": "Untitled", "idno": "N.13234.GIJ", "description": "Object documentation photograph of a carved and painted wooden mask represnting a human face with rectangular \u2018ears\u2019, carved coiffure, eyebrows, a dark mark between the eyebrows, eyes, nose, lips. It appears as if the lower jaw is moveable, dividing between the lips.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ogoni", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1937 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: See Jones.G.I. 1984: 189 for description of Ogoni masks representing human faces, and figure 97 on p. 188 for an image of a similar mask.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/3/2008]", "raw_text_dump": "IDNO\n\nN.13234.GIJ\n\nDescription\n\nObject documentation photograph of a carved and painted wooden mask represnting a human face with rectangular \u2018ears\u2019, carved coiffure, eyebrows, a dark mark between the eyebrows, eyes, nose, lips. It appears as if the lower jaw is moveable, dividing between the lips.\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nOgoni\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1937 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: See Jones.G.I. 1984: 189 for description of Ogoni masks representing human faces, and figure 97 on p. 188 for an image of a similar mask.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/3/2008]\n\nFM:147884\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13234_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000497_N.13234.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169770.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463779", "metadata": {"title": "Untitled", "idno": "P.169770.GIJ", "description": "Half-length portrait of a man in front of a wall. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169770.GIJ\n\nDescription\n\nHalf-length portrait of a man in front of a wall. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310257\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169770_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127634_P.169770.GIJ_001.png"}, {"file_name": "P_169770_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127635_P.169770.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13246.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306518", "metadata": {"title": "Untitled", "idno": "N.13246.GIJ", "description": "Mau (Ghost) masquerade.\n\nAwo Ohia (Traveller or he who travels through the bush) wearing a striped, netted costume covering the body and head, the netting on the head is black, holding a stick. A rattle is attached to the waist, probably made of seed? or shell?, partially obscured by raffia. In the background are mud and thatched huts, trees and vegetation.", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "Awo Ohia; Traveller [names of mask character]", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Awo Ohia (Traveller \u2013 he who travels through the bush) Mmau masquerade, Amuda village, Isu Ochi (2nd image).\n\nThis image is reproduced in Jones.G.I 1989, as plate 29, on p.35 with the caption \u201cMau masquerade, Isuochi tribe, Northern Ibo. Character called Awo Ohia (Traveller) in \u2018Egbo runner\u2019 net costume of Cross River Ekpe (Egbo) masquerades.\u201d\n\nContext: In some masquerades, not all the actors wore masks or headdresses. Jones discusses that, \u201cin the netted costume the actor\u2019s head was completely covered and concealed by net and he wore no mask or headpiece... in some areas, many of the characters performed vigorous dances which involved mainly stamping and other movements of the feet with rattles attached to the ankles and sometimes also to the waist, which were shaken in time to the drum orchestra.\u201d (Jones, 1984, p.43)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/10/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13246.GIJ\n\nDescription\n\nMau (Ghost) masquerade.\n\nAwo Ohia (Traveller or he who travels through the bush) wearing a striped, netted costume covering the body and head, the netting on the head is black, holding a stick. A rattle is attached to the waist, probably made of seed? or shell?, partially obscured by raffia. In the background are mud and thatched huts, trees and vegetation.\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nAwo Ohia; Traveller [names of mask character]\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Awo Ohia (Traveller \u2013 he who travels through the bush) Mmau masquerade, Amuda village, Isu Ochi (2nd image).\n\nThis image is reproduced in Jones.G.I 1989, as plate 29, on p.35 with the caption \u201cMau masquerade, Isuochi tribe, Northern Ibo. Character called Awo Ohia (Traveller) in \u2018Egbo runner\u2019 net costume of Cross River Ekpe (Egbo) masquerades.\u201d\n\nContext: In some masquerades, not all the actors wore masks or headdresses. Jones discusses that, \u201cin the netted costume the actor\u2019s head was completely covered and concealed by net and he wore no mask or headpiece... in some areas, many of the characters performed vigorous dances which involved mainly stamping and other movements of the feet with rattles attached to the ankles and sometimes also to the waist, which were shaken in time to the drum orchestra.\u201d (Jones, 1984, p.43)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/10/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147896\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13246_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000509_N.13246.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71514.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364785", "metadata": {"title": "Untitled", "idno": "N.71514.GIJ", "description": "Obugulu Mau masquerade, a grandmother mask character. The masquerader is performing in front of an audience. The mask consists of a white face with black markings around the eyes, nose and three linear markings on the forehead. The top of the mask consists of cone-shaped headdress (coiffure) with a curved structure in the centre, painted white and black. There is woven cloth attached to the mask, a scarf tied around the neck and a harlequin-like costume, the sleeves are white covering the hands. In one hand there is a fly whisk and ythe other hand is stretched out. Placed around the ankles are very thick ivory anklets. In the background are spectators and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 94 of the negative album now numbered C15/.\n\nP.71504.GIJ to P.71662.GIJ were kept in box 4, now numbered C301/.\nP.71504.GIJ to P.71529.GIJ were found wrapped in paper, now numbered C301/1/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Grandmother Mask, Obugula Mmau Amuobia village (10th image).\n\nPublication: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe\nFame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71514.GIJ\n\nDescription\n\nObugulu Mau masquerade, a grandmother mask character. The masquerader is performing in front of an audience. The mask consists of a white face with black markings around the eyes, nose and three linear markings on the forehead. The top of the mask consists of cone-shaped headdress (coiffure) with a curved structure in the centre, painted white and black. There is woven cloth attached to the mask, a scarf tied around the neck and a harlequin-like costume, the sleeves are white covering the hands. In one hand there is a fly whisk and ythe other hand is stretched out. Placed around the ankles are very thick ivory anklets. In the background are spectators and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 94 of the negative album now numbered C15/.\n\nP.71504.GIJ to P.71662.GIJ were kept in box 4, now numbered C301/.\nP.71504.GIJ to P.71529.GIJ were found wrapped in paper, now numbered C301/1/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Grandmother Mask, Obugula Mmau Amuobia village (10th image).\n\nPublication: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe\nFame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206164\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71514_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656650_N.71514.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13207.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306479", "metadata": {"title": "Untitled", "idno": "N.13207.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts a figure (policeman?)perched on a ladder with his hand and leg raised. He is dressed in European style clothing which consists of white trousers, shirt and a hat. Geometric designs surround the figure.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Umuajatta village; ?Okwu village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13207.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts a figure (policeman?)perched on a ladder with his hand and leg raised. He is dressed in European style clothing which consists of white trousers, shirt and a hat. Geometric designs surround the figure.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Umuajatta village; ?Okwu village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147857\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13207_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000469_N.13207.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171444.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465505", "metadata": {"title": "Untitled", "idno": "P.171444.GIJ", "description": "An Alose (tutelary deity) figure standing next to a tree with a small carved Ikenga?. The Alose figure is quite stylised and standing upright. The head appears to be adorned with a hat? with strings attached. The eyes are defined, a long pointed nose, and small mouth. The neck is coiled and adorned with white markings. The torso is fairly square with two small markings (breasts?), and a protruding umbilicus. The wrists are painted white and the hands are flush against the sides of the body with incised markings indicating fingers. There is an outline of trousers? and the feet are quite square. Next to the Alose is a smaller wooden figure, probably an Ikenga. The figure is carved and shows a horned headdress ( axe head shape), a square face with markings for eyes, nose, mouth and a small waist (no arms). Behind the figures is a large tree and smaller trees and vegetation in the background. [Description from record P.71434.GIJ, PB 20/09/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Western Isuama", "cultural_affliation": "Igbo [historically Ibo]; Orsu", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171349.GIJ - P.171457.GIJ were located in a 'Duplex' folder, now numbered C768/3.\n\nP.768103.GIJ to P.768106.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171444.GIJ\n\nDescription\n\nAn Alose (tutelary deity) figure standing next to a tree with a small carved Ikenga?. The Alose figure is quite stylised and standing upright. The head appears to be adorned with a hat? with strings attached. The eyes are defined, a long pointed nose, and small mouth. The neck is coiled and adorned with white markings. The torso is fairly square with two small markings (breasts?), and a protruding umbilicus. The wrists are painted white and the hands are flush against the sides of the body with incised markings indicating fingers. There is an outline of trousers? and the feet are quite square. Next to the Alose is a smaller wooden figure, probably an Ikenga. The figure is carved and shows a horned headdress ( axe head shape), a square face with markings for eyes, nose, mouth and a small waist (no arms). Behind the figures is a large tree and smaller trees and vegetation in the background. [Description from record P.71434.GIJ, PB 20/09/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Western Isuama\n\nCultural Affliation\n\nIgbo [historically Ibo]; Orsu\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171349.GIJ - P.171457.GIJ were located in a 'Duplex' folder, now numbered C768/3.\n\nP.768103.GIJ to P.768106.GIJ are mounted on card.\n\nFM:312145\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171444_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144660_P.171444.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171273.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465334", "metadata": {"title": "Untitled", "idno": "P.171273.GIJ", "description": "An Ikenga figure seated on a stool with an elaborately carved headdress holding a staff in one hand and a mirror? in the other. The headdress consists of a rounded platform resting on the two horns with three figures (two with pith helmets and one with a fez) and a horse painted black and white. The face of the Ikenga is painted white with black to define the hairline, eyes, nose and mouth. There are painted designs of dots under the eyes and chevron markings on the side of the mouth. The figure is sitting on a round stool and is wearing a tunic costume painted black and white. [Description from record N.71455.GIJ, PB 16/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767196.GIJ - P.767198.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171273.GIJ\n\nDescription\n\nAn Ikenga figure seated on a stool with an elaborately carved headdress holding a staff in one hand and a mirror? in the other. The headdress consists of a rounded platform resting on the two horns with three figures (two with pith helmets and one with a fez) and a horse painted black and white. The face of the Ikenga is painted white with black to define the hairline, eyes, nose and mouth. There are painted designs of dots under the eyes and chevron markings on the side of the mouth. The figure is sitting on a round stool and is wearing a tunic costume painted black and white. [Description from record N.71455.GIJ, PB 16/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767196.GIJ - P.767198.GIJ are mounted together on card.\n\nFM:311964\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171273_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144489_P.171273.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71604.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364875", "metadata": {"title": "Untitled", "idno": "N.71604.GIJ", "description": "Onye Ocha or Oybio (white man) masquerade character. The mask consists of a white face with black arched brows, slits for eyes, long nose and mouth with a black moustache. On the top is a white sun helmet with a black brim. The costume consists of a white drill jacket and trousers; the character is posed with one hand on his hip and the other is holding a walking stick. On his feet are white shoes/slippers and his hands are covered in white mittens/gloves. In the background are spectators and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; ?Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 40 of the negative album now numbered C27/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Onyeocha (white man) (27th image).\n\nPublication: Same image published in Jones, 1984, p. 59, Figure 9 and Jones, 1989, p.46, Figure 40, with the caption, \u201cMau masquerade, Nri-Awka Ibo, Character called Oyibo (white man). Similar character is found in Cole and Aniakor, 1984, p.262, Figure 262.\n\nContext: Jones provides a detailed description of the various characters and performance of this masquerade. He writes, \u201cA performance in the Northern Ibo village of Amobia was opened bya hooded character called \u201cGovernment\u201d. He had no face and was crowned with a Homburg hat; an elephant tusk horn, symbol of authority, was laid on the ground in front of him and he read in ghostly gibberish from an important-looking document. He and his acolyte withdrew and were succeeded by a parade of ghostly policemen and court messengers wearing imitations of police and messenger uniforms and with cloth masks over their faces and head. They performed a spiritied guard drill before being posted by their commander to their stations to control the crowd. Their followed a supercilious white-faced sun-helmeted figure in white drill jacket and trousers called Oyibo (White Man), who inspected the audience and then took his seat amongst the places reserved for the distinguished visitors who had come to watch the play. After him came a succession of characters, some white-faced, representing female spirits, some black or multi-coloured fierce and masucauline creatures with masks that combined animal and human features; others again, mainly harmless or comic or benign, repesenting antelopes, or other animal spirits or characters drawn from village life. Each had his or her special role to play and having acted it withdrew to the secret enclosure or sat on seats at the ringside waiting to repeat his performance. \u201c Jones also writes that this masquerade was \u201c a large concerted display which included characters contributed by all the local societies.\u201d (Jones, 1984, pp.59-60.)\n\nIn discussing the variety of masks and characters in masquerades from the Nri-Awka area, Jones writes that, \u201cOther helmet masks combined the representation of a sun helmet with a masculine face for a character called Ogaranya (big man) or, if given a cavalry moustache and costumed in a white drill suit, became Oyibo, the white man. This was a new character, probably soon after the 1914-1918 war, which became immediately popular and spread very quickly to masquerades in other Ibo areas (Jones, 1989, p.46).\n\nContext: \u201cThe character of the \u201cWhite Man,\u201d surely a twentieth-century innovation, also attests to Okperegede\u2019s conceptual flexibility and capacity to absorb new elements and influences. Generically known as Onye Ocha, the character is commonly depicted as a colonial district officer who reads monotonously from a book of rules and jots down observations in a notebook. He also appears with his wife (the only other female character), affecting Western mannerisms: wrapping his arms around her, kissing her, and being, to Igbo sensibilities, overly familiar in public. Always received as a figure of fun, the \u201cWhite Man\u2019 is all the more amusing because, unlike Ogbojeda, his performance is not founded on exaggeration or intentional violation of social norms, but rather on recapitulation of the model\u2019s characteristics. The \u201cWhite Man\u2019 appears to consider himself completely proper and dignified and is totally oblivious to his humorous reception.\u201d (Cole and Aniakor, 1984, p. 149)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California); Jones, G.I. 1989. Ibo Art (Shire).\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nPublication: Image published in Thomas, Nicholas, 2014. 'Body Art' (Thames and Hudson). [JD 02/04/2025]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]", "raw_text_dump": "IDNO\n\nN.71604.GIJ\n\nDescription\n\nOnye Ocha or Oybio (white man) masquerade character. The mask consists of a white face with black arched brows, slits for eyes, long nose and mouth with a black moustache. On the top is a white sun helmet with a black brim. The costume consists of a white drill jacket and trousers; the character is posed with one hand on his hip and the other is holding a walking stick. On his feet are white shoes/slippers and his hands are covered in white mittens/gloves. In the background are spectators and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; ?Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 40 of the negative album now numbered C27/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Onyeocha (white man) (27th image).\n\nPublication: Same image published in Jones, 1984, p. 59, Figure 9 and Jones, 1989, p.46, Figure 40, with the caption, \u201cMau masquerade, Nri-Awka Ibo, Character called Oyibo (white man). Similar character is found in Cole and Aniakor, 1984, p.262, Figure 262.\n\nContext: Jones provides a detailed description of the various characters and performance of this masquerade. He writes, \u201cA performance in the Northern Ibo village of Amobia was opened bya hooded character called \u201cGovernment\u201d. He had no face and was crowned with a Homburg hat; an elephant tusk horn, symbol of authority, was laid on the ground in front of him and he read in ghostly gibberish from an important-looking document. He and his acolyte withdrew and were succeeded by a parade of ghostly policemen and court messengers wearing imitations of police and messenger uniforms and with cloth masks over their faces and head. They performed a spiritied guard drill before being posted by their commander to their stations to control the crowd. Their followed a supercilious white-faced sun-helmeted figure in white drill jacket and trousers called Oyibo (White Man), who inspected the audience and then took his seat amongst the places reserved for the distinguished visitors who had come to watch the play. After him came a succession of characters, some white-faced, representing female spirits, some black or multi-coloured fierce and masucauline creatures with masks that combined animal and human features; others again, mainly harmless or comic or benign, repesenting antelopes, or other animal spirits or characters drawn from village life. Each had his or her special role to play and having acted it withdrew to the secret enclosure or sat on seats at the ringside waiting to repeat his performance. \u201c Jones also writes that this masquerade was \u201c a large concerted display which included characters contributed by all the local societies.\u201d (Jones, 1984, pp.59-60.)\n\nIn discussing the variety of masks and characters in masquerades from the Nri-Awka area, Jones writes that, \u201cOther helmet masks combined the representation of a sun helmet with a masculine face for a character called Ogaranya (big man) or, if given a cavalry moustache and costumed in a white drill suit, became Oyibo, the white man. This was a new character, probably soon after the 1914-1918 war, which became immediately popular and spread very quickly to masquerades in other Ibo areas (Jones, 1989, p.46).\n\nContext: \u201cThe character of the \u201cWhite Man,\u201d surely a twentieth-century innovation, also attests to Okperegede\u2019s conceptual flexibility and capacity to absorb new elements and influences. Generically known as Onye Ocha, the character is commonly depicted as a colonial district officer who reads monotonously from a book of rules and jots down observations in a notebook. He also appears with his wife (the only other female character), affecting Western mannerisms: wrapping his arms around her, kissing her, and being, to Igbo sensibilities, overly familiar in public. Always received as a figure of fun, the \u201cWhite Man\u2019 is all the more amusing because, unlike Ogbojeda, his performance is not founded on exaggeration or intentional violation of social norms, but rather on recapitulation of the model\u2019s characteristics. The \u201cWhite Man\u2019 appears to consider himself completely proper and dignified and is totally oblivious to his humorous reception.\u201d (Cole and Aniakor, 1984, p. 149)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California); Jones, G.I. 1989. Ibo Art (Shire).\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nPublication: Image published in Thomas, Nicholas, 2014. 'Body Art' (Thames and Hudson). [JD 02/04/2025]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\nFM:206254\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71604_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656714_N.71604.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "T.170091.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464152", "metadata": {"title": "Untitled", "idno": "T.170091.GIJ", "description": "Boys\u2019 initiation dance in the Nri Akwa area. The male initiates are wearing tight loin cloths which are decorated with bells around the waist, knee bands made of seeds? or metal? and on their head they are wearing a black cap decorated like a coiffure and studded with round metal decorations. Some are wearing necklaces. In the background are spectators. [Description from record P.71490.GIJ, PB 19/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170091.GIJ\n\nDescription\n\nBoys\u2019 initiation dance in the Nri Akwa area. The male initiates are wearing tight loin cloths which are decorated with bells around the waist, knee bands made of seeds? or metal? and on their head they are wearing a black cap decorated like a coiffure and studded with round metal decorations. Some are wearing necklaces. In the background are spectators. [Description from record P.71490.GIJ, PB 19/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310619\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170091_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128305_T.170091.GIJ_001.png"}, {"file_name": "T_170091_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128306_T.170091.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.170235.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464296", "metadata": {"title": "Untitled", "idno": "P.170235.GIJ", "description": "A documentation photograph of a wooden face mask combining human and animal features. The mask has bulbous cheeks, a short pointed nose, a mouth slightly open with marked teeth painted white, heavy lidded eyes with small eyeholes. The mask is supported by a stick. [PB 02/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Akwa Ibom State; Nto Edino", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170232.GIJ - P.170243.GIJ were located in a brown envelope, now numbered C759/1.", "raw_text_dump": "IDNO\n\nP.170235.GIJ\n\nDescription\n\nA documentation photograph of a wooden face mask combining human and animal features. The mask has bulbous cheeks, a short pointed nose, a mouth slightly open with marked teeth painted white, heavy lidded eyes with small eyeholes. The mask is supported by a stick. [PB 02/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Akwa Ibom State; Nto Edino\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170232.GIJ - P.170243.GIJ were located in a brown envelope, now numbered C759/1.\n\nFM:310793\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170235_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131570_P.170235.GIJ_001.png"}, {"file_name": "P_170235_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131571_P.170235.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71764.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365035", "metadata": {"title": "Untitled", "idno": "N.71764.GIJ", "description": "A beautiful female mask. The wooden face mask is carved delicately and consists of two slit eyes, long nose, mouth, etched markings on either side of the temples and squarish ears. The centre of the forehead is incised with a diamond shaped marking with striations, and emanating from the forehead is a long hairstyle or coiffure with incised horizontal striations, the top of the mask is plain and rounded. The holes for attaching the mask are visible in the photograph.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Item", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 72 of the negative album now numbered C17/.\n\nPublication: Same image published in Jones (1984), p. 207, Figure 110 with the caption \u201cbeautiful mask\u201d.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ],\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Item Igbo\n3. Lugbulu Mask Beautiful female mask (3rd image).\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]", "raw_text_dump": "IDNO\n\nN.71764.GIJ\n\nDescription\n\nA beautiful female mask. The wooden face mask is carved delicately and consists of two slit eyes, long nose, mouth, etched markings on either side of the temples and squarish ears. The centre of the forehead is incised with a diamond shaped marking with striations, and emanating from the forehead is a long hairstyle or coiffure with incised horizontal striations, the top of the mask is plain and rounded. The holes for attaching the mask are visible in the photograph.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nItem\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 72 of the negative album now numbered C17/.\n\nPublication: Same image published in Jones (1984), p. 207, Figure 110 with the caption \u201cbeautiful mask\u201d.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ],\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Item Igbo\n3. Lugbulu Mask Beautiful female mask (3rd image).\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nFM:206414\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71764_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656872_N.71764.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169640.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463620", "metadata": {"title": "Untitled", "idno": "P.169640.GIJ", "description": "Three Obugulu mau masqueraders standing. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appliqued costumes with pointed breasts; their hands and feet are covered with cloth.\n\nObugulu mau masquerade depicting four masqueraders sitting down. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appliqued costumes with pointed breasts; their hands and feet are covered with cloth. [Description from record N.71526.GIJ, PB 20/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka; Amobia Village", "cultural_affliation": "Ibo [historically Igbo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nPublication: Similar image in Jones, 1984, p. 62, Figure 12 with the caption, \u201cOgbugulu Mau masks; waiting their turn to play, Nri/Awka Ibo\u201d.\n\nDescription from record N,71528.GIJ, PB 20/10/2022]", "raw_text_dump": "IDNO\n\nP.169640.GIJ\n\nDescription\n\nThree Obugulu mau masqueraders standing. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appliqued costumes with pointed breasts; their hands and feet are covered with cloth.\n\nObugulu mau masquerade depicting four masqueraders sitting down. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appliqued costumes with pointed breasts; their hands and feet are covered with cloth. [Description from record N.71526.GIJ, PB 20/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka; Amobia Village\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nPublication: Similar image in Jones, 1984, p. 62, Figure 12 with the caption, \u201cOgbugulu Mau masks; waiting their turn to play, Nri/Awka Ibo\u201d.\n\nDescription from record N,71528.GIJ, PB 20/10/2022]\n\nFM:310127\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169640_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127357_P.169640.GIJ_001.png"}, {"file_name": "P_169640_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127359_P.169640.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169872.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463891", "metadata": {"title": "Untitled", "idno": "P.169872.GIJ", "description": "A full-length view of the masquerade character called Oki. The Oki mask is placed on top of the wearer\u2019s head and consists of a large horizontal wooden structure with coloured fringe around the base of the mask and in the centre of the mask are carved, painted designs and three large pointed fins. The masquerader is wearing different pieces of coloured cloth with long strands of palm fronds around the neck. On his left stands an attendant wearing a printed wrapper around the waist. He is a white stick which has a rounded finial and a fringe of strips of cloth. On his right are attendants who are wearing printed wrappers around the waist and some are holding metal staffs and sticks.\n[PB 12/01/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169872.GIJ\n\nDescription\n\nA full-length view of the masquerade character called Oki. The Oki mask is placed on top of the wearer\u2019s head and consists of a large horizontal wooden structure with coloured fringe around the base of the mask and in the centre of the mask are carved, painted designs and three large pointed fins. The masquerader is wearing different pieces of coloured cloth with long strands of palm fronds around the neck. On his left stands an attendant wearing a printed wrapper around the waist. He is a white stick which has a rounded finial and a fringe of strips of cloth. On his right are attendants who are wearing printed wrappers around the waist and some are holding metal staffs and sticks.\n[PB 12/01/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310359\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169872_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127835_P.169872.GIJ_001.png"}, {"file_name": "P_169872_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127836_P.169872.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169853.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463870", "metadata": {"title": "Untitled", "idno": "P.169853.GIJ", "description": "A full length portrait from side view of a masquerade character in the Ogbukere masquerade. The mask consists of a wooden horizontal base that is abstract and displays various geometric shapes and protrusions. There are several man in attendance, some carrying sticks.\n\n[PB 05/01/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross Rivers State", "cultural_affliation": "Igbo {Ibo]; South Ikwerri", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169853.GIJ\n\nDescription\n\nA full length portrait from side view of a masquerade character in the Ogbukere masquerade. The mask consists of a wooden horizontal base that is abstract and displays various geometric shapes and protrusions. There are several man in attendance, some carrying sticks.\n\n[PB 05/01/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross Rivers State\n\nCultural Affliation\n\nIgbo {Ibo]; South Ikwerri\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310340\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169853_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127803_P.169853.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.13171.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306443", "metadata": {"title": "Untitled", "idno": "N.13171.GIJ", "description": "An Ibibio mask rectangular in shape and in \u201canimal form\u201d representing a buffalo.The mask has large round eyes, lower lids, pointed snout like nose and moveable lower jaw. Ohter distinguishing features include a braided design around the forehead, two curled horns, and rectangular keloid markings on the side. The mask has raffia attached to the back with rough woven cloth around the base of the mask.", "place": "W Africa; Nigeria; South Eastern Nigeria; Abak division", "cultural_affliation": "Anang; Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image in Jones, 1984, P.179, Plate 88 with the caption, \u201cMask representing a buffalo\u201d.\n\nContext: The Ibibio ekpo characters were said to be spirits from the surrounding area (or water), brought to the village during masquerades by members of the society that ministers to them. See Jones.G.I. 1989: 33-34\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio., though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nAkpan, J. 1994. \u201cEkpo Society Masks of the Ibibio\u201d. African Arts, Vol. XXVII, No.4, pp.. 48-53.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]", "raw_text_dump": "IDNO\n\nN.13171.GIJ\n\nDescription\n\nAn Ibibio mask rectangular in shape and in \u201canimal form\u201d representing a buffalo.The mask has large round eyes, lower lids, pointed snout like nose and moveable lower jaw. Ohter distinguishing features include a braided design around the forehead, two curled horns, and rectangular keloid markings on the side. The mask has raffia attached to the back with rough woven cloth around the base of the mask.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Abak division\n\nCultural Affliation\n\nAnang; Ibibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image in Jones, 1984, P.179, Plate 88 with the caption, \u201cMask representing a buffalo\u201d.\n\nContext: The Ibibio ekpo characters were said to be spirits from the surrounding area (or water), brought to the village during masquerades by members of the society that ministers to them. See Jones.G.I. 1989: 33-34\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio., though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nAkpan, J. 1994. \u201cEkpo Society Masks of the Ibibio\u201d. African Arts, Vol. XXVII, No.4, pp.. 48-53.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]\n\nFM:147821\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13171_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000433_N.13171.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171093.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465154", "metadata": {"title": "Untitled", "idno": "P.171093.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nA close up portrait of the character Udu Ezuo (World Famous), wearing a white (painted in white clay or gypsum?) head-mask to the top of the head attached to a geometric patterned cloth top, striped leggings, raffia skirt, and ankle-rattles. The mask appears to be similar to a female helmet mask, though the face is above the head of the wearer. [PB 13/06/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767013.GIJ - P.767018.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Udo Ezu (World famous), G.I. Jones writes in the notes: \"A white faced female head with the neck portion expanded and hollowed out so as to fit over the head like a cap. Wearing a loose fitting \"gown\" of imported blue and white patterned cotton cloth with a raffia skirt and white the sleeves and trouser-legs of local \"Yoruba type\" cloth. I did not see her dancing before any band but only mooning about with the other masks. \"", "raw_text_dump": "IDNO\n\nP.171093.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nA close up portrait of the character Udu Ezuo (World Famous), wearing a white (painted in white clay or gypsum?) head-mask to the top of the head attached to a geometric patterned cloth top, striped leggings, raffia skirt, and ankle-rattles. The mask appears to be similar to a female helmet mask, though the face is above the head of the wearer. [PB 13/06/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767013.GIJ - P.767018.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Udo Ezu (World famous), G.I. Jones writes in the notes: \"A white faced female head with the neck portion expanded and hollowed out so as to fit over the head like a cap. Wearing a loose fitting \"gown\" of imported blue and white patterned cotton cloth with a raffia skirt and white the sleeves and trouser-legs of local \"Yoruba type\" cloth. I did not see her dancing before any band but only mooning about with the other masks. \"\n\nFM:311784\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171093_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144309_P.171093.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171518.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465579", "metadata": {"title": "Untitled", "idno": "P.171518.GIJ", "description": "A documentation photograph in profile of a figure standing on a base, carved in wood and part covered in clay. Limbs, and body are simply formed. The facial features are roughly defined, the hair incised with a four-cornered hair cap on the top of the head. [PB 04/10/24]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Eric Peters", "collector_/_expedition": "", "date": "1957", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171511.GIJ - P.171522.GIJ were located in a brown folder, now numbered C768/6.", "raw_text_dump": "IDNO\n\nP.171518.GIJ\n\nDescription\n\nA documentation photograph in profile of a figure standing on a base, carved in wood and part covered in clay. Limbs, and body are simply formed. The facial features are roughly defined, the hair incised with a four-cornered hair cap on the top of the head. [PB 04/10/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nEric Peters\n\nCollector / Expedition\n\nDate\n\n1957\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171511.GIJ - P.171522.GIJ were located in a brown folder, now numbered C768/6.\n\n\nFM:312219\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171518_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144735_P.171518.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171304.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465365", "metadata": {"title": "Untitled", "idno": "P.171304.GIJ", "description": "A close up portrait in profile of Onye Ocha or Oybio (white man) masquerade character. The mask consists of a white face with black arched brows, slits for eyes, long nose and mouth with a black moustache. On the top is a white sun helmet with a black brim. The costume consists of a white drill jacket and trousers; the character is posed with one hand on his hip and the other is holding a walking stick. On his feet are white shoes/slippers and his hands are covered in white mittens/gloves. In the background are spectators and trees. [Description from record T.170059.GIJ, PB 30/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767228.GIJ and P.767230.GIJ are mounted together on paper.", "raw_text_dump": "IDNO\n\nP.171304.GIJ\n\nDescription\n\nA close up portrait in profile of Onye Ocha or Oybio (white man) masquerade character. The mask consists of a white face with black arched brows, slits for eyes, long nose and mouth with a black moustache. On the top is a white sun helmet with a black brim. The costume consists of a white drill jacket and trousers; the character is posed with one hand on his hip and the other is holding a walking stick. On his feet are white shoes/slippers and his hands are covered in white mittens/gloves. In the background are spectators and trees. [Description from record T.170059.GIJ, PB 30/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767228.GIJ and P.767230.GIJ are mounted together on paper.\n\nFM:311995\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171304_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144520_P.171304.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.170061.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464095", "metadata": {"title": "Untitled", "idno": "T.170061.GIJ", "description": "Obugulu mau masquerade. A close up view of a 'mother' character wearing a white and black painted face mask adorned with an elaborate superstructure. The top of the mask consists of pieces of cloth, ribbon, felt. tassels, carvings, and mirrors. The costume is harlequin like appliques material. [Description from record N.71530.GIJ, PB 14/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170061.GIJ\n\nDescription\n\nObugulu mau masquerade. A close up view of a 'mother' character wearing a white and black painted face mask adorned with an elaborate superstructure. The top of the mask consists of pieces of cloth, ribbon, felt. tassels, carvings, and mirrors. The costume is harlequin like appliques material. [Description from record N.71530.GIJ, PB 14/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310589\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170061_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128190_T.170061.GIJ_001.png"}, {"file_name": "T_170061_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128192_T.170061.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13247.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306519", "metadata": {"title": "Untitled", "idno": "N.13247.GIJ", "description": "A mau (ghost)masquerade which shows a frontal view of Iro Ekpetu (\u2018Merciless\u2019). The masquerader is standing in the centre of the compound with his arms stretched out, wearing a fierce-looking black carved mask with incised decorative design along the lower forehead, white? painted eyes, pointed nose, bulging mouth with protruding teeth painted ?white, and a cloth top, trousers and a raffia skirt tied around the waist. The masquerader is holding a stick in the left hand. Behind the masquerader is a walled compound with mud huts and thatched roofs, trees and vegetation.", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "Iro Ekpetu; Merciless [names of mask character]", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: Jones describes a masquerade performance in Amobia in which there were many different characters and one of the masqueraders was a black fierce and masculine creature with masks that combined animal and human features (p.59).\n\nAniakor and Cole discuss the differences between beauty and beast; good and bad etc..\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13247.GIJ\n\nDescription\n\nA mau (ghost)masquerade which shows a frontal view of Iro Ekpetu (\u2018Merciless\u2019). The masquerader is standing in the centre of the compound with his arms stretched out, wearing a fierce-looking black carved mask with incised decorative design along the lower forehead, white? painted eyes, pointed nose, bulging mouth with protruding teeth painted ?white, and a cloth top, trousers and a raffia skirt tied around the waist. The masquerader is holding a stick in the left hand. Behind the masquerader is a walled compound with mud huts and thatched roofs, trees and vegetation.\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nIro Ekpetu; Merciless [names of mask character]\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: Jones describes a masquerade performance in Amobia in which there were many different characters and one of the masqueraders was a black fierce and masculine creature with masks that combined animal and human features (p.59).\n\nAniakor and Cole discuss the differences between beauty and beast; good and bad etc..\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 27/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147897\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13247_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000510_N.13247.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171170.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465231", "metadata": {"title": "Untitled", "idno": "P.171170.GIJ", "description": "Close up view of a man carving a wooden stool. [Description from record N.13268.GIJ, PB 21/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767093.GIJ - P.767094.GIJ are mounted together on paper.", "raw_text_dump": "IDNO\n\nP.171170.GIJ\n\nDescription\n\nClose up view of a man carving a wooden stool. [Description from record N.13268.GIJ, PB 21/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767093.GIJ - P.767094.GIJ are mounted together on paper.\n\nFM:311861\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171170_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144386_P.171170.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.30459.NWT", "source_url": "https://collections.maa.cam.ac.uk/photographs/323731", "metadata": {"title": "Untitled", "idno": "P.30459.NWT", "description": "On Negative Listing: \"2035. 23. Burning of sheep. [Thomas' manuscript on RAI MS 467-2(1801-2475)]\n\nIn Blench and Alexander Catalogue for N. W. Thomas photograph collection: \u201c2035 location: Amobia; associations: religion?;\u201d [printed text]", "place": "W Africa; Nigeria; south eastern Nigeria; near Awka; Amobia village", "cultural_affliation": "", "named_person": "", "photographer": "Thomas, Northcote Whitridge", "collector_/_expedition": "", "date": "1909 - 1913", "collection_name": "Northcote Thomas Collection", "source": "Thomas, Northcote Whitridge", "format": "Print Black & White", "primary_documentation": "", "other_information": "This print was previously stored in a box in the fourth drawer of a container which has four drawers. The cataloguer has marked the container C70/, the fourth drawer C70/4/ and the box in which this print was kept C70/4/6/.", "raw_text_dump": "IDNO\n\nP.30459.NWT\n\nDescription\n\nOn Negative Listing: \"2035. 23. Burning of sheep. [Thomas' manuscript on RAI MS 467-2(1801-2475)]\n\nIn Blench and Alexander Catalogue for N. W. Thomas photograph collection: \u201c2035 location: Amobia; associations: religion?;\u201d [printed text]\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; near Awka; Amobia village\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nThomas, Northcote Whitridge\n\nCollector / Expedition\n\nDate\n\n1909 - 1913\n\nCollection Name\n\nNorthcote Thomas Collection\n\nSource\n\nThomas, Northcote Whitridge\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis print was previously stored in a box in the fourth drawer of a container which has four drawers. The cataloguer has marked the container C70/, the fourth drawer C70/4/ and the box in which this print was kept C70/4/6/.\n\n\n\nFM:165109\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_30459_NWT_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/860115_P.30459.NWT_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171524.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465585", "metadata": {"title": "Untitled", "idno": "P.171524.GIJ", "description": "A documentation photograph in profile of a carved wooden helmet mask. The mask portrays a character with human and animal features. Above an elongated neck, the face is painted white. The hair is painted black with peak. The centre of the forehead has a black vertical line from peak to eyebrow and then diagonally to each side of the jaw. Eyebrows, eyes, nose and mouth are highlighted with black paint. Two upward curving tusks project forward from the mouth. One each side of the head there is a thick horn curled around to the back of the head, and in the centre of the head a single horn curving backwards. The cord to the attach the mask to the masquerader's head and costume are shown. [PB 17/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171525.GIJ - P.171532.GIJ were located in a green folder, now numbered C769/1.\n\nP.171524.GIJ to P.171526.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171524.GIJ\n\nDescription\n\nA documentation photograph in profile of a carved wooden helmet mask. The mask portrays a character with human and animal features. Above an elongated neck, the face is painted white. The hair is painted black with peak. The centre of the forehead has a black vertical line from peak to eyebrow and then diagonally to each side of the jaw. Eyebrows, eyes, nose and mouth are highlighted with black paint. Two upward curving tusks project forward from the mouth. One each side of the head there is a thick horn curled around to the back of the head, and in the centre of the head a single horn curving backwards. The cord to the attach the mask to the masquerader's head and costume are shown. [PB 17/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171525.GIJ - P.171532.GIJ were located in a green folder, now numbered C769/1.\n\nP.171524.GIJ to P.171526.GIJ are mounted on card.\n\nFM:312244\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171524_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144742_P.171524.GIJ_001.jpg"}, {"file_name": "P_171524_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144743_P.171524.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13216.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306488", "metadata": {"title": "Untitled", "idno": "N.13216.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts a cow with horns and a hump drinking from a bowl; a bird is perched on the hump of the cow. To the left is a figure holding an umbrella or fan? A striped border is at the bottom of the painting.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13216.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts a cow with horns and a hump drinking from a bowl; a bird is perched on the hump of the cow. To the left is a figure holding an umbrella or fan? A striped border is at the bottom of the painting.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147866\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13216_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000478_N.13216.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169768.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463777", "metadata": {"title": "Untitled", "idno": "P.169768.GIJ", "description": "Half-length portrait of a man standing in front of a tree, wearing a collarless tunic. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169768.GIJ\n\nDescription\n\nHalf-length portrait of a man standing in front of a tree, wearing a collarless tunic. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310255\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169768_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127630_P.169768.GIJ_001.png"}, {"file_name": "P_169768_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127631_P.169768.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169867.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463886", "metadata": {"title": "Untitled", "idno": "P.169867.GIJ", "description": "An Obugulu mau masquerader walking?, or dancing?, in front of standing spectators as seen from the side. The masquerader is wearing a harlequin-like, appliqu\u00e9d costume; his hands and feet are bare. He is holding a long stick which touches the ground. There is an object masking the left hand side of the image. [PB 12/01/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169867.GIJ\n\nDescription\n\nAn Obugulu mau masquerader walking?, or dancing?, in front of standing spectators as seen from the side. The masquerader is wearing a harlequin-like, appliqu\u00e9d costume; his hands and feet are bare. He is holding a long stick which touches the ground. There is an object masking the left hand side of the image. [PB 12/01/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310354\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169867_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127828_P.169867.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.73834.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/367105", "metadata": {"title": "Untitled", "idno": "N.73834.GIJ", "description": "A wooden carving of a school boy kneeling on a round base and with his hands clapsed in front.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; ?Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Ohaffia", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 23 of the negative album now numbered C17/.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/2/2008]", "raw_text_dump": "IDNO\n\nN.73834.GIJ\n\nDescription\n\nA wooden carving of a school boy kneeling on a round base and with his hands clapsed in front.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; ?Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ohaffia\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 23 of the negative album now numbered C17/.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/2/2008]\n\nFM:208484\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_73834_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/658435_N.73834.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.71970.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365241", "metadata": {"title": "Untitled", "idno": "P.71970.GIJ", "description": "A Ngbagba Ikoro masquerade with a close up view of Otiri, the principle masquerade character. The mask of Otiri consists of a circular base with layers of white feathers adorning it; the head is shrouded in a woven cloth. In the background is a thatched building.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71946.GIJ to P.71968.GIJ were found wrapped in paper, now numbered C298/9/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. A different Otiri Ngbagba Ikoro, Abiriba. (7th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nP.71970.GIJ\n\nDescription\n\nA Ngbagba Ikoro masquerade with a close up view of Otiri, the principle masquerade character. The mask of Otiri consists of a circular base with layers of white feathers adorning it; the head is shrouded in a woven cloth. In the background is a thatched building.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71946.GIJ to P.71968.GIJ were found wrapped in paper, now numbered C298/9/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. A different Otiri Ngbagba Ikoro, Abiriba. (7th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nFM:206620\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_71970_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657074_N.71971.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171565.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465626", "metadata": {"title": "Untitled", "idno": "P.171565.GIJ", "description": "A documentation photograph of three ekpu (ancestor) figures, representing the deceased heads of a family lineage. [Description from record T.170123.GIJ, PB 24/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Oron; Ebughu", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171565.GIJ is mounted on card.\n\nPublication: Image published in Jones, G.I. The Art of Eastern Nigeria. 1984 Cambridge: CUP. Fig 95 p187, and captioned: \"Ekpu figures: Oron tribe (photograph K.C. Murray) Southern Ibibio.\"", "raw_text_dump": "IDNO\n\nP.171565.GIJ\n\nDescription\n\nA documentation photograph of three ekpu (ancestor) figures, representing the deceased heads of a family lineage. [Description from record T.170123.GIJ, PB 24/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Oron; Ebughu\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171565.GIJ is mounted on card.\n\nPublication: Image published in Jones, G.I. The Art of Eastern Nigeria. 1984 Cambridge: CUP. Fig 95 p187, and captioned: \"Ekpu figures: Oron tribe (photograph K.C. Murray) Southern Ibibio.\"\n\nFM:312285\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171565_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144825_P.171565.GIJ_001.jpg"}, {"file_name": "P_171565_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144826_P.171565.GIJ_002_1.jpg"}], "source_id": "maa_cambridge"}
{"id": "T.170124.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464185", "metadata": {"title": "Untitled", "idno": "T.170124.GIJ", "description": "View of a Ngwomo \u2018ghost house\u2019, and a \u201cmodern monument\u201d. The \u2018ghost house\u2019 has a raffia mat roof on a three-sided wall in a u-shape which is painted with frescos. The \u201cmodern monument\u201d or grave is made of cement a has text painted on it which includes the date: 5.3.1932. [Description from record N.13236.GIJ, PB 29/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibibio [historically Anang]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nPublication: Image published in Jones, G.I. 1984. The Art of Eastern Nigeria. (Cambridge: CUP), fig. 30 p. 105, and captioned as \"Modern monument and a Ngwomo.\" [PB 29/09/2023]\n\nBibliographical Reference: \"Many of the Anang (Western Ibibio) tribes used to erect monuments for their most important dead in the form of conventionalised houses. The architecture was of little significance as the building was reduced to a single wall surmounted by a raffia mat roof. If the deceased was a man the building was tall and narrow and the 'wall' was a length of imported cotton cloth stretched across a 'bamboo' frame: if a woman, the wall was of the local lath-and-plaster type rubbed with clay and was low and wide and supported by buttressed. This clay wall was painted with water-colour frescoes of figures of men, women, animals and objects from everyday life. These were depicted in profile against a white background.\" (Jones, G.I. 1984: 104) [PB 29/09/2023]", "raw_text_dump": "IDNO\n\nT.170124.GIJ\n\nDescription\n\nView of a Ngwomo \u2018ghost house\u2019, and a \u201cmodern monument\u201d. The \u2018ghost house\u2019 has a raffia mat roof on a three-sided wall in a u-shape which is painted with frescos. The \u201cmodern monument\u201d or grave is made of cement a has text painted on it which includes the date: 5.3.1932. [Description from record N.13236.GIJ, PB 29/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbibio [historically Anang]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nPublication: Image published in Jones, G.I. 1984. The Art of Eastern Nigeria. (Cambridge: CUP), fig. 30 p. 105, and captioned as \"Modern monument and a Ngwomo.\" [PB 29/09/2023]\n\nBibliographical Reference: \"Many of the Anang (Western Ibibio) tribes used to erect monuments for their most important dead in the form of conventionalised houses. The architecture was of little significance as the building was reduced to a single wall surmounted by a raffia mat roof. If the deceased was a man the building was tall and narrow and the 'wall' was a length of imported cotton cloth stretched across a 'bamboo' frame: if a woman, the wall was of the local lath-and-plaster type rubbed with clay and was low and wide and supported by buttressed. This clay wall was painted with water-colour frescoes of figures of men, women, animals and objects from everyday life. These were depicted in profile against a white background.\" (Jones, G.I. 1984: 104) [PB 29/09/2023]\n\nFM:310652\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170124_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128371_T.170124.GIJ_001.png"}, {"file_name": "T_170124_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128372_T.170124.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.35299.ACH2", "source_url": "https://collections.maa.cam.ac.uk/photographs/328571", "metadata": {"title": "Untitled", "idno": "N.35299.ACH2", "description": "On Catalogue Card: Making a pot, Edo-speaking peoples, S. Nigeria.", "place": "W Africa; Nigeria; south eastern Nigeria", "cultural_affliation": "", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Unmounted Haddon Collection", "source": "", "format": "Glass Negative", "primary_documentation": "", "other_information": "The negative was previously stored in an envelope now numbered C106/67/ which was in a wooden box now marked C106/. The envelope (C106/67/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.", "raw_text_dump": "IDNO\n\nN.35299.ACH2\n\nDescription\n\nOn Catalogue Card: Making a pot, Edo-speaking peoples, S. Nigeria.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nUnmounted Haddon Collection\n\nSource\n\nFormat\n\nGlass Negative\n\nPrimary Documentation\n\nOther Information\n\nThe negative was previously stored in an envelope now numbered C106/67/ which was in a wooden box now marked C106/. The envelope (C106/67/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.\n\nFM:169949\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_35299_ACH2_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/607041_cat.P.7054.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169642.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463625", "metadata": {"title": "Untitled", "idno": "P.169642.GIJ", "description": "A full length portrait of a man wearing a shirt and a wrapper. He is sitting in a wooden chair, looking directly at the camera. There is a basket on the ground to the left, and large timbers of wood propped up behind the chair to the right. In the background children are looking on, and there is a river. The man is mending or making a net. In his left hand he holds the length of netting, and in his right a wooden needle. [PB 24/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibo [historically Igbo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.", "raw_text_dump": "IDNO\n\nP.169642.GIJ\n\nDescription\n\nA full length portrait of a man wearing a shirt and a wrapper. He is sitting in a wooden chair, looking directly at the camera. There is a basket on the ground to the left, and large timbers of wood propped up behind the chair to the right. In the background children are looking on, and there is a river. The man is mending or making a net. In his left hand he holds the length of netting, and in his right a wooden needle. [PB 24/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nFM:310129\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169642_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127365_P.169642.GIJ_001.png"}, {"file_name": "P_169642_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127368_P.169642.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71329.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364600", "metadata": {"title": "Untitled", "idno": "N.71329.GIJ", "description": "A close up view of a masquerader in an Ikem Play. The mask consists of a naturalistic female face that depicts inset eyes, arched black eyebrows, nose, open painted mouth, ears, black dots on the cheeks and a black line from the nose to the mouth. The hairstyle is an elaborate coiffure painted black and consisting of a cone shaped hair with twisted braids The face is varnished. Around the upper body is square shaped frame that is covered in a printed cloth. Around the neck is a necklace. In the background are attendants and spectators.", "place": "W Africa; Nigeria; South Eastern Nigeria; Umuahia", "cultural_affliation": "Ibibio", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 82 of the negative album now numbered C21/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ibibio, Ijo and Ogoni\n2. Ibibio\n3. Ikem Masquerade (9th image).\n\nContext: Jones writes about the Cross River Style and the Modern Anang (Ibibio) style . He notes, \u201cThe Cross River masquerade called Ikem spread from Old Calabar to the Ibibio country in the early decades of the twentieth century and Anang carvers were producing by the 1930s, if not well before this, skin-covered heads in this style equal to the best that had been made in Ejagham country and in Old Calabar. There were certain minor differences that distinguished these Anang heads, the most obvious being their drooping upper eyelids. The Ikem masquerade and heads in this modified Cross River diffused into the Umuahia area and as far north as Ozu Item. But the Ikem masquerade seems to have inspired the Akang to produce similar masquerades and their own variant of these heads in what was locally held to be a completely naturalistic style. The hair, eyes and lips were painted in natural colours and in place of the covering of skin the face and neck were painted with clear varnish(as in the photograph). The associated masquerade, which received different names in different areas, was spread widely to their Ibibio and Ibo neighbours. During the colonial period there was an increasing demand for Anang sculpture but primarily for masks, heads and figures in this modern naturalistic style. For it was a very successful compromise between the Traditional Anang (Ibibio) and the \u2018traditional European\u2019 style, meaning by the latter term Victorian naturalism and the classical Greek sculpture which inspired it. Europeans bought this sculpture because it looked sufficiently African but not too African. Nigerians bought it because it looked sufficiently modern and European. In response to this demand Anang carvers developed a minor local industry in the Ikot Ekpene district mass-producing inferior masks, heads, and dolls. The inferiority was due primarily for the buyers\u2019 reluctance to pay for something better (Jones, 1984, pp. 184-185).\u201d\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 16/1/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71329.GIJ\n\nDescription\n\nA close up view of a masquerader in an Ikem Play. The mask consists of a naturalistic female face that depicts inset eyes, arched black eyebrows, nose, open painted mouth, ears, black dots on the cheeks and a black line from the nose to the mouth. The hairstyle is an elaborate coiffure painted black and consisting of a cone shaped hair with twisted braids The face is varnished. Around the upper body is square shaped frame that is covered in a printed cloth. Around the neck is a necklace. In the background are attendants and spectators.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Umuahia\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 82 of the negative album now numbered C21/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Ibibio, Ijo and Ogoni\n2. Ibibio\n3. Ikem Masquerade (9th image).\n\nContext: Jones writes about the Cross River Style and the Modern Anang (Ibibio) style . He notes, \u201cThe Cross River masquerade called Ikem spread from Old Calabar to the Ibibio country in the early decades of the twentieth century and Anang carvers were producing by the 1930s, if not well before this, skin-covered heads in this style equal to the best that had been made in Ejagham country and in Old Calabar. There were certain minor differences that distinguished these Anang heads, the most obvious being their drooping upper eyelids. The Ikem masquerade and heads in this modified Cross River diffused into the Umuahia area and as far north as Ozu Item. But the Ikem masquerade seems to have inspired the Akang to produce similar masquerades and their own variant of these heads in what was locally held to be a completely naturalistic style. The hair, eyes and lips were painted in natural colours and in place of the covering of skin the face and neck were painted with clear varnish(as in the photograph). The associated masquerade, which received different names in different areas, was spread widely to their Ibibio and Ibo neighbours. During the colonial period there was an increasing demand for Anang sculpture but primarily for masks, heads and figures in this modern naturalistic style. For it was a very successful compromise between the Traditional Anang (Ibibio) and the \u2018traditional European\u2019 style, meaning by the latter term Victorian naturalism and the classical Greek sculpture which inspired it. Europeans bought this sculpture because it looked sufficiently African but not too African. Nigerians bought it because it looked sufficiently modern and European. In response to this demand Anang carvers developed a minor local industry in the Ikot Ekpene district mass-producing inferior masks, heads, and dolls. The inferiority was due primarily for the buyers\u2019 reluctance to pay for something better (Jones, 1984, pp. 184-185).\u201d\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 16/1/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:205979\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71329_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656559_N.71329.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13212.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306484", "metadata": {"title": "Untitled", "idno": "N.13212.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting shows a two tiered panels. The bottom panel shows three school girls; the upper panel shows a leopard, with a long tail and collar.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image published in Jones, 1973, p.58, Figure 1 with the caption, \u201cLeopard and three school girls. Wall painting from Okwu village, Olokoro tribe, Ohuhu area.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13212.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting shows a two tiered panels. The bottom panel shows three school girls; the upper panel shows a leopard, with a long tail and collar.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Same image published in Jones, 1973, p.58, Figure 1 with the caption, \u201cLeopard and three school girls. Wall painting from Okwu village, Olokoro tribe, Ohuhu area.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147862\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13212_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000474_N.13212.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71580.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364851", "metadata": {"title": "Untitled", "idno": "N.71580.GIJ", "description": "Nwa Ekpo, A boy\u2019s masquerade. The masquerader is wearing a dark mask painted with white markings, a V shape in the center of the forehead, the markings accentuate the top of the head, eyes, nose, mouth and ears. On top of the mask is raffia \u201chair\u201d. The masquerader is wearing a dark woven costume with pieces of raffia tied to the waist. In the background are young boys, one of whom is sitting and playing a pot drum. There is a man in the right wearing a wrapper around his waist.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 18 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Nwa Ekpo, boy\u2019s masquerade, Nimo (20th image).\n\nContext: Jones writes about boys masquerades and says that \u201cuninitiated boys were expected to \u2018play at masquerading\u2019 and had their own masquerades, which were either imitations of those of their elders, like the Anang (Ibibio) Ekpo ntoke eyen (small boy\u2019s Ekpo), or masquerades which had \u2018died\u2019, that is, had been discarded by their seniors and been replaced by others. For their masks and costumes boys made use of anything they could get hold of or make. Many of the cruder masks in European collections were probably made by boys for their masquerades; on the other hand I have seen them using very old ones discarded by their elders. The secrets from which the uninitiated were excluded, usually on pain of death, included the privacy attached to society meetings and information about its rituals, masks, instruments for making ghostly noises and other property of the society. These were revealed to members during their initiation, together with instructions and training in their use\u201d (Jones, 1984, pp.61-62)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71580.GIJ\n\nDescription\n\nNwa Ekpo, A boy\u2019s masquerade. The masquerader is wearing a dark mask painted with white markings, a V shape in the center of the forehead, the markings accentuate the top of the head, eyes, nose, mouth and ears. On top of the mask is raffia \u201chair\u201d. The masquerader is wearing a dark woven costume with pieces of raffia tied to the waist. In the background are young boys, one of whom is sitting and playing a pot drum. There is a man in the right wearing a wrapper around his waist.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 18 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Nwa Ekpo, boy\u2019s masquerade, Nimo (20th image).\n\nContext: Jones writes about boys masquerades and says that \u201cuninitiated boys were expected to \u2018play at masquerading\u2019 and had their own masquerades, which were either imitations of those of their elders, like the Anang (Ibibio) Ekpo ntoke eyen (small boy\u2019s Ekpo), or masquerades which had \u2018died\u2019, that is, had been discarded by their seniors and been replaced by others. For their masks and costumes boys made use of anything they could get hold of or make. Many of the cruder masks in European collections were probably made by boys for their masquerades; on the other hand I have seen them using very old ones discarded by their elders. The secrets from which the uninitiated were excluded, usually on pain of death, included the privacy attached to society meetings and information about its rituals, masks, instruments for making ghostly noises and other property of the society. These were revealed to members during their initiation, together with instructions and training in their use\u201d (Jones, 1984, pp.61-62)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206230\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71580_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656683_N.71580.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71778.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365049", "metadata": {"title": "Untitled", "idno": "N.71778.GIJ", "description": "A Lughulu beautiful female mask. The wooden mask is small and attached to a rounded piece of raffia. The face of the mask is serene and there are holes for eyes, a pointed nose, lips and a raised mark on the temple (keloid); at the top is a protruding rectangular shape, possibly indicating a hairstyle.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Item", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 96 of the negative album now numbered C17/.\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]", "raw_text_dump": "IDNO\n\nN.71778.GIJ\n\nDescription\n\nA Lughulu beautiful female mask. The wooden mask is small and attached to a rounded piece of raffia. The face of the mask is serene and there are holes for eyes, a pointed nose, lips and a raised mark on the temple (keloid); at the top is a protruding rectangular shape, possibly indicating a hairstyle.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nItem\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 96 of the negative album now numbered C17/.\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nFM:206428\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71778_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656881_N.71778.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171151.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465212", "metadata": {"title": "Untitled", "idno": "P.171151.GIJ", "description": "Mgbedike masquerade. Agu Necheanyi (leopard waits for elephant) mask. The mask is unfinished and is being \u201cmodelled\u2019 by a seated male. The mask is unpainted and consists of a carved face with large rounded eyes, pointed nose and large muzzle with pointed teeth, jutting out from the side of the jaw are two curved horns and on the forehead is a small head and emanating from that are two pointed horns making up the front part of the \u201csuperstructure\u201d with four other projections behind, perched on top is a carved animal, perhaps a dog? with a curled tail. In the background are wooden chairs, thatched huts and trees. [Description from record P.71593.GIJ, PB 21/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767075.GIJ - P.767077.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171151.GIJ\n\nDescription\n\nMgbedike masquerade. Agu Necheanyi (leopard waits for elephant) mask. The mask is unfinished and is being \u201cmodelled\u2019 by a seated male. The mask is unpainted and consists of a carved face with large rounded eyes, pointed nose and large muzzle with pointed teeth, jutting out from the side of the jaw are two curved horns and on the forehead is a small head and emanating from that are two pointed horns making up the front part of the \u201csuperstructure\u201d with four other projections behind, perched on top is a carved animal, perhaps a dog? with a curled tail. In the background are wooden chairs, thatched huts and trees. [Description from record P.71593.GIJ, PB 21/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767075.GIJ - P.767077.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311842\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171151_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144367_P.171151.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171575.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465636", "metadata": {"title": "Untitled", "idno": "P.171575.GIJ", "description": "A documentation photograph of two standing carved wooden female juju figures, in front of a mud wall. The figure on the left is facing the camera. She has a coiffure designed as a diadem, with two horns of hair at the top. She has a cloth wrapper around her waist. A row of parallel lines of studs in relief lead from the top of her chest to her waist where there is a cross motif. The figure on the right is in profile. Her coiffure has three bunches from which a horn of hair, with carved grooves, leads down to her neck. She has earrings, bracelets and a cloth waist wrapper. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Orogwe", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171574.GIJ to P.171576.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171575.GIJ\n\nDescription\n\nA documentation photograph of two standing carved wooden female juju figures, in front of a mud wall. The figure on the left is facing the camera. She has a coiffure designed as a diadem, with two horns of hair at the top. She has a cloth wrapper around her waist. A row of parallel lines of studs in relief lead from the top of her chest to her waist where there is a cross motif. The figure on the right is in profile. Her coiffure has three bunches from which a horn of hair, with carved grooves, leads down to her neck. She has earrings, bracelets and a cloth waist wrapper. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Orogwe\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171574.GIJ to P.171576.GIJ are mounted on card.\n\nFM:312295\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171575_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144845_P.171575.GIJ_001.jpg"}, {"file_name": "P_171575_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144846_P.171575.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169629.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463598", "metadata": {"title": "Untitled", "idno": "P.169629.GIJ", "description": "A close up view of a carved wooden canoe with figures. The sculpture consists of a long cylindrical hollowed base and six figures. The figures from left to right: the first figure appears to be carrying a pot on her head, the second figure is holding a paddle, the next two figures are seated and are wearing hats; the fourth is holding a bottle in one hand and a glass in the other, the fifth figure is holding a stick (like a scythe or hockey stick) with a curved bottom; the sixth figure is holding a stick in one hand and musical instrument in the other. The figures are stylised with elongated necks, rounded shoulders and elongated torsos. The sculpture is leaning against a cracked mud wall.[Description from record N.71835.GIJ, PB 01/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF]\n1. Index to Abiriba Igbo\n2. Abiriba Igbo\n3. Canoe with figures Abiriba. (4th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abiriba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). (Jones, 1988, pp.61-62)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)", "raw_text_dump": "IDNO\n\nP.169629.GIJ\n\nDescription\n\nA close up view of a carved wooden canoe with figures. The sculpture consists of a long cylindrical hollowed base and six figures. The figures from left to right: the first figure appears to be carrying a pot on her head, the second figure is holding a paddle, the next two figures are seated and are wearing hats; the fourth is holding a bottle in one hand and a glass in the other, the fifth figure is holding a stick (like a scythe or hockey stick) with a curved bottom; the sixth figure is holding a stick in one hand and musical instrument in the other. The figures are stylised with elongated necks, rounded shoulders and elongated torsos. The sculpture is leaning against a cracked mud wall.[Description from record N.71835.GIJ, PB 01/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF]\n1. Index to Abiriba Igbo\n2. Abiriba Igbo\n3. Canoe with figures Abiriba. (4th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abiriba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). (Jones, 1988, pp.61-62)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\n\nFM:310116\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169629_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127314_P.169629.GIJ_001.png"}, {"file_name": "P_169629_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127315_P.169629.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.170257.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464318", "metadata": {"title": "Untitled", "idno": "P.170257.GIJ", "description": "A documentation photograph of one end of a Janus faced wooden stool, now in the care of the Tropenmuseum, Amsterdam. The base of the stool has etched triangular decorations. The legs have carved animal bodies with human faces and the base of the seat has a face with almond-shaped eyes and a wide mouth with teeth. [PB 03/11/2023]", "place": "W Africa; W Europe; Nigeria; Netherlands; South Eastern Nigeria; Benue; Amsterdam; Tropenmuseum", "cultural_affliation": "Idoma", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170255.GIJ - P.170257.GIJ were located loose amongst pile of envelopes and folders.", "raw_text_dump": "IDNO\n\nP.170257.GIJ\n\nDescription\n\nA documentation photograph of one end of a Janus faced wooden stool, now in the care of the Tropenmuseum, Amsterdam. The base of the stool has etched triangular decorations. The legs have carved animal bodies with human faces and the base of the seat has a face with almond-shaped eyes and a wide mouth with teeth. [PB 03/11/2023]\n\nPlace\n\nW Africa; W Europe; Nigeria; Netherlands; South Eastern Nigeria; Benue; Amsterdam; Tropenmuseum\n\nCultural Affliation\n\nIdoma\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170255.GIJ - P.170257.GIJ were located loose amongst pile of envelopes and folders.\n\nFM:310815\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170257_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131609_P.170257.GIJ_001.png"}, {"file_name": "P_170257_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131610_P.170257.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "T.170104.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464165", "metadata": {"title": "Untitled", "idno": "T.170104.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts four figures (from left to right): the figure on the left is seated and holding a smaller figure decorated in spots; the second figure is a woman with a baby on her back and carrying something on her head; the third figure is wearing a pith helmet and white trousers and shirt and the fourth figure is wearing a dark top and light trousers. All three standing figures are holding umbrellas. A geometric border is at the bottom of the painting.[Description from record N.13217.GIJ, PB 22/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170104.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts four figures (from left to right): the figure on the left is seated and holding a smaller figure decorated in spots; the second figure is a woman with a baby on her back and carrying something on her head; the third figure is wearing a pith helmet and white trousers and shirt and the fourth figure is wearing a dark top and light trousers. All three standing figures are holding umbrellas. A geometric border is at the bottom of the painting.[Description from record N.13217.GIJ, PB 22/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310632\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170104_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128331_T.170104.GIJ_001.png"}, {"file_name": "T_170104_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128332_T.170104.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13204.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306476", "metadata": {"title": "Untitled", "idno": "N.13204.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts a figure sitting on a horse with his hand stretching out. Around the \u201cscene\u201d are two birds and a geometric border on the bottom.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village", "cultural_affliation": "Anang; Ibibio Olokoro; Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13204.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts a figure sitting on a horse with his hand stretching out. Around the \u201cscene\u201d are two birds and a geometric border on the bottom.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village\n\nCultural Affliation\n\nAnang; Ibibio Olokoro; Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147854\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13204_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000466_N.13204.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171446.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465507", "metadata": {"title": "Untitled", "idno": "P.171446.GIJ", "description": "An Alose (tutelary deity) figure standing next to an elder or priest sitting next to it. The Alose figure is quite stylised and standing upright. The head is large and the upper torso is elongated and out of proportion with the lower part of the body. There is a white leopard teeth necklace around the neck, a protruding umbilicus and a piece of cloth placed around the waist, and white anklets. The elder or priest is sitting next to the figure on a small wooden stool. In the background are trees and vegetation. [Description from record N.71645.GIJ, PB 19/09/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Orsu", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171349.GIJ - P.171457.GIJ were located in a 'Duplex' folder, now numbered C768/3.\n\nP.768103.GIJ to P.768106.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171446.GIJ\n\nDescription\n\nAn Alose (tutelary deity) figure standing next to an elder or priest sitting next to it. The Alose figure is quite stylised and standing upright. The head is large and the upper torso is elongated and out of proportion with the lower part of the body. There is a white leopard teeth necklace around the neck, a protruding umbilicus and a piece of cloth placed around the waist, and white anklets. The elder or priest is sitting next to the figure on a small wooden stool. In the background are trees and vegetation. [Description from record N.71645.GIJ, PB 19/09/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Orsu\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171349.GIJ - P.171457.GIJ were located in a 'Duplex' folder, now numbered C768/3.\n\nP.768103.GIJ to P.768106.GIJ are mounted on card.\n\nFM:312147\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171446_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144662_P.171446.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13195.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306467", "metadata": {"title": "Untitled", "idno": "N.13195.GIJ", "description": "An Ekpo carved wooden face mask with movable jaw. Features include slit holes for eyes, nose, lips, teeth, protruding forehead, eyelids and cheeks. Raised ?\u2018scarification\u2019 patterns on cheeks and forehead. Patterned ?band around top of head.\n\nObject documentation photograph.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]", "raw_text_dump": "IDNO\n\nN.13195.GIJ\n\nDescription\n\nAn Ekpo carved wooden face mask with movable jaw. Features include slit holes for eyes, nose, lips, teeth, protruding forehead, eyelids and cheeks. Raised ?\u2018scarification\u2019 patterns on cheeks and forehead. Patterned ?band around top of head.\n\nObject documentation photograph.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]\n\n\n\nFM:147845\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13195_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000457_N.13195.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71782.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365053", "metadata": {"title": "Untitled", "idno": "N.71782.GIJ", "description": "A Lughulu beautiful female mask. The wooden mask is small and attached to a rounded piece of raffia. The face of the mask is serene and there are holes for eyes, a pointed nose, lips and a raised mark on the temple (keloid); at the top is a protruding rectangular shape, possibly indicating a hairstyle.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Item", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 80 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Item Igbo\n3. Lugbulu Mask Beautiful female mask (2nd image).\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]", "raw_text_dump": "IDNO\n\nN.71782.GIJ\n\nDescription\n\nA Lughulu beautiful female mask. The wooden mask is small and attached to a rounded piece of raffia. The face of the mask is serene and there are holes for eyes, a pointed nose, lips and a raised mark on the temple (keloid); at the top is a protruding rectangular shape, possibly indicating a hairstyle.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nItem\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 80 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Item Igbo\n3. Lugbulu Mask Beautiful female mask (2nd image).\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nFM:206432\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71782_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656883_N.71782.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13210.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306482", "metadata": {"title": "Untitled", "idno": "N.13210.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two figures; the one on the left is wearing a printed tunic and hlding something in his hand; the figure on the right is a policeman and is holding a rifle. A geometric border is underneath the two figures and at the right side is a swirled snakel-like desing on the wall.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: This image is reproduced in Jones, 1984, p.107, Figure 32 with the caption, Ekpe (Egbo) figures.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13210.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts two figures; the one on the left is wearing a printed tunic and hlding something in his hand; the figure on the right is a policeman and is holding a rifle. A geometric border is underneath the two figures and at the right side is a swirled snakel-like desing on the wall.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Okwu village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: This image is reproduced in Jones, 1984, p.107, Figure 32 with the caption, Ekpe (Egbo) figures.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147860\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13210_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000472_N.13210.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.71936.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365207", "metadata": {"title": "Untitled", "idno": "P.71936.GIJ", "description": "Two men standing against a wall \u201cmodelling\u201d two wooden face masks, The mask on the left is a dark rounded mask with an overhanging forehead, slit eyes, open squarish mouth, etched markings the side and a crest-like fan, incised protrusion on the top. The man is wearing a short sleeved shirt and he is holding the mask with one one hand. The mask on the right is more rectangular in shape with squared eyes, long pointed nose, slightly protruding jaw and lips. Facial features such as the eyes are outlined in white. On the top of the mask is an incised ridge or crest. In the background is a mud building with an open window.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nP.71936.GIJ\n\nDescription\n\nTwo men standing against a wall \u201cmodelling\u201d two wooden face masks, The mask on the left is a dark rounded mask with an overhanging forehead, slit eyes, open squarish mouth, etched markings the side and a crest-like fan, incised protrusion on the top. The man is wearing a short sleeved shirt and he is holding the mask with one one hand. The mask on the right is more rectangular in shape with squared eyes, long pointed nose, slightly protruding jaw and lips. Facial features such as the eyes are outlined in white. On the top of the mask is an incised ridge or crest. In the background is a mud building with an open window.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nFM:206586\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_71936_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657027_N.71937.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169652.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463643", "metadata": {"title": "Untitled", "idno": "P.169652.GIJ", "description": "A frontal view of Oji Onu (long mouth) masquerade character. The wooden mask consists of a long pointed projection, high carinated nose, incised striation markings painted black, white circular ears, and two pointed horns painted white. The masquerader is wearing woven light cloth trousers, tie-dyed or batik top and scarf with a raffia wrapper around the waist. He is holding a circular wooden fan? or paddle? in one hand. In the background are spectators and trees. [Description from record P.71585.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169652.GIJ\n\nDescription\n\nA frontal view of Oji Onu (long mouth) masquerade character. The wooden mask consists of a long pointed projection, high carinated nose, incised striation markings painted black, white circular ears, and two pointed horns painted white. The masquerader is wearing woven light cloth trousers, tie-dyed or batik top and scarf with a raffia wrapper around the waist. He is holding a circular wooden fan? or paddle? in one hand. In the background are spectators and trees. [Description from record P.71585.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\n\nFM:310139\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169652_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127404_P.169652.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.71889.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365160", "metadata": {"title": "Untitled", "idno": "N.71889.GIJ", "description": "The interior of an Obu House with the close up view of a large wooden sculpture. The face of the sculpture consists of a humanised figure with dark painted arched eyebrows, almond shaped eyes, delicate nose, lips and elliptical shaped ears. Underneath the eyes is a dark painted circular design and three square geometric markings on the temples. On top of the head is a defined hairline with a large top hat painted black and outlined in a lighter colour along the brim. To the left of the figure is another sculpture with a partial view of the head. It has a rounded face, large eyes, elongated nose, and lips accentuated with a linear black line running down the centre of the face. On top of the head is a projection or crest adorned with circular markings. In the background is a wooden railing and walls and roof of the Obu house.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 41 of the negative album now numbered C19/\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. figures in Obu [close-up] Amogudu, Abiriba. (3rd image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]", "raw_text_dump": "IDNO\n\nN.71889.GIJ\n\nDescription\n\nThe interior of an Obu House with the close up view of a large wooden sculpture. The face of the sculpture consists of a humanised figure with dark painted arched eyebrows, almond shaped eyes, delicate nose, lips and elliptical shaped ears. Underneath the eyes is a dark painted circular design and three square geometric markings on the temples. On top of the head is a defined hairline with a large top hat painted black and outlined in a lighter colour along the brim. To the left of the figure is another sculpture with a partial view of the head. It has a rounded face, large eyes, elongated nose, and lips accentuated with a linear black line running down the centre of the face. On top of the head is a projection or crest adorned with circular markings. In the background is a wooden railing and walls and roof of the Obu house.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 41 of the negative album now numbered C19/\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Obu Houses (meeting houses)\n3. figures in Obu [close-up] Amogudu, Abiriba. (3rd image).\n\nContext: Jones discusses the history and concept of the meeting houses. He writes, \u201cBefore the colonial period few communities in the Eastern Region had any public buildings. They had their meeting-places, which in the forest zone were clearings under a few large forest trees, and in some of the savannah areas had trees specially planted for this purpose. In some groups the head of a compound, in addition to his own house, had a shed or low-walled building called Obu amongst the Ibo, where he could entertain his friends and where the men and women of the compound could sit and engage in domestic task our of the sun and the rain. When it was necessary for the elders of the village or for the members of a club or other association to meet together they did so at the house or the Obu of one of their senior members. On the Cross River, however, each village had its meeting-house which was also the clubhouse or lodge of its secret society. Where the village was a large one, as amongst the Cross River Ibo, each ward had its own Obu. The plan of the building was the same throughout the area; it was a rectangular hall with a high gabled roof whose ridge pole was supported on three posts set in pedestals of polished clay. The front one, which faced the entrance, was decorated and in many cases carved, the last was hidden in the high walls at the back of the hall which enclosed one or two small rooms housing the secret paraphernalia of the society. The rest of the hall was surrounded by a low wall except for the entrance, which was left open; inside these walls and backing on to them were couches and platforms of polished clay: in the more elaborate examples these were carved with simple patterns and the high wall at the back was decorated with small stones and other objects or had patterns or frescoes painted on it. Amongst the Abam, Abiriba and Ohaffia Ibo the front and the central posts were either carved or had separate wooden statues attached to them, and other statues were erected independently on each side of the entrance. Meeting-houses which belonged to Ekpe (Egbo) and similar secret societies could only be used by initiates of the society, but as all the men of the village were normally members of the society it became the men\u2019s clubhouse. The Abam and Ohaffia meeting-house belonged to the patriclan or ward and all members, including women married into the clan, could use it. It was also used by a secret society and one of the rooms at the back was usually preserved for its paraphernalia. Among the neighbouring Ada Ibo meeting-houses were less elaborately constructed; most of them had a roof but no walls. Women were barred from them as they were used for men\u2019s initiation rituals and the carvings used in their masquerades were kept in the roof (Jones, 1984, p.102).\n\nPublication: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/12/2007]\n\n\nFM:206539\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71889_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656981_N.71889.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "T.170130.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464191", "metadata": {"title": "Untitled", "idno": "T.170130.GIJ", "description": "A long modern ngwomo wall with open ground in front. The wall extends across the ground with several pillars and a central arch, and gently curves in an out. The wall is decorated with paintings including:\nA figure sitting on a horse with his hand stretching out. Around the \u201cscene\u201d are two birds and a geometric border on the bottom.\nTwo Ekpe (Egbo) figures in their masquerade costumes bending at the waist and with two curved designs on the top of their heads and a tail.\nA two tiered panels: he bottom panel shows three school girls; the upper panel shows a leopard, with a long tail and collar. [PB 29/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River Area; Okwu village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; October 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nBibliographical Reference: In Jones, G.I. 1984. The Art of Eastern Nigeria. (Cambridge: CUP), pp.106-7, Jones describes this wall in detail: \"This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with a corrugated iron roof over it framing two sides of their market and public meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the outside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted.\" [PB 29/03/2023]", "raw_text_dump": "IDNO\n\nT.170130.GIJ\n\nDescription\n\nA long modern ngwomo wall with open ground in front. The wall extends across the ground with several pillars and a central arch, and gently curves in an out. The wall is decorated with paintings including:\nA figure sitting on a horse with his hand stretching out. Around the \u201cscene\u201d are two birds and a geometric border on the bottom.\nTwo Ekpe (Egbo) figures in their masquerade costumes bending at the waist and with two curved designs on the top of their heads and a tail.\nA two tiered panels: he bottom panel shows three school girls; the upper panel shows a leopard, with a long tail and collar. [PB 29/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River Area; Okwu village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; October 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nBibliographical Reference: In Jones, G.I. 1984. The Art of Eastern Nigeria. (Cambridge: CUP), pp.106-7, Jones describes this wall in detail: \"This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with a corrugated iron roof over it framing two sides of their market and public meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the outside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted.\" [PB 29/03/2023]\n\nFM:310658\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170130_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128383_T.170130.GIJ_001.png"}, {"file_name": "T_170130_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128384_T.170130.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71508.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364779", "metadata": {"title": "Untitled", "idno": "N.71508.GIJ", "description": "Obugulu (Ghost) Masquerade\nA group of three masqueraders wearing white maiden sprit masks and dressed in harlequin-like costumes. The figure to the right is wearing an elaborate headdress with a large carved superstructure consisting of carvings (a European on horseback), feathers, tassels, and whisks. Another man is in the left-hand side of the photograph assisting the masqueraders. In the background are spectators and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 98 of the negative album now numbered C15/.\n\nPublication: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions. The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nBibliographical Reference: In reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nBibliographical Reference: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo). During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style... The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]", "raw_text_dump": "IDNO\n\nN.71508.GIJ\n\nDescription\n\nObugulu (Ghost) Masquerade\nA group of three masqueraders wearing white maiden sprit masks and dressed in harlequin-like costumes. The figure to the right is wearing an elaborate headdress with a large carved superstructure consisting of carvings (a European on horseback), feathers, tassels, and whisks. Another man is in the left-hand side of the photograph assisting the masqueraders. In the background are spectators and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 98 of the negative album now numbered C15/.\n\nPublication: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions. The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nBibliographical Reference: In reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nBibliographical Reference: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo). During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style... The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]\n\nFM:206158\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71508_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656645_N.71508.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171600.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465661", "metadata": {"title": "Untitled", "idno": "P.171600.GIJ", "description": "A close up documentation photograph of two old carved wooden juju figure, standing in front of a framework of poles. The figure on the left is female, with a single hair crest. The figuree on the right is male. His face above a long neck has a deep brow, wide nose, and prominent mouth. The forehead and top of the head are tall and incised with diagonal parallel lines. Both figures have eye highlighted with a light pigment. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Mpam", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171598.GIJ and P.171600.GIJ are mounted on card.\n\nImages P.171598.GIJ and P.171600.GIJ are of the same figures.", "raw_text_dump": "IDNO\n\nP.171600.GIJ\n\nDescription\n\nA close up documentation photograph of two old carved wooden juju figure, standing in front of a framework of poles. The figure on the left is female, with a single hair crest. The figuree on the right is male. His face above a long neck has a deep brow, wide nose, and prominent mouth. The forehead and top of the head are tall and incised with diagonal parallel lines. Both figures have eye highlighted with a light pigment. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Mpam\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171598.GIJ and P.171600.GIJ are mounted on card.\n\nImages P.171598.GIJ and P.171600.GIJ are of the same figures.\n\nFM:312320\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171600_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144896_P.171600.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.35313.ACH2", "source_url": "https://collections.maa.cam.ac.uk/photographs/328585", "metadata": {"title": "Untitled", "idno": "N.35313.ACH2", "description": "On Catalogue Card: Native loom, \u2018ndengani\u2019, borders of Ekoi and Efik countries.", "place": "W Africa; Nigeria; south eastern Nigeria", "cultural_affliation": "Efik; Ekoi", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Unmounted Haddon Collection", "source": "", "format": "Film Negative", "primary_documentation": "", "other_information": "The negative was previously stored in an envelope now numbered C106/82/ which was in a wooden box now marked C106/. The envelope (C106/82/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.", "raw_text_dump": "IDNO\n\nN.35313.ACH2\n\nDescription\n\nOn Catalogue Card: Native loom, \u2018ndengani\u2019, borders of Ekoi and Efik countries.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria\n\nCultural Affliation\n\nEfik; Ekoi\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nUnmounted Haddon Collection\n\nSource\n\nFormat\n\nFilm Negative\n\nPrimary Documentation\n\nOther Information\n\nThe negative was previously stored in an envelope now numbered C106/82/ which was in a wooden box now marked C106/. The envelope (C106/82/) is re-housed in Neg. Env. Box 4. which is stored in Storage Box A in the Photo Archive room.\n\nFM:169963\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_35313_ACH2_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/607066_cat.P.7041.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169655.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463650", "metadata": {"title": "Untitled", "idno": "P.169655.GIJ", "description": "Nwa Ekpo, A boy\u2019s masquerade. The masquerader is wearing a dark mask painted with white markings that accentuate the top of the head, eyes, nose, mouth and ears. On top of the mask is raffia \u201chair\u201d. The masquerader is wearing a dark woven costume with pieces of raffia tied to the waist. In the background are young boys, one of whom is sitting and playing a pot drum. There is a man in the right wearing a wrapper around his waist. [Description from record P.71579.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169655.GIJ\n\nDescription\n\nNwa Ekpo, A boy\u2019s masquerade. The masquerader is wearing a dark mask painted with white markings that accentuate the top of the head, eyes, nose, mouth and ears. On top of the mask is raffia \u201chair\u201d. The masquerader is wearing a dark woven costume with pieces of raffia tied to the waist. In the background are young boys, one of whom is sitting and playing a pot drum. There is a man in the right wearing a wrapper around his waist. [Description from record P.71579.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\n\nFM:310142\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169655_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127410_P.169655.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.169863.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463882", "metadata": {"title": "Untitled", "idno": "P.169863.GIJ", "description": "Rumuji Owu play, the character is Asaba. The masquerader is dancing in the centre of the arena. The headpiece is a long horizontal carved and painted consisting of several pieces jutting out. Attached to the mask are pieces of cloth or handkerchiefs. The masquerader is draped in imported, printed cloth, wearing cotton trousers, and anklets. In the background are spectators.\n[Description from record N.74272.GIJ, PB 12/01/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Ikwerri", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169863.GIJ\n\nDescription\n\nRumuji Owu play, the character is Asaba. The masquerader is dancing in the centre of the arena. The headpiece is a long horizontal carved and painted consisting of several pieces jutting out. Attached to the mask are pieces of cloth or handkerchiefs. The masquerader is draped in imported, printed cloth, wearing cotton trousers, and anklets. In the background are spectators.\n[Description from record N.74272.GIJ, PB 12/01/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ikwerri\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310350\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169863_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127824_P.169863.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.71907.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365178", "metadata": {"title": "Untitled", "idno": "N.71907.GIJ", "description": "An Ekpe? head. A headdress of a face with two long curled horn-like projections with an elongated neck and base. The face of the headdress is painted white and the eyebrows, nose and lips are accentuated by a darker (black?) colour. The coiffure consists of two incised horns which are curled on either side of the head. In the background is a mud wall.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 17 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nN.71907.GIJ\n\nDescription\n\nAn Ekpe? head. A headdress of a face with two long curled horn-like projections with an elongated neck and base. The face of the headdress is painted white and the eyebrows, nose and lips are accentuated by a darker (black?) colour. The coiffure consists of two incised horns which are curled on either side of the head. In the background is a mud wall.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 17 of the negative album now numbered C17/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nFM:206557\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71907_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657010_N.71907.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169892.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463911", "metadata": {"title": "Untitled", "idno": "P.169892.GIJ", "description": "A cement building with veranda. There is a fenced small garden in front of the building. The building has a corrugated iron roof. There are some goats wandering on the grass in front. There is a small tree protected by wattle in the centre of the grass. This building is possibly the District Officer's? [PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169892.GIJ\n\nDescription\n\nA cement building with veranda. There is a fenced small garden in front of the building. The building has a corrugated iron roof. There are some goats wandering on the grass in front. There is a small tree protected by wattle in the centre of the grass. This building is possibly the District Officer's? [PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310379\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169892_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127860_P.169892.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171290.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465351", "metadata": {"title": "Untitled", "idno": "P.171290.GIJ", "description": "A painted wooden door, with geometric grooved patterns, including chevrons with crossbars. The door is open and the yard of the compound and buildings can be seen in the background. [Description from record P.767103.GIJ, PB 30/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767214.GIJ and P.767215.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171290.GIJ\n\nDescription\n\nA painted wooden door, with geometric grooved patterns, including chevrons with crossbars. The door is open and the yard of the compound and buildings can be seen in the background. [Description from record P.767103.GIJ, PB 30/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767214.GIJ and P.767215.GIJ are mounted together on card.\n\nFM:311981\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171290_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144506_P.171290.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171535.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465596", "metadata": {"title": "Untitled", "idno": "P.171535.GIJ", "description": "A female character in an Okorosie or Okoroshi masquerade dancing in front of a group of spectators. The masquerader is wearing a white female face mask with with a pipe in her mouth. The masquerader is draped in cloths and holding a spoon in each hand, both decorated with a diadem pattern. [PB 22/10/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Rivers State: Ahoada; Edola", "cultural_affliation": "Igbo [historically Ibo]; Ekpeya", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171535.GIJ to P.171537.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171535.GIJ\n\nDescription\n\nA female character in an Okorosie or Okoroshi masquerade dancing in front of a group of spectators. The masquerader is wearing a white female face mask with with a pipe in her mouth. The masquerader is draped in cloths and holding a spoon in each hand, both decorated with a diadem pattern. [PB 22/10/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Rivers State: Ahoada; Edola\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ekpeya\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171535.GIJ to P.171537.GIJ are mounted on card.\n\nFM:312255\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171535_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144764_P.171535.GIJ_001.jpg"}, {"file_name": "P_171535_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144765_P.171535.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171624.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465685", "metadata": {"title": "Untitled", "idno": "P.171624.GIJ", "description": "A cut out image of a carved wooden female ancestral figure, with a central head crest, flat collar, angled limbs and waist cloth. [PB 05/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171623.GIJ and P.171624.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171624.GIJ\n\nDescription\n\nA cut out image of a carved wooden female ancestral figure, with a central head crest, flat collar, angled limbs and waist cloth. [PB 05/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171623.GIJ and P.171624.GIJ are mounted on card.\n\nFM:312344\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171624_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144943_P.171624.GIJ_001.jpg"}, {"file_name": "P_171624_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144944_P.171624.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.71968.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365239", "metadata": {"title": "Untitled", "idno": "P.71968.GIJ", "description": "A samll boy with Ajonku Ngbagba Ikoro", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71946.GIJ to P.71968.GIJ were found wrapped in paper, now numbered C298/9/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Small boy with Ajonku Ngbagba Ikoro, Abiriba. (9th image).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/3/2008]", "raw_text_dump": "IDNO\n\nP.71968.GIJ\n\nDescription\n\nA samll boy with Ajonku Ngbagba Ikoro\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\nP.71946.GIJ to P.71968.GIJ were found wrapped in paper, now numbered C298/9/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. Small boy with Ajonku Ngbagba Ikoro, Abiriba. (9th image).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/3/2008]\n\nFM:206618\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_71968_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657072_N.71969.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171581.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465642", "metadata": {"title": "Untitled", "idno": "P.171581.GIJ", "description": "A documentation photograph of two carved wooden juju figures, standing in profile in front of a mud wall. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Emeke Obibi", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171581.GIJ and P.171582.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171581.GIJ\n\nDescription\n\nA documentation photograph of two carved wooden juju figures, standing in profile in front of a mud wall. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Emeke Obibi\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171581.GIJ and P.171582.GIJ are mounted on card.\n\nFM:312301\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171581_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144857_P.171581.GIJ_001.jpg"}, {"file_name": "P_171581_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144858_P.171581.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.61212.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/354483", "metadata": {"title": "Untitled", "idno": "P.61212.GIJ", "description": "A carved wooden panel from Benin.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?Benin City", "cultural_affliation": "Bini", "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.61128.GIJ to P.61278.GIJ were kept in box 13, now numbered C294/.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 28/1/2008]", "raw_text_dump": "IDNO\n\nP.61212.GIJ\n\nDescription\n\nA carved wooden panel from Benin.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?Benin City\n\nCultural Affliation\n\nBini\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.61128.GIJ to P.61278.GIJ were kept in box 13, now numbered C294/.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 28/1/2008]\n\nFM:195862\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_61212_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/954391_N.61211.GIJ.png"}, {"file_name": "P_61212_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1028539_P.61212.GIJ_001.png"}, {"file_name": "P_61212_GIJ_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1028540_P.61212.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "T.169957.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463976", "metadata": {"title": "Untitled", "idno": "T.169957.GIJ", "description": "A portrait of a carved wood sculpture within an Obu House. It is one piece of wood with a backboard, and has below a female figure standing facing forward inside a mud wall base with above a male figure standing facing forward on foot supports. She holds a ball-shaped object in her left hand. He holds a matchete in his right hand and a human skull in his left. A man is sitting to the left of the image by an upright building column. In the background there are two other carved figures leaning against the wall. The building's rafters and purlins are cover the scene, with light shining through the open window spaces to the left and background. [PB 28/07/23]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River [Igbo [historically Ibo]; Abiriba]", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; October 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.169957.GIJ\n\nDescription\n\nA portrait of a carved wood sculpture within an Obu House. It is one piece of wood with a backboard, and has below a female figure standing facing forward inside a mud wall base with above a male figure standing facing forward on foot supports. She holds a ball-shaped object in her left hand. He holds a matchete in his right hand and a human skull in his left. A man is sitting to the left of the image by an upright building column. In the background there are two other carved figures leaning against the wall. The building's rafters and purlins are cover the scene, with light shining through the open window spaces to the left and background. [PB 28/07/23]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River [Igbo [historically Ibo]; Abiriba]\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; October 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310485\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_169957_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127953_T.169957.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "T.170071.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464115", "metadata": {"title": "Untitled", "idno": "T.170071.GIJ", "description": "A close up view of Ajonku or Ajonkwu masquerade. The masquerader is wearing a knitted net costume which covers his face and on top of his head is a tall headdress consisting of a rounded platform with a cloth wrapped around it and on top, there is a humanistic rounded face which is attached and made of animal skin. The face consists of arched eyebrows, stylistic almond shaped eyes, nose, open mouth and elliptical shaped ears, in the centre of the forehead is a rounded protuberance. The costume is adorned with fronds and feathers. Surrounding the masqueraders are young men holding branches, and in the background are spectators, trees, and building.[Description from record P.71831.GIJ, PB 15/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Isu Ikuru Ato", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170071.GIJ\n\nDescription\n\nA close up view of Ajonku or Ajonkwu masquerade. The masquerader is wearing a knitted net costume which covers his face and on top of his head is a tall headdress consisting of a rounded platform with a cloth wrapped around it and on top, there is a humanistic rounded face which is attached and made of animal skin. The face consists of arched eyebrows, stylistic almond shaped eyes, nose, open mouth and elliptical shaped ears, in the centre of the forehead is a rounded protuberance. The costume is adorned with fronds and feathers. Surrounding the masqueraders are young men holding branches, and in the background are spectators, trees, and building.[Description from record P.71831.GIJ, PB 15/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isu Ikuru Ato\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310599\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170071_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128229_T.170071.GIJ_001.png"}, {"file_name": "T_170071_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128231_T.170071.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171108.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465169", "metadata": {"title": "Untitled", "idno": "P.171108.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nA band of musicians playing various instruments including a Pot drum (udu), two small membrane drums. one small iron double gong (ogene), and one whistle. One person is sitting on a wooden chair with a large pot drum perched on his lap. The drum is circular in shape and has twine or rope tied around it. In the right hand corner is a masquerader wearing a cloth top, tights, socks and a raffia skirt. In the background are thatched roofs, trees and vegetation. [Description from record N.13242.GIJ, PB 14/06/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767029.GIJ - P.767032.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"", "raw_text_dump": "IDNO\n\nP.171108.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nA band of musicians playing various instruments including a Pot drum (udu), two small membrane drums. one small iron double gong (ogene), and one whistle. One person is sitting on a wooden chair with a large pot drum perched on his lap. The drum is circular in shape and has twine or rope tied around it. In the right hand corner is a masquerader wearing a cloth top, tights, socks and a raffia skirt. In the background are thatched roofs, trees and vegetation. [Description from record N.13242.GIJ, PB 14/06/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767029.GIJ - P.767032.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nFM:311799\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171108_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144324_P.171108.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169820.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463829", "metadata": {"title": "Untitled", "idno": "P.169820.GIJ", "description": "A carved wooden canoe with figures. The sculpture consists of a long cylindrical base and six figures. The figures from left to right: the first figure appears to be carrying a pot on her head, the second figure is holding a paddle, the next two figures are seated and are wearing hats; the fourth is holding a bottle in one hand and a glass in the other, the fifth figure is holding a stick in one hand and musical instrument in the other. The figures are stylised with elongated necks, rounded shoulders and elongated torsos. Next to the canoe and figures, a man is sitting with his hands clasped and wearing a chequered wrapper around his waist and a jacket. In the background is cracked mud wall and a man in the far right corner. [Description from record N.71837.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169820.GIJ - P.169821.GIJ were located in an blue Seltona envelope now numbered C754/10/.", "raw_text_dump": "IDNO\n\nP.169820.GIJ\n\nDescription\n\nA carved wooden canoe with figures. The sculpture consists of a long cylindrical base and six figures. The figures from left to right: the first figure appears to be carrying a pot on her head, the second figure is holding a paddle, the next two figures are seated and are wearing hats; the fourth is holding a bottle in one hand and a glass in the other, the fifth figure is holding a stick in one hand and musical instrument in the other. The figures are stylised with elongated necks, rounded shoulders and elongated torsos. Next to the canoe and figures, a man is sitting with his hands clasped and wearing a chequered wrapper around his waist and a jacket. In the background is cracked mud wall and a man in the far right corner. [Description from record N.71837.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169820.GIJ - P.169821.GIJ were located in an blue Seltona envelope now numbered C754/10/.\n\nFM:310307\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169820_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127717_P.169820.GIJ_001.png"}, {"file_name": "P_169820_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127718_P.169820.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171556.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465617", "metadata": {"title": "Untitled", "idno": "P.171556.GIJ", "description": "A masquerader in the Owu masquerade, portraying the animal character Alibowu. The masquerader's head and shoulders are covered in cloth with a gingham pattern. The mask has a bulbous forehead and lower face. The ears are small, shaped like groundnuts, and attached to the masks by cord. The mask is painted in a light pigment, with a string painted in a dark pigment running from the top of the head, down the centre of the forehead and nose to the right hand side of the jawline. The mouth is indicated by a small circle at the bottom of the face. In the background are some onlookers standing between the walls of two houses. [PB 22/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Ogba; Akabuka", "cultural_affliation": "Igbo [historically Ibo]; Oba", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171556.GIJ to P.171558.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171556.GIJ\n\nDescription\n\nA masquerader in the Owu masquerade, portraying the animal character Alibowu. The masquerader's head and shoulders are covered in cloth with a gingham pattern. The mask has a bulbous forehead and lower face. The ears are small, shaped like groundnuts, and attached to the masks by cord. The mask is painted in a light pigment, with a string painted in a dark pigment running from the top of the head, down the centre of the forehead and nose to the right hand side of the jawline. The mouth is indicated by a small circle at the bottom of the face. In the background are some onlookers standing between the walls of two houses. [PB 22/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ogba; Akabuka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oba\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171556.GIJ to P.171558.GIJ are mounted on card.\n\nFM:312276\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171556_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144806_P.171556.GIJ_001.jpg"}, {"file_name": "P_171556_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144807_P.171556.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71615.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364886", "metadata": {"title": "Untitled", "idno": "N.71615.GIJ", "description": "A group of men playing in a band. They are playing the igba (membrane drums) which are carved from wood and covered with animal skin); two of the longer drums are attached to shoulder straps. The men are playing the drums with their hands. One man (second from left) appears to be holding an ogene (gong). The clothing of the band members varies from loin cloths, shorts, wrappers, and smocks. In the background are trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River area", "cultural_affliation": "Igbo [historically Ibo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 12 of the negative album now numbered C15/.\n\nContext: Jones describes the various types of musical instruments and the way they were played during masquerades. \u201cDrums of both types (slit and membrane) were combined with flutes, whistles, rattles, clappers of various sorts, single and double iron gongs and pots to form orchestras of varying size for dances and masquerades. The flutes and whistles were carved out of wood or were the horns of goats or small antelopes with a mouthpiece cut in the side or the end: the rattles were small basketwork or calabash containers half filled with hard seeds or shells or calabashes covered with loose net on which beads or seeds had been threaded. The pots were round narrow-necked water pots with a circular hole cut out the side which was beaten with the palm of the hand. Drums predominated and provided most of the variations and improvisations. There was usually one slit drum that was used for most of these, while the others were limited to the regular repetition of one or two notes: as were the other instruments. In masquerades where the characters danced and where the dancing and mining was at all elaborate, as amongst the Kalabari, the movements of the characters were governed not only by the rhythm of the drumming but by the coded instructions played on one particular drum, which the actor had to distinguish from the notes which accompanied it on the drums.\u201d (Jones, 1984, p.115)\n\nContext: Echezona provides a detailed description of the various Ibo musical instruments and discusses their various uses. Interestingly, he notes that, \u201cAlmost any type of Ibo musical instrument is used in \u201ctalking\u201d. Here are a few reasons why this is possible. Ibo language is tonal and the language calls to mind an agreeable succession of tones which combine themselves into interesting patterns and rhythms using syncopation, asymmetric divisions, nonaccented rhythms, changing meters, and shifted accents as some of the devices. In reference to drums he notes that the drum is extensively used for dancing, rejoicing, and wrestling. Gongs or ogene are also important because the, Ogene is principally used to supply rhythms for dancers. The two different pitches often employed in the use of the ogene can show whether a dancer is expected to use his right or his left leg or, when one foot is doing the motion, whether the foot should move up or done. The ogene is also used as a an accompaniment for other percussive instruments such as the ngededgwu (xylophone), abia (set of drums) and in combination with the udu (earthen pot instrument). The aja (clappers) are used to mark rhythms in a song or dance (Echezona, 1964)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nEchezona, W. Wilberforce 1964. \u201cIbo Musical Instruments\u201d Music Educators Journal, Vol. 50, No.5 pp.23-27+130-131.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71615.GIJ\n\nDescription\n\nA group of men playing in a band. They are playing the igba (membrane drums) which are carved from wood and covered with animal skin); two of the longer drums are attached to shoulder straps. The men are playing the drums with their hands. One man (second from left) appears to be holding an ogene (gong). The clothing of the band members varies from loin cloths, shorts, wrappers, and smocks. In the background are trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River area\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 12 of the negative album now numbered C15/.\n\nContext: Jones describes the various types of musical instruments and the way they were played during masquerades. \u201cDrums of both types (slit and membrane) were combined with flutes, whistles, rattles, clappers of various sorts, single and double iron gongs and pots to form orchestras of varying size for dances and masquerades. The flutes and whistles were carved out of wood or were the horns of goats or small antelopes with a mouthpiece cut in the side or the end: the rattles were small basketwork or calabash containers half filled with hard seeds or shells or calabashes covered with loose net on which beads or seeds had been threaded. The pots were round narrow-necked water pots with a circular hole cut out the side which was beaten with the palm of the hand. Drums predominated and provided most of the variations and improvisations. There was usually one slit drum that was used for most of these, while the others were limited to the regular repetition of one or two notes: as were the other instruments. In masquerades where the characters danced and where the dancing and mining was at all elaborate, as amongst the Kalabari, the movements of the characters were governed not only by the rhythm of the drumming but by the coded instructions played on one particular drum, which the actor had to distinguish from the notes which accompanied it on the drums.\u201d (Jones, 1984, p.115)\n\nContext: Echezona provides a detailed description of the various Ibo musical instruments and discusses their various uses. Interestingly, he notes that, \u201cAlmost any type of Ibo musical instrument is used in \u201ctalking\u201d. Here are a few reasons why this is possible. Ibo language is tonal and the language calls to mind an agreeable succession of tones which combine themselves into interesting patterns and rhythms using syncopation, asymmetric divisions, nonaccented rhythms, changing meters, and shifted accents as some of the devices. In reference to drums he notes that the drum is extensively used for dancing, rejoicing, and wrestling. Gongs or ogene are also important because the, Ogene is principally used to supply rhythms for dancers. The two different pitches often employed in the use of the ogene can show whether a dancer is expected to use his right or his left leg or, when one foot is doing the motion, whether the foot should move up or done. The ogene is also used as a an accompaniment for other percussive instruments such as the ngededgwu (xylophone), abia (set of drums) and in combination with the udu (earthen pot instrument). The aja (clappers) are used to mark rhythms in a song or dance (Echezona, 1964)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nEchezona, W. Wilberforce 1964. \u201cIbo Musical Instruments\u201d Music Educators Journal, Vol. 50, No.5 pp.23-27+130-131.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206265\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71615_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656725_N.71615.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171568.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465629", "metadata": {"title": "Untitled", "idno": "P.171568.GIJ", "description": "A documentation photograph of a carved wooden figure. The figure is flat, board shaped in a figure of eight, with a finial at one end, carved as a face. Each half of the figure has the same design of rows of raised studs divided by a row of triangular holes. [PB 31/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171567.GIJ to P.171569.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171568.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden figure. The figure is flat, board shaped in a figure of eight, with a finial at one end, carved as a face. Each half of the figure has the same design of rows of raised studs divided by a row of triangular holes. [PB 31/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171567.GIJ to P.171569.GIJ are mounted on card.\n\n\n\nFM:312288\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171568_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144831_P.171568.GIJ_001.jpg"}, {"file_name": "P_171568_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144832_P.171568.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169758.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463767", "metadata": {"title": "Untitled", "idno": "P.169758.GIJ", "description": "Half-length portrait of a man wearing a collared shirt. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169758.GIJ\n\nDescription\n\nHalf-length portrait of a man wearing a collared shirt. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310245\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169758_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127610_P.169758.GIJ_001.png"}, {"file_name": "P_169758_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127611_P.169758.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169752.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463761", "metadata": {"title": "Untitled", "idno": "P.169752.GIJ", "description": "Half-length portrait of a young man wearing a straw boater hat and collared shirt. He is facing the photographer. There is a crowd of people in the background looking onto a masquerade? [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169752.GIJ\n\nDescription\n\nHalf-length portrait of a young man wearing a straw boater hat and collared shirt. He is facing the photographer. There is a crowd of people in the background looking onto a masquerade? [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310239\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169752_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127598_P.169752.GIJ_001.png"}, {"file_name": "P_169752_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127599_P.169752.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13208.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306480", "metadata": {"title": "Untitled", "idno": "N.13208.GIJ", "description": "Close up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts a figure (policeman?) holding a stick in one hand. The clothing consists of white trousers, shirt and a hat. Geometric designs are on the side and a quartrofoil motif.", "place": "W Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Umuajatta village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13208.GIJ\n\nDescription\n\nClose up photograph of wall painting in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts a figure (policeman?) holding a stick in one hand. The clothing consists of white trousers, shirt and a hat. Geometric designs are on the side and a quartrofoil motif.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?southern Cross River Area; ?Umuajatta village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Similar image in Cole and Aniakor, 1984, p.85, Figures 154 with the caption, \u201cPainted wall in Okwu Olokoro\u201d; Figure 155 with the caption, \u201cSeveral scenes from the Olokoro wall, 1966.\n\nContext: Jones writes about the meeting houses and the wall decorations he photographed in the 1930s. \u201cThe village of Umuajatta (Olokoro) contributed together to build the finest Ekpe (Egbo) society house of the area. The design was new and consisted of an ovoid outer wall surmounted by a very tall raffia mat roof. To beautify this wall they hired and Anang (Ibibio) artist to paint frescoes on it in the Ngwomo style. The house and particularly the frescoes were greatly admired locally and this inspired the people of Okwu village to replace their Mbaja wall with a permanent one decorated in the same manner. This village was already distinguished from other villages in the tribe by having a solid mud wall which they called Mbaja and which was regarded as a kind of public monument. The Old Mbaja had long since fallen down and the people decided to replace it with a permanent one which would display even bigger and better frescoes than those of the Umuajatta Ekpe lodge. They raised a fund to which all members of the village contributed, they bought the materials and hired a mason and carpenters, who built a wall with corrugated iron roof over it framing two sides of their market and pubic meeting-place. It was about ninety yards long, broken in the middle by a gateway giving on to the main road outside. The construction was of cement blocks plastered with cement on the inside, the roof was extended forward over this side to protect and form a kind of narrow gallery. They hired the same artist who had painted the Umuajatta Ekpe lodge to decorate the inside wall with Ngwomo-type frescoes but, in response to the demands of the Christians who had contributed to the fund, the bawdy topics which had enlivened the Umuajatta lodge were omitted. Also, and again in deference to Christian taboos, the new Mbaja was not associated with any secret society or juju.\u201d (Jones, 1984, pp.106-108).\n\nContext: With specific reference to the style of the wall paintings, Jones writes, \u201cThe frescoes on the locally famous wall at Okwu, a village of the Olokoro tribe a few miles from Umuahia township, illustrate this point. They were painted by an Anang (Ibibio) artist from Obot Akara village about 25 miles away in teh Ikot Ekpene division of the Anang province. It is in traditional Anang style used for painting ghost houses (Ngwomo) which are built as memorials for imporant female dead.\u201d (Jones, 1973, p.60)\n\nContext: Cole and Aniakor (1984) also discuss the famous wall paintings in Olokoro. \u201cHe executed more than twenty-five separate panels serially illustrating daily and ceremonial village life. Among his subjects are processions of finely appointed women, masqueraders, important men receiving guests, horsemen, cows adn other animals and warriors with knives and trophy heads. All motifs are schematic, outlined and painted on a white background without perspective or shading. Although strongly conventionallized (human figures are shown frontally or in profile, usually without overlapping limbs) the renderings, especially viewed as a group, are vivid and masterfully exectuted. The same artist had earlier painted murals in cult houses, some of which had explicit sexual imagery, probably both amusing and didactic depending on the viewer (Cole and Aniakor, 1984, p.86).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1973. \u201cSculpture of the Umuahia Area of Nigeria\u201d, African Arts 6(4); 58-63, 96.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147858\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13208_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000470_N.13208.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13303.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306575", "metadata": {"title": "Untitled", "idno": "N.13303.GIJ", "description": "Close up portrait of an elder man.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "?Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13303.GIJ\n\nDescription\n\nClose up portrait of an elder man.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\n?Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147953\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13303_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000566_N.13303.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171509.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465570", "metadata": {"title": "Untitled", "idno": "P.171509.GIJ", "description": "An Obugulu Mau masquerader in performance. The masquerader is wearing a conical headdress consisting of colourful felt, edged with cowrie shells. The mask is painted white with black markings around the eyes, nose, mouth and accentuating the eyebrows and cheeks and attached to a harlequin-like costume with white sleeves. The masquerader's arms are raised. In the background are spectators and trees. An attendant is dancing behind, holding stick. [PB 26/09/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171490.GIJ - P.171510.GIJ were located in a 'Shell' folder, now numbered C768/5.\n\nP.768169.GIJ and P.768170.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171509.GIJ\n\nDescription\n\nAn Obugulu Mau masquerader in performance. The masquerader is wearing a conical headdress consisting of colourful felt, edged with cowrie shells. The mask is painted white with black markings around the eyes, nose, mouth and accentuating the eyebrows and cheeks and attached to a harlequin-like costume with white sleeves. The masquerader's arms are raised. In the background are spectators and trees. An attendant is dancing behind, holding stick. [PB 26/09/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171490.GIJ - P.171510.GIJ were located in a 'Shell' folder, now numbered C768/5.\n\nP.768169.GIJ and P.768170.GIJ are mounted on card.\n\nFM:312210\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171509_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144726_P.171509.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171548.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465609", "metadata": {"title": "Untitled", "idno": "P.171548.GIJ", "description": "A documentation photograph of three face masks for the Okorosie masquerade. They portray female characters, with white painted faces, round eye holes, open mouths with bared teeth, and elaborate coiffures of hair bunches and horns painted black. [PB 22/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Omoku", "cultural_affliation": "Igbo [historically Ibo]; Oba", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171547.GIJ to P.171549.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171548.GIJ\n\nDescription\n\nA documentation photograph of three face masks for the Okorosie masquerade. They portray female characters, with white painted faces, round eye holes, open mouths with bared teeth, and elaborate coiffures of hair bunches and horns painted black. [PB 22/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Omoku\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oba\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171547.GIJ to P.171549.GIJ are mounted on card.\n\nFM:312268\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171548_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144790_P.171548.GIJ_001.jpg"}, {"file_name": "P_171548_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144791_P.171548.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71466.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364737", "metadata": {"title": "Untitled", "idno": "N.71466.GIJ", "description": "Two toned face mask named Rich Man. Painted half black and half white with a hair or fur moustache.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "The negative is the 21st in a negative album. The precise album from which this negative has come is uncertain.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/3/2008]", "raw_text_dump": "IDNO\n\nN.71466.GIJ\n\nDescription\n\nTwo toned face mask named Rich Man. Painted half black and half white with a hair or fur moustache.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThe negative is the 21st in a negative album. The precise album from which this negative has come is uncertain.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/3/2008]\n\nFM:206116\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71466_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656602_N.71466.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13291.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306563", "metadata": {"title": "Untitled", "idno": "N.13291.GIJ", "description": "Okwanku masquerade scene.\nFour masquerade characters in front of crown of adults and children. Character at left wearing face mask with raffia hair, head-gear and gumboots is Onyechumiri (Rain Driver). Others characters include one wearing a face mask with two horns, a character wearing a face mask with raffia hair playing a wind instrument, and a character with raffia hair and beard attached to face mask, and head-gear.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village", "cultural_affliation": "Igbo [historically Ibo]; Ohaffia", "named_person": "Onyechumiri; Rain Driver; [names of mask character at left]", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestingly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13291.GIJ\n\nDescription\n\nOkwanku masquerade scene.\nFour masquerade characters in front of crown of adults and children. Character at left wearing face mask with raffia hair, head-gear and gumboots is Onyechumiri (Rain Driver). Others characters include one wearing a face mask with two horns, a character wearing a face mask with raffia hair playing a wind instrument, and a character with raffia hair and beard attached to face mask, and head-gear.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River area; Akanu village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ohaffia\n\nNamed Person\n\nOnyechumiri; Rain Driver; [names of mask character at left]\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: In describing the Cross River style of masquerades, Jones writes that the carvers made both skin-covered and plain wooden heads and masks and looked particularly to the Ibibio for their ideas. Some of the Ohaffia towns had masquerades and masks peculiar to them. In the Akanu town Okwanku masquerade the characters acted together in a comic drama in which the character called Dibia (Doctor) poisoned the one called Rain Driver and then brought him back to life again.\u201d (Jones, 1989, p. 61). Interestingly, Jones notes that in this part of Nigeria they do not have rain-makers but specialists who can drive rain away (Jones, 1984, p.209).\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art. (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 6/2/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147941\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13291_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000554_N.13291.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171287.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465348", "metadata": {"title": "Untitled", "idno": "P.171287.GIJ", "description": "Onu Kamma (Mouth stronger than sword) masquerade showing a close up view of one masquerader wearing a large conical shaped faceless mask made of layers of fibre, with a cloth panel in the front, and a round shaped object on the top. The masquerader is wearing a tie-dyed/batik? top. Behind the masqueraders is an attendant and further away is a large audience of bystanders in the background. [Description from record P.71571.GIJ, PB 30/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767211.GIJ is mounted on card.", "raw_text_dump": "IDNO\n\nP.171287.GIJ\n\nDescription\n\nOnu Kamma (Mouth stronger than sword) masquerade showing a close up view of one masquerader wearing a large conical shaped faceless mask made of layers of fibre, with a cloth panel in the front, and a round shaped object on the top. The masquerader is wearing a tie-dyed/batik? top. Behind the masqueraders is an attendant and further away is a large audience of bystanders in the background. [Description from record P.71571.GIJ, PB 30/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767211.GIJ is mounted on card.\n\nFM:311978\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171287_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144503_P.171287.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13249.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306521", "metadata": {"title": "Untitled", "idno": "N.13249.GIJ", "description": "Mau (Ghost) masquerade.\n\nTwo characters performing in a masquerade, crowd at left. \u2018Oju Onu\u2019 (\u2018Long Mouth\u2019) ?dancing in centre of image, wearing a carved and painted wooden head mask attached to a woven cloth top, cloth tights and a raffia skirt. The mask is carved with two horns, eyes, nose, ears, and a muzzle with teeth. It is painted with dark pigment, on to which pale spots and lines have been added. In background is \u2018Iro Ekpetu\u2019 (\u2018Merciless\u2019), a character wearing a fierce carved and painted wooden face mask, cloth top and tights, and a raffia skirt.", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "Eju Onu; Long Mouth; Iro Ekpetu; Merciless [names of mask characters]", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: Jones describes the head mask for the character called Ulaga or Oji Onu (Long Mouth) among the Northern Ibo. It belonged to the benign or comic animal category. The frontal part of his head mask projected forward as a muzzle or pair of jaws, the middle section carried a high human forehead and a high-carinated nose, occasionally flanked by bulbous eyes; the rear part was finished off with horns or animal ears or more abstract projections. Whatever its origin, whether in the Lower Niger or Delta area, this type of mask seems to have ranged from the Central Delta to the confluence of the Niger and the Benue River and as far up the latter as the Jukun and Chamba territory.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nMeek, C. 1931. A Sudanese Kingdom, (London)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 17/10/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13249.GIJ\n\nDescription\n\nMau (Ghost) masquerade.\n\nTwo characters performing in a masquerade, crowd at left. \u2018Oju Onu\u2019 (\u2018Long Mouth\u2019) ?dancing in centre of image, wearing a carved and painted wooden head mask attached to a woven cloth top, cloth tights and a raffia skirt. The mask is carved with two horns, eyes, nose, ears, and a muzzle with teeth. It is painted with dark pigment, on to which pale spots and lines have been added. In background is \u2018Iro Ekpetu\u2019 (\u2018Merciless\u2019), a character wearing a fierce carved and painted wooden face mask, cloth top and tights, and a raffia skirt.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nEju Onu; Long Mouth; Iro Ekpetu; Merciless [names of mask characters]\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: Jones describes the head mask for the character called Ulaga or Oji Onu (Long Mouth) among the Northern Ibo. It belonged to the benign or comic animal category. The frontal part of his head mask projected forward as a muzzle or pair of jaws, the middle section carried a high human forehead and a high-carinated nose, occasionally flanked by bulbous eyes; the rear part was finished off with horns or animal ears or more abstract projections. Whatever its origin, whether in the Lower Niger or Delta area, this type of mask seems to have ranged from the Central Delta to the confluence of the Niger and the Benue River and as far up the latter as the Jukun and Chamba territory.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nMeek, C. 1931. A Sudanese Kingdom, (London)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 17/10/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147899\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13249_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000512_N.13249.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.71596.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364867", "metadata": {"title": "Untitled", "idno": "N.71596.GIJ", "description": "A group of males referred to as the body guard wearing coats of mail (hardnut shells). There are ten youth, nine of whom are wearing white hats/caps on their head an one youth with feathers in his hair and holding a mask? in one hand and a machete in the other. The other youth are holding sticks and two are carrying gong instruments. The costume consists of a cloth tunic adorned with the shells of hardnuts, white shorts, and a short raffia skirt around the waist; some of them are wearing bands around the knees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 14 of the negative album now numbered C15/.\n\nContext: Jones discusses the variety and diversity of the amsks and costumes used in masquerades especially in reference to the Nri Akwa area. \u201cIn areas where there was a greater interest in masquerades and a greater variety and number of characters that appeared in them there was some more need to emphasise the distinction between them, and this was done by varying the form and the expression of the masks and heads and this was done by varying the form and expression of the masks and the heads and the shape and details of the costume. Fierce characters were given horrific animal features, beaks, horns fangs and the like, and their costumes were made of materials that were stained or dyed in arresting colours and studded with porcupine quills, the hard shells of nuts or wooden or metal plates. (Jones, 1989, p. 44)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71596.GIJ\n\nDescription\n\nA group of males referred to as the body guard wearing coats of mail (hardnut shells). There are ten youth, nine of whom are wearing white hats/caps on their head an one youth with feathers in his hair and holding a mask? in one hand and a machete in the other. The other youth are holding sticks and two are carrying gong instruments. The costume consists of a cloth tunic adorned with the shells of hardnuts, white shorts, and a short raffia skirt around the waist; some of them are wearing bands around the knees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 14 of the negative album now numbered C15/.\n\nContext: Jones discusses the variety and diversity of the amsks and costumes used in masquerades especially in reference to the Nri Akwa area. \u201cIn areas where there was a greater interest in masquerades and a greater variety and number of characters that appeared in them there was some more need to emphasise the distinction between them, and this was done by varying the form and the expression of the masks and heads and this was done by varying the form and expression of the masks and the heads and the shape and details of the costume. Fierce characters were given horrific animal features, beaks, horns fangs and the like, and their costumes were made of materials that were stained or dyed in arresting colours and studded with porcupine quills, the hard shells of nuts or wooden or metal plates. (Jones, 1989, p. 44)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206246\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71596_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656697_N.71596.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169685.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463694", "metadata": {"title": "Untitled", "idno": "P.169685.GIJ", "description": "A group of human remains, including one skull and two bones. The remains are lying on open ground. [PB 24/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169680.GIJ - P.169690.GIJ were located in a brown envelope now numbered C754/3/.", "raw_text_dump": "IDNO\n\nP.169685.GIJ\n\nDescription\n\nA group of human remains, including one skull and two bones. The remains are lying on open ground. [PB 24/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169680.GIJ - P.169690.GIJ were located in a brown envelope now numbered C754/3/.\n\nFM:310172\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169685_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127465_image_not_public.jpg"}, {"file_name": "P_169685_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127466_P.169685.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171260.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465321", "metadata": {"title": "Untitled", "idno": "P.171260.GIJ", "description": "A close up portrait of a masquerader wearing an Ogbugulu Mau \"daughter\" mask. The mask consists of a white face with black markings and etched markings on the cheeks and forehead. The top of the mask culminates in a rounded superstructure decorated with mirrors and in colourful felt and cloth. Attached to the back of the mask are strips of cloth and felt. [PB 12/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra state; Awka North; Achalla", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767180.GIJ - P.767181.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171260.GIJ\n\nDescription\n\nA close up portrait of a masquerader wearing an Ogbugulu Mau \"daughter\" mask. The mask consists of a white face with black markings and etched markings on the cheeks and forehead. The top of the mask culminates in a rounded superstructure decorated with mirrors and in colourful felt and cloth. Attached to the back of the mask are strips of cloth and felt. [PB 12/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra state; Awka North; Achalla\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767180.GIJ - P.767181.GIJ are mounted together on card.\n\nFM:311951\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171260_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144476_P.171260.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.7055.ACH1", "source_url": "https://collections.maa.cam.ac.uk/photographs/300327", "metadata": {"title": "Untitled", "idno": "P.7055.ACH1", "description": "On Catalogue Card: Making a pot, Edo-speaking peoples, S. Nigeria.", "place": "W Africa; Nigeria; south eastern Nigeria", "cultural_affliation": "Edo", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Mounted Haddon Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "", "raw_text_dump": "IDNO\n\nP.7055.ACH1\n\nDescription\n\nOn Catalogue Card: Making a pot, Edo-speaking peoples, S. Nigeria.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria\n\nCultural Affliation\n\nEdo\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nMounted Haddon Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nFM:141705\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_7055_ACH1_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/866778_P.7055.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71917.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365188", "metadata": {"title": "Untitled", "idno": "N.71917.GIJ", "description": "A modern female figure painted white and standing on a rounded base, perched on a stool. The figure has a large oval shaped face with stylised human features and black pointed projections on the top of her head. The upper torso is square like, the breasts are painted black and a necklace is painted in black along the neckline, her arms are against the side of her body and her legs are slightly bent with feet painted black.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 22 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Igbo\n3. Modern female figure Abiriba. (1st image).\n\nContext: Jones describes the diverse types of sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nN.71917.GIJ\n\nDescription\n\nA modern female figure painted white and standing on a rounded base, perched on a stool. The figure has a large oval shaped face with stylised human features and black pointed projections on the top of her head. The upper torso is square like, the breasts are painted black and a necklace is painted in black along the neckline, her arms are against the side of her body and her legs are slightly bent with feet painted black.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 22 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Abiriba Igbo\n3. Modern female figure Abiriba. (1st image).\n\nContext: Jones describes the diverse types of sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\nFM:206567\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71917_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657015_N.71917.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13146.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306418", "metadata": {"title": "Untitled", "idno": "N.13146.GIJ", "description": "An Ibibio mask that is rectangular in shape but curves at the top of the mask. The face has an ncised arched hairline, two rounded, protruding eyes, pointed beak with etched markings and two protruding, tusk like horns at the bottom of the face.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Abak", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: The Ibibio ekpo characters were said to be spirits from the surrounding area (or water), brought to the village during masquerades by members of the society that ministers to them.\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nAkpan, J. 1994. \u201cEkpo Society Masks of the Ibibio\u201d. African Arts, Vol. XXVII, No.4, pp.. 48-53.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]Publication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13146.GIJ\n\nDescription\n\nAn Ibibio mask that is rectangular in shape but curves at the top of the mask. The face has an ncised arched hairline, two rounded, protruding eyes, pointed beak with etched markings and two protruding, tusk like horns at the bottom of the face.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Abak\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: The Ibibio ekpo characters were said to be spirits from the surrounding area (or water), brought to the village during masquerades by members of the society that ministers to them.\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nAkpan, J. 1994. \u201cEkpo Society Masks of the Ibibio\u201d. African Arts, Vol. XXVII, No.4, pp.. 48-53.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]Publication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147796\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13146_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000408_N.13146.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171327.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465388", "metadata": {"title": "Untitled", "idno": "P.171327.GIJ", "description": "A documentation photograph of a dark wooden face mask. [Description from record P.71469.GIJ, PB 01/08/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; ?Nri Awka", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767250.GIJ and P.767251.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171327.GIJ\n\nDescription\n\nA documentation photograph of a dark wooden face mask. [Description from record P.71469.GIJ, PB 01/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; ?Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767250.GIJ and P.767251.GIJ are mounted together on card.\n\nFM:312018\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171327_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144543_P.171327.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.71938.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365209", "metadata": {"title": "Untitled", "idno": "P.71938.GIJ", "description": "Two men standing against a wall \u201cmodelling\u201d two wooden face masks, The mask on the left is a dark rounded mask with an overhanging forehead, slit eyes, open squarish mouth, etched markings the side and a crest-like fan, incised protrusion on the top. The man is wearing a short sleeved shirt and he is holding the mask with one one hand. The mask on the right is more rectangular in shape with squared eyes, long pointed nose, slightly protruding jaw and lips. Facial features such as the eyes are outlined in white. On the top of the mask is an incised ridge or crest. In the background is a mud building with an open window.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nP.71938.GIJ\n\nDescription\n\nTwo men standing against a wall \u201cmodelling\u201d two wooden face masks, The mask on the left is a dark rounded mask with an overhanging forehead, slit eyes, open squarish mouth, etched markings the side and a crest-like fan, incised protrusion on the top. The man is wearing a short sleeved shirt and he is holding the mask with one one hand. The mask on the right is more rectangular in shape with squared eyes, long pointed nose, slightly protruding jaw and lips. Facial features such as the eyes are outlined in white. On the top of the mask is an incised ridge or crest. In the background is a mud building with an open window.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nFM:206588\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_71938_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657029_N.71939.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.71940.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365211", "metadata": {"title": "Untitled", "idno": "P.71940.GIJ", "description": "A ceremonial tripod drum with three carved figures like caryatids. The drum is rounded and covered with animal skin and twine. The base of the drum has thick inicisions. The frontal figure is carved and the figure has legs slightly bent and stylised hands and feet. In the background are people.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\n\nSame image in Jones, 1988, p.60. Figure 51 with the caption, \u201cCeremonial drum. Abiriba town. Cross River Ibo, said to have been carved by Ibibio, but obviously carved locally\u201d.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]", "raw_text_dump": "IDNO\n\nP.71940.GIJ\n\nDescription\n\nA ceremonial tripod drum with three carved figures like caryatids. The drum is rounded and covered with animal skin and twine. The base of the drum has thick inicisions. The frontal figure is carved and the figure has legs slightly bent and stylised hands and feet. In the background are people.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71832.GIJ to P.71970.GIJ were kept in box 7, now numbered C298/.\n\nSame image in Jones, 1988, p.60. Figure 51 with the caption, \u201cCeremonial drum. Abiriba town. Cross River Ibo, said to have been carved by Ibibio, but obviously carved locally\u201d.\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nFM:206590\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_71940_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657031_N.71941.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13320.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306592", "metadata": {"title": "Untitled", "idno": "N.13320.GIJ", "description": "Ogbugulu Mau Mask Series. A side view of an Obugulu Mau helmet mask. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with painted teeth. There are painted designs above and beneath the eyes and on the cheek. The top of the mask consists of a dark arched crest with painted circles and striated markings with swirled incised designs representing uli on the sides of the crest. Strips of a felt bands are stitched to the mask attached with pieces of fabric and netted cloth.\n\nObject documentation photograph: side view of a mask supported on a ?shooting stick.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka", "cultural_affliation": "Igbo [historically Ibo[; Nri-Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "Prior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nThis is the eighth image in the Ogbugulu Mau Mask series of eight photographs.\n\nContext: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The white-faced helmut type was confined to part of the Northern Ibo area and and to some of the Northern Edo. In the majority of examples the crested area, when scene in profile formed a curve which reached from the back of the head to the top of the forehead, while the mask section was flat and set at an angle to it, either coming down vertically over the actor\u2019s face or being extended forward at an angle (Jones, 1984, p.139)\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984, p.143)\n\nContext: Cole and Aniakor provide further in-depth description about the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13320.GIJ\n\nDescription\n\nOgbugulu Mau Mask Series. A side view of an Obugulu Mau helmet mask. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with painted teeth. There are painted designs above and beneath the eyes and on the cheek. The top of the mask consists of a dark arched crest with painted circles and striated markings with swirled incised designs representing uli on the sides of the crest. Strips of a felt bands are stitched to the mask attached with pieces of fabric and netted cloth.\n\nObject documentation photograph: side view of a mask supported on a ?shooting stick.\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka\n\nCultural Affliation\n\nIgbo [historically Ibo[; Nri-Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPrior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nThis is the eighth image in the Ogbugulu Mau Mask series of eight photographs.\n\nContext: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The white-faced helmut type was confined to part of the Northern Ibo area and and to some of the Northern Edo. In the majority of examples the crested area, when scene in profile formed a curve which reached from the back of the head to the top of the forehead, while the mask section was flat and set at an angle to it, either coming down vertically over the actor\u2019s face or being extended forward at an angle (Jones, 1984, p.139)\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984, p.143)\n\nContext: Cole and Aniakor provide further in-depth description about the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147970\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13320_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000583_N.13320.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "T.169966.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463985", "metadata": {"title": "Untitled", "idno": "T.169966.GIJ", "description": "A close up portrait of Oganochi, a mgbedike masquerader. The masquerader is wearing a cloth costume with light and dark striped ruffles on body and his upper arms, with porcupine quills hanging from the edges of the ruffles. The masquerader is wearing a dark wooden helmet mask, with white paint accentuating the mouth, teeth and eyes. It is similar to an 'lion elephant mask'. There are two feathers held in the front of the band at the bottom of the horns. On the top of the mask are four carved horns curling inwards, with a carved animal finial joining the tips of the horns. [PB 28/07/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; October 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.169966.GIJ\n\nDescription\n\nA close up portrait of Oganochi, a mgbedike masquerader. The masquerader is wearing a cloth costume with light and dark striped ruffles on body and his upper arms, with porcupine quills hanging from the edges of the ruffles. The masquerader is wearing a dark wooden helmet mask, with white paint accentuating the mouth, teeth and eyes. It is similar to an 'lion elephant mask'. There are two feathers held in the front of the band at the bottom of the horns. On the top of the mask are four carved horns curling inwards, with a carved animal finial joining the tips of the horns. [PB 28/07/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; October 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310494\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_169966_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127971_T.169966.GIJ_001.png"}, {"file_name": "T_169966_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127972_T.169966.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169885.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463904", "metadata": {"title": "Untitled", "idno": "P.169885.GIJ", "description": "View of Ekpe (Egbo) society meeting house in Umuajatta (Olokoro) village. The house has a tall thatched roof, and a wall painted by an Anang artist in the style of Ngwomo ghost houses. Surrounded by trees. [Description from record N.13221.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River Area; Umuajatta village", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169885.GIJ\n\nDescription\n\nView of Ekpe (Egbo) society meeting house in Umuajatta (Olokoro) village. The house has a tall thatched roof, and a wall painted by an Anang artist in the style of Ngwomo ghost houses. Surrounded by trees. [Description from record N.13221.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River Area; Umuajatta village\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310372\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169885_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127853_P.169885.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.71590.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364861", "metadata": {"title": "Untitled", "idno": "N.71590.GIJ", "description": "Anumbii (horned beast) masqerader sitting down. The mask consists of a white painted face with slit eyes, long pointed nose, mouth, pointed ears and black incised striations along the forehead and black painted facial decorations below the eye. The top of the mask consists of two curved horns and an animal. The costume consists of dark woven cloth adorned with the shells of seeds. In the background are trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 27 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Anumbii (Horned Beast) Amuobia village (19th image).\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) (Jones, 1984).\n\nContext: The wide variety of masks in the Nri Akwa area is discussed further. Antelopes, goats, and similar animal spirits were given head masks and those with long muzzles were called Oji Onu (long mouth) or Ulaga. Some animals (for example, Tortoise) were carved as a complete figure which was worn on the actor\u2019s head. There was a range of masks in various shapes, sizes, styles and materials representing comic, stupid, and other human and animal types. There was also faceless characters where the actor\u2019s own face was concealed under a cloth or raffia hood. Some of these were said to be very old and senior, other were abstractions like the spirit called Government or three raffia-covered characters who sang together in thirds and were called Onukamma (the tongue is stronger than the sword). Some of the masks used in Nri-Akwa masquerades were borrowed from elsewhere, mainly from the Ibibio. (Jones, 1989, pp.46-47.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71590.GIJ\n\nDescription\n\nAnumbii (horned beast) masqerader sitting down. The mask consists of a white painted face with slit eyes, long pointed nose, mouth, pointed ears and black incised striations along the forehead and black painted facial decorations below the eye. The top of the mask consists of two curved horns and an animal. The costume consists of dark woven cloth adorned with the shells of seeds. In the background are trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 27 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Anumbii (Horned Beast) Amuobia village (19th image).\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) (Jones, 1984).\n\nContext: The wide variety of masks in the Nri Akwa area is discussed further. Antelopes, goats, and similar animal spirits were given head masks and those with long muzzles were called Oji Onu (long mouth) or Ulaga. Some animals (for example, Tortoise) were carved as a complete figure which was worn on the actor\u2019s head. There was a range of masks in various shapes, sizes, styles and materials representing comic, stupid, and other human and animal types. There was also faceless characters where the actor\u2019s own face was concealed under a cloth or raffia hood. Some of these were said to be very old and senior, other were abstractions like the spirit called Government or three raffia-covered characters who sang together in thirds and were called Onukamma (the tongue is stronger than the sword). Some of the masks used in Nri-Akwa masquerades were borrowed from elsewhere, mainly from the Ibibio. (Jones, 1989, pp.46-47.)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nJones, G.I. 1989. Ibo Art (Shire).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 20/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206240\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71590_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656694_N.71590.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13178.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306450", "metadata": {"title": "Untitled", "idno": "N.13178.GIJ", "description": "An Ekpo panel mask. The panel is rounded at the top with a flat bottom, the oval face is raised in the centre and is naturalistic and serene in form. The mask consists of a rounded border at the top of the head, high forehead, slit eyes with overhanging eyelids, squarish nose, and diamond shaped open mouth, elliptical shaped ears, and keloid markings on the side.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Jones, 1984, p. 129, Plate 40 with the caption, \u201cEkpo mask, naturalistic in style.\n\nContext: \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]", "raw_text_dump": "IDNO\n\nN.13178.GIJ\n\nDescription\n\nAn Ekpo panel mask. The panel is rounded at the top with a flat bottom, the oval face is raised in the centre and is naturalistic and serene in form. The mask consists of a rounded border at the top of the head, high forehead, slit eyes with overhanging eyelids, squarish nose, and diamond shaped open mouth, elliptical shaped ears, and keloid markings on the side.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: Jones, 1984, p. 129, Plate 40 with the caption, \u201cEkpo mask, naturalistic in style.\n\nContext: \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]\n\n\nFM:147828\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13178_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000440_N.13178.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13240.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306512", "metadata": {"title": "Untitled", "idno": "N.13240.GIJ", "description": "Obugulu Mau (Ghost) masquerade.\nA masquerader performing in a female masquerade, wearing a helmet mask, and brightly coloured harlequin-like costume covering the whole body. There is a cloth scarf tied round the shoulders, and another cloth around the waist, and ankle-rattles. The names of female mask characters include Nwabogho Efi and Heifer.\nThe second mask character, \u2018Iro Ekpetu\u2019 or \u2018Merciless\u2019, standing at left, with a fierce darkened face mask, with eyes and teeth painted white, cloth tights and top, and a raffia skirt. To the left of the photograph is a man with a drum? In the background are mud and thatch huts and trees.\n\nPhysical Condition: The negative is scratched.", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublications: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions. The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984, p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones, 1984, p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nBibliographical Reference: Aniakor and Cole discuss the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho, or Adolescent female masks, Agbogho Mmanwu (or mmuo). During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style... The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]", "raw_text_dump": "IDNO\n\nN.13240.GIJ\n\nDescription\n\nObugulu Mau (Ghost) masquerade.\nA masquerader performing in a female masquerade, wearing a helmet mask, and brightly coloured harlequin-like costume covering the whole body. There is a cloth scarf tied round the shoulders, and another cloth around the waist, and ankle-rattles. The names of female mask characters include Nwabogho Efi and Heifer.\nThe second mask character, \u2018Iro Ekpetu\u2019 or \u2018Merciless\u2019, standing at left, with a fierce darkened face mask, with eyes and teeth painted white, cloth tights and top, and a raffia skirt. To the left of the photograph is a man with a drum? In the background are mud and thatch huts and trees.\n\nPhysical Condition: The negative is scratched.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublications: Similar photographs of Obugulu Mau are found in Jones, 1984, pp.61 and 62.\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions. The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984, p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones, 1984, p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nBibliographical Reference: Aniakor and Cole discuss the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho, or Adolescent female masks, Agbogho Mmanwu (or mmuo). During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style... The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]\n\n\nFM:147890\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13240_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000503_N.13240.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171118.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465179", "metadata": {"title": "Untitled", "idno": "P.171118.GIJ", "description": "An Idoma face mask. The face is painted white with the characteristic Idoma markings consisting of three rows of vertical markings representing keloids painted black located in the centre of the forehead and on each temple and two circular markings on either side of the mouth. The eyes consist of narrow slits with defined black eyebrows, wide nose and open mouth painted black with white teeth. The ears are painted black and the top of the head is painted black symbolising hair. Attached to the chin of the mask are pieces of yarn, possibly symbolising a beard?; cloth is attached to the side of the mask. [Description from record N.71485.GIJ, PB 18/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Northern Ibo area", "cultural_affliation": "Idoma", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767042.GIJ - P.767043.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171118.GIJ\n\nDescription\n\nAn Idoma face mask. The face is painted white with the characteristic Idoma markings consisting of three rows of vertical markings representing keloids painted black located in the centre of the forehead and on each temple and two circular markings on either side of the mouth. The eyes consist of narrow slits with defined black eyebrows, wide nose and open mouth painted black with white teeth. The ears are painted black and the top of the head is painted black symbolising hair. Attached to the chin of the mask are pieces of yarn, possibly symbolising a beard?; cloth is attached to the side of the mask. [Description from record N.71485.GIJ, PB 18/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Northern Ibo area\n\nCultural Affliation\n\nIdoma\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767042.GIJ - P.767043.GIJ are mounted together on card.\n\nFM:311809\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171118_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144334_P.171118.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.170395.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464456", "metadata": {"title": "Untitled", "idno": "N.170395.GIJ", "description": "A documentary photograph of an Ekpo panel mask. The panel is rounded at the top with a flat bottom, the oval face is raised in the centre and is naturalistic and serene in form. The mask consists of a rounded border at the top of the head, high forehead, slit eyes with overhanging eyelids, squarish nose, and diamond shaped open mouth, elliptical shaped ears, and keloid markings on the side. [Description from record N.13175.GIJ, PB 24/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Glass Negative 1/8 plate", "primary_documentation": "", "other_information": "T.170298.GIJ - ??? were located as loose photos and envelopes in an folder box now numbered C760/.\n\nN.7604001.GIJ - N.7604016.GIJ were located in a Kodak transparency box, now numbered C760/4.\n\nPublication: This mask is featured in in Jones G.I., 1984. The Art of Eastern Nigeria. (Cambridge: CUP), Fi.g 40 p. 129, and captioned \"Ekpo mask: naturalistic mode (N.M.). Anang (Ibibio).\" [PB 24/11/2023]", "raw_text_dump": "IDNO\n\nN.170395.GIJ\n\nDescription\n\nA documentary photograph of an Ekpo panel mask. The panel is rounded at the top with a flat bottom, the oval face is raised in the centre and is naturalistic and serene in form. The mask consists of a rounded border at the top of the head, high forehead, slit eyes with overhanging eyelids, squarish nose, and diamond shaped open mouth, elliptical shaped ears, and keloid markings on the side. [Description from record N.13175.GIJ, PB 24/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nGlass Negative 1/8 plate\n\nPrimary Documentation\n\nOther Information\n\nT.170298.GIJ - ??? were located as loose photos and envelopes in an folder box now numbered C760/.\n\nN.7604001.GIJ - N.7604016.GIJ were located in a Kodak transparency box, now numbered C760/4.\n\nPublication: This mask is featured in in Jones G.I., 1984. The Art of Eastern Nigeria. (Cambridge: CUP), Fi.g 40 p. 129, and captioned \"Ekpo mask: naturalistic mode (N.M.). Anang (Ibibio).\" [PB 24/11/2023]\n\nFM:310971\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_170395_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1199407_N.170395.GIJ_001.jpg"}, {"file_name": "N_170395_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1199408_N.170395.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171205.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465266", "metadata": {"title": "Untitled", "idno": "P.171205.GIJ", "description": "An object documentation image of two 'fierce' animal-like face masks on display in a museum. The mask on the left has bulbous horned head with a curved nose, wide circular eyes, and an open mouth with notched teeth. The mask on the right has a misshapen forehead, lopsided eyes, and an open mouth with crooked teeth. Both masks are painted dark brown, with white teeth and eyes. [PB 04/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Colour Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767129.GIJ - P.767132.GIJ are mounted together on paper.\n\nThese masks are in the Simon Ottenberg collection.", "raw_text_dump": "IDNO\n\nP.171205.GIJ\n\nDescription\n\nAn object documentation image of two 'fierce' animal-like face masks on display in a museum. The mask on the left has bulbous horned head with a curved nose, wide circular eyes, and an open mouth with notched teeth. The mask on the right has a misshapen forehead, lopsided eyes, and an open mouth with crooked teeth. Both masks are painted dark brown, with white teeth and eyes. [PB 04/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Colour Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767129.GIJ - P.767132.GIJ are mounted together on paper.\n\nThese masks are in the Simon Ottenberg collection.\n\nFM:311896\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171205_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144421_P.171205.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171206.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465267", "metadata": {"title": "Untitled", "idno": "P.171206.GIJ", "description": "An object documentation image of two 'beautiful' Mau face masks on display in a museum. The mask on the left is on a stand, facing the camera. Its face is painted white, with a braided hairstyle painted black which extends down to the cheeks. The face has features marked with black paint, including a star shape on the forehead and ichi marks on the cheeks. The eyes are almond shaped. The mask on the right is standing on a dais. Its face is painted white, with hair lined in a steep centre parting. The eyes are large and the mouth open, with a straight horizontal line running from cheek to cheek through the mouth. [PB 04/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Colour Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767129.GIJ - P.767132.GIJ are mounted together on paper.\n\nThese masks are in the Simon Ottenberg collection.", "raw_text_dump": "IDNO\n\nP.171206.GIJ\n\nDescription\n\nAn object documentation image of two 'beautiful' Mau face masks on display in a museum. The mask on the left is on a stand, facing the camera. Its face is painted white, with a braided hairstyle painted black which extends down to the cheeks. The face has features marked with black paint, including a star shape on the forehead and ichi marks on the cheeks. The eyes are almond shaped. The mask on the right is standing on a dais. Its face is painted white, with hair lined in a steep centre parting. The eyes are large and the mouth open, with a straight horizontal line running from cheek to cheek through the mouth. [PB 04/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Colour Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767129.GIJ - P.767132.GIJ are mounted together on paper.\n\nThese masks are in the Simon Ottenberg collection.\n\nFM:311897\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171206_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144422_P.171206.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169738.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463747", "metadata": {"title": "Untitled", "idno": "P.169738.GIJ", "description": "A head and shoulders portrait of an older Igbo man with a grey bead and standing side on to the camera. He is wearing a collarless tunic over a vest. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169738.GIJ\n\nDescription\n\nA head and shoulders portrait of an older Igbo man with a grey bead and standing side on to the camera. He is wearing a collarless tunic over a vest. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310225\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169738_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127570_P.169738.GIJ_001.png"}, {"file_name": "P_169738_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127571_P.169738.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169657.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463653", "metadata": {"title": "Untitled", "idno": "P.169657.GIJ", "description": "Mau (Ghost) masquerade.\n\nAwo Ohia (Traveller or he who travels through the bush) wearing a striped, netted costume covering the body and head, the netting on the head is black, holding a stick. A rattle is attached to the waist, probably made of seed? or shell?, partially obscured by raffia. In the background are mud and thatched huts, trees and vegetation. [Description from record N.61409.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nAssociated images: N.13239.GIJ; N.13240.GIJ; N.13241.GIJ; N.13242.GIJ; N.13243.GIJ; N.13244.GIJ; N.13245.GIJ; N.13247.GIJ; N.13248.GIJ; N.13249.GIJ; N.13250GIJ; N.13251.GIJ; N.13252.GIJ; N.13253.GIJ; N.13254.GIJ; N.13255.GIJ; N.13256.GIJ; N.13257.GIJ [all images depicting the Obugulu Mau masquerade in Amuda village] [Same scene]", "raw_text_dump": "IDNO\n\nP.169657.GIJ\n\nDescription\n\nMau (Ghost) masquerade.\n\nAwo Ohia (Traveller or he who travels through the bush) wearing a striped, netted costume covering the body and head, the netting on the head is black, holding a stick. A rattle is attached to the waist, probably made of seed? or shell?, partially obscured by raffia. In the background are mud and thatched huts, trees and vegetation. [Description from record N.61409.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; Nri Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nAssociated images: N.13239.GIJ; N.13240.GIJ; N.13241.GIJ; N.13242.GIJ; N.13243.GIJ; N.13244.GIJ; N.13245.GIJ; N.13247.GIJ; N.13248.GIJ; N.13249.GIJ; N.13250GIJ; N.13251.GIJ; N.13252.GIJ; N.13253.GIJ; N.13254.GIJ; N.13255.GIJ; N.13256.GIJ; N.13257.GIJ [all images depicting the Obugulu Mau masquerade in Amuda village] [Same scene]\n\nFM:310144\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169657_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127414_P.169657.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.169761.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463770", "metadata": {"title": "Untitled", "idno": "P.169761.GIJ", "description": "Half-length portrait of a man in front of a building. He has his right arm resting on a stick. There is a child sitting in the background. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169761.GIJ\n\nDescription\n\nHalf-length portrait of a man in front of a building. He has his right arm resting on a stick. There is a child sitting in the background. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310248\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169761_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127616_P.169761.GIJ_001.png"}, {"file_name": "P_169761_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127617_P.169761.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "T.170062.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464096", "metadata": {"title": "Untitled", "idno": "T.170062.GIJ", "description": "Obugulu Mau masquerade, a grandmother mask character. The masquerader is performing in front of an audience. The mask consists of a white face with black markings around the eyes, nose and three linear markings on the forehead. The top of the mask consists of cone-shaped headdress (coiffure) with a curved structure in the centre, painted white and black. There is woven cloth attached to the mask, a scarf tied around the neck and a harlequin-like costume, the sleeves are white covering the hands. In one hand there is a fly whisk and around the ankles are very thick ivory anklets. In the background are spectators and trees. [Description from record P.71517.GIJ, PB 14/09/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.170062.GIJ\n\nDescription\n\nObugulu Mau masquerade, a grandmother mask character. The masquerader is performing in front of an audience. The mask consists of a white face with black markings around the eyes, nose and three linear markings on the forehead. The top of the mask consists of cone-shaped headdress (coiffure) with a curved structure in the centre, painted white and black. There is woven cloth attached to the mask, a scarf tied around the neck and a harlequin-like costume, the sleeves are white covering the hands. In one hand there is a fly whisk and around the ankles are very thick ivory anklets. In the background are spectators and trees. [Description from record P.71517.GIJ, PB 14/09/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310590\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_170062_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128194_T.170062.GIJ_001.png"}, {"file_name": "T_170062_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1128196_T.170062.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71568.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364839", "metadata": {"title": "Untitled", "idno": "N.71568.GIJ", "description": "Onu Kamma (Mouth stronger than sword) masquerade showing three masqueraders wearing large conical shaped faceless masks made of layers of fibre and with a cloth panel in the front. The masqueraders are wearing tie-dyed/batik? tops and striped woven cloth trousers adorned with fibre skirts around the waist (cowrie shells are seen on the masquerader in the far right.) One of the masqueraders (left) is holding a metal gong. Behind the masqueraders is an attendant and a large crowd of bystanders in the background.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 40 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Onu Kamma maskers (mouth stronger than sword) Nimo (21st image).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 22/10/2007]Publication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71568.GIJ\n\nDescription\n\nOnu Kamma (Mouth stronger than sword) masquerade showing three masqueraders wearing large conical shaped faceless masks made of layers of fibre and with a cloth panel in the front. The masqueraders are wearing tie-dyed/batik? tops and striped woven cloth trousers adorned with fibre skirts around the waist (cowrie shells are seen on the masquerader in the far right.) One of the masqueraders (left) is holding a metal gong. Behind the masqueraders is an attendant and a large crowd of bystanders in the background.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 40 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Onu Kamma maskers (mouth stronger than sword) Nimo (21st image).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 22/10/2007]Publication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206218\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71568_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656672_N.71568.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13237.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306509", "metadata": {"title": "Untitled", "idno": "N.13237.GIJ", "description": "View of a Christian (?grave) monument in the form of a cross, sheltered under a raffia mat pointed roof sloping to the ground. Possibly a Ngwomo \u2018ghost house\u2019 erected for a deceased male.\nThe base of the monument has text painted on it, including the words \u201cIN ... LOVING MEMORY OF OUR BELOVED FATHER\u201d.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "?Anang; ?Ibibio Christian", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nSee Jones.G.I. 1984: 105-106.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/3/2008]", "raw_text_dump": "IDNO\n\nN.13237.GIJ\n\nDescription\n\nView of a Christian (?grave) monument in the form of a cross, sheltered under a raffia mat pointed roof sloping to the ground. Possibly a Ngwomo \u2018ghost house\u2019 erected for a deceased male.\nThe base of the monument has text painted on it, including the words \u201cIN ... LOVING MEMORY OF OUR BELOVED FATHER\u201d.\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\n?Anang; ?Ibibio Christian\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nSee Jones.G.I. 1984: 105-106.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/3/2008]\n\nFM:147887\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13237_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000500_N.13237.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71971.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365242", "metadata": {"title": "Untitled", "idno": "N.71971.GIJ", "description": "A Ngbagba Ikoro masquerade with a close up view of Otiri, the principle masquerade character. The mask of Otiri consists of a circular base with layers of white feathers adorning it; the head is shrouded in a woven cloth. In the background is a thatched building.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 52 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. A different Otiri Ngbagba Ikoro, Abiriba. (7th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71971.GIJ\n\nDescription\n\nA Ngbagba Ikoro masquerade with a close up view of Otiri, the principle masquerade character. The mask of Otiri consists of a circular base with layers of white feathers adorning it; the head is shrouded in a woven cloth. In the background is a thatched building.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 52 of the negative album now numbered C17/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Abiriba Igbo\n2. Ngbagba Ikoro Festival\n3. A different Otiri Ngbagba Ikoro, Abiriba. (7th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes,\n\u201cAbiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abariba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). In the 1930s their principle masquerade called Ngbangba Ikoro, had a band of twenty or more small boys and young men wearing masks that looked like face masks but were worn on the top of their heads and playing on clappers and metal gongs of various sizes. The characters in this masquerade consisted of two clowns with masks worn over their faces and a principle dancer called Otiri with a mask worn on top of his head and stuck full of long feathers, his face shrouded in a raffia bag, and wearing a shirt of raffia sacking and grass skirt. His right arm and left leg were painted in white chalk (Nzu) and the other arm and leg in yellow (Odo). The \u2018copyright\u2019 for this play and its masks was vested in a family of carvers. If one of them carved a mask for sale he had to share in the proceeds with his brother carvers. There were a number of other masquerades, each belonging to a particular section of the community.\u201d (Jones, 1988, pp.61-62)\n\nContext: Jones writes that within the Abam/Ohaffia area that, \u201cMany of their towns and villages had Ekpe (Egbo) masquerades and skin covered heads in the Cross River style, usually called Ajonku. But they also had other masquerades of their own with masks carved in local variations of the Lower Niger style. Some of these, although carved for use as a face mask, were actually worn on the actor\u2019s head, for example in the Ngbangba Ikoro masquerade of Abiriba.\u201d (Jones, 1984, p. 208)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 18/12/2007]\n\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206621\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71971_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/657075_N.71971.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13318.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306590", "metadata": {"title": "Untitled", "idno": "N.13318.GIJ", "description": "Ogbugulu Mau Mask Series. An Obugulu Mau helmet mask. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with painted teeth. There are elaborate painted designs above and beneath the eyes and o the cheeks. The top of the mask consists of a dark arched crest with white circles on the top and with swirled incised designs representing uli on the sides of the crest. Pieces of felt fabric are attached to the sides.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri-Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "Prior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.Named Person:\n\nThis is the sixth image in the Ogbugulu Mau Mask series of eight photographs.\n\nContext: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The white-faced helmut type was confined to part of the Northern Ibo area and and to some of the Northern Edo. In the majority of examples the crested area, when scene in profile formed a curve which reached from the back of the head to the top of the forehead, while the mask section was flat and set at an angle to it, either coming down vertically over the actor\u2019s face or being extended forward at an angle (Jones, 1984, p.139)\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984, p.143)\n\nContext: Cole and Aniakor provide further in-depth description about the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]", "raw_text_dump": "IDNO\n\nN.13318.GIJ\n\nDescription\n\nOgbugulu Mau Mask Series. An Obugulu Mau helmet mask. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open with painted teeth. There are elaborate painted designs above and beneath the eyes and o the cheeks. The top of the mask consists of a dark arched crest with white circles on the top and with swirled incised designs representing uli on the sides of the crest. Pieces of felt fabric are attached to the sides.\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri-Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPrior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.Named Person:\n\nThis is the sixth image in the Ogbugulu Mau Mask series of eight photographs.\n\nContext: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The white-faced helmut type was confined to part of the Northern Ibo area and and to some of the Northern Edo. In the majority of examples the crested area, when scene in profile formed a curve which reached from the back of the head to the top of the forehead, while the mask section was flat and set at an angle to it, either coming down vertically over the actor\u2019s face or being extended forward at an angle (Jones, 1984, p.139)\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984, p.143)\n\nContext: Cole and Aniakor provide further in-depth description about the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]\n\n\n\nFM:147968\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13318_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000581_N.13318.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169789.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463798", "metadata": {"title": "Untitled", "idno": "P.169789.GIJ", "description": "A river. In the distance: on the left bank a building and in the middle of the river a canoe carrying a number of people. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169780.GIJ - P.169790.GIJ were located in an brown envelope now numbered C754/7/.", "raw_text_dump": "IDNO\n\nP.169789.GIJ\n\nDescription\n\nA river. In the distance: on the left bank a building and in the middle of the river a canoe carrying a number of people. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169780.GIJ - P.169790.GIJ were located in an brown envelope now numbered C754/7/.\n\nFM:310276\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169789_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127671_P.169789.GIJ_001.png"}, {"file_name": "P_169789_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127672_P.169789.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171114.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465175", "metadata": {"title": "Untitled", "idno": "P.171114.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nA close up portrait of the character Udu Ezuo (World Famous), wearing a white (painted in white clay or gypsum?) head-mask to the top of the head attached to a geometric patterned cloth top, striped leggings, raffia skirt, and ankle-rattles. The mask appears to be similar to a female helmet mask, though the face is above the head of the wearer. [Description from record P.767017.GIJ, PB 14/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767033.GIJ - P.767038.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\" [PB 13/06/24]\n\nAbout the character Egu Agu (money finish), G.I. Jones writes in the notes: faced female head with the neck portion expanded and hollowed out so as to fit over the head like a cap. Wearing a loose fitting \"gown\" of imported blue and white patterned cotton cloth with a raffia skirt and white the sleeves and trouser-legs of local \"Yoruba type\" cloth. I did not see her dancing before any band but only mooning about with the other masks. \"", "raw_text_dump": "IDNO\n\nP.171114.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nA close up portrait of the character Udu Ezuo (World Famous), wearing a white (painted in white clay or gypsum?) head-mask to the top of the head attached to a geometric patterned cloth top, striped leggings, raffia skirt, and ankle-rattles. The mask appears to be similar to a female helmet mask, though the face is above the head of the wearer. [Description from record P.767017.GIJ, PB 14/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767033.GIJ - P.767038.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\" [PB 13/06/24]\n\nAbout the character Egu Agu (money finish), G.I. Jones writes in the notes: faced female head with the neck portion expanded and hollowed out so as to fit over the head like a cap. Wearing a loose fitting \"gown\" of imported blue and white patterned cotton cloth with a raffia skirt and white the sleeves and trouser-legs of local \"Yoruba type\" cloth. I did not see her dancing before any band but only mooning about with the other masks. \"\n\nFM:311805\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171114_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144330_P.171114.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71756.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365027", "metadata": {"title": "Untitled", "idno": "N.71756.GIJ", "description": "A male \u2018comic\u2019 mask carved of wood. The mask consists of two protruding horns, slit eyes, square nose, rounded open mouth with incised teeth, and scarifcation markings on the side of the face. A piece of twine is placed through a hole in the mask.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Igbo [historically Ibo]; Item", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 53 of the negative album now numbered C18/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Item Igbo\n3. Lugbulu Mask Man holding \u2018female\u2019 mask and \u2018comic male\u2019 mask (1st image).\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]", "raw_text_dump": "IDNO\n\nN.71756.GIJ\n\nDescription\n\nA male \u2018comic\u2019 mask carved of wood. The mask consists of two protruding horns, slit eyes, square nose, rounded open mouth with incised teeth, and scarifcation markings on the side of the face. A piece of twine is placed through a hole in the mask.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Item\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 53 of the negative album now numbered C18/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to various Igbo groups: Ngusu Ada, Isu Ikwu Ato, Alayi, Item\n2. Item Igbo\n3. Lugbulu Mask Man holding \u2018female\u2019 mask and \u2018comic male\u2019 mask (1st image).\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nFM:206406\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71756_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656867_N.71756.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171514.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465575", "metadata": {"title": "Untitled", "idno": "P.171514.GIJ", "description": "A documentation photograph of a carved dark wood male figure, standing on a wooden stool. The figure is crouching with a face in the centre, above thick legs, and raised arms carved as horns. [PB 03/10/24]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1987", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171511.GIJ - P.171522.GIJ were located in a brown folder, now numbered C768/6.", "raw_text_dump": "IDNO\n\nP.171514.GIJ\n\nDescription\n\nA documentation photograph of a carved dark wood male figure, standing on a wooden stool. The figure is crouching with a face in the centre, above thick legs, and raised arms carved as horns. [PB 03/10/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1987\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171511.GIJ - P.171522.GIJ were located in a brown folder, now numbered C768/6.\n\n\nFM:312215\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171514_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144731_P.171514.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.170278.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464339", "metadata": {"title": "Untitled", "idno": "P.170278.GIJ", "description": "A documentation photograph of a wooden masks resting on white cloth.\nThe mask has a human face and vertical projection above the crown; geometric marks painted in pink, black and yellow on face and crest; base perforated for fitting on the head. [PB 07/11/23]", "place": "W Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; Afikoa; England; London; British Museum", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.\n\nRelated Object: This mask is in the British Museum collection, reference Af1919,0207.1.\n\"Height: 35.50 centimetres\nWidth: 10.80 centimetres\nDepth: 9 centimetres\nDescription:\n'Wooden mask with a human face and vertical projection above the crown; painted in pink, black and yellow; perforated for fitting on the head. 'Dancing mask from Southern Nigeria'. A later annotation by W.B.Fagg adds 'Ibo of Afikpo'.\" [PB 07/11/23]", "raw_text_dump": "IDNO\n\nP.170278.GIJ\n\nDescription\n\nA documentation photograph of a wooden masks resting on white cloth.\nThe mask has a human face and vertical projection above the crown; geometric marks painted in pink, black and yellow on face and crest; base perforated for fitting on the head. [PB 07/11/23]\n\nPlace\n\nW Africa; Europe British Isles; Nigeria; United Kingdom; South Eastern Nigeria; Afikoa; England; London; British Museum\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170274.GIJ - P.170287.GIJ were located in a paper folder, now numbered C759/6.\n\nRelated Object: This mask is in the British Museum collection, reference Af1919,0207.1.\n\"Height: 35.50 centimetres\nWidth: 10.80 centimetres\nDepth: 9 centimetres\nDescription:\n'Wooden mask with a human face and vertical projection above the crown; painted in pink, black and yellow; perforated for fitting on the head. 'Dancing mask from Southern Nigeria'. A later annotation by W.B.Fagg adds 'Ibo of Afikpo'.\" [PB 07/11/23]\n\nFM:310836\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170278_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131726_P.170278.GIJ_001.png"}, {"file_name": "P_170278_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131727_P.170278.GIJ_002.png"}, {"file_name": "P_170278_GIJ_2.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131728_P.170278.GIJ_003.png"}], "source_id": "maa_cambridge"}
{"id": "N.13331.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306603", "metadata": {"title": "Untitled", "idno": "N.13331.GIJ", "description": "A Mau helmet mask. The face of the mask is painted white with darker paint / pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open and outlined in black. On the temple are two circular etched and raised markings (resembling keloids?) and an etched marking in the centre of the forehead. The arched crest is striated with diagonal incisisions and there are round white markings adorning the side of the crest and in the centre. The side of the mask consists of swirled, incised designs representing uli and two etched combs are attached to the \u201chair\u201d.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "Prior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nPublication: Mask is located in the Pitt Rivers Museum, University of Oxford.\n\nContext: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The white-faced helmut type was confined to part of the Northern Ibo area and and to some of the Northern Edo. In the majority of examples the crested area, when scene in profile formed a curve which reached from the back of the head to the top of the forehead, while the mask section was flat and set at an angle to it, either coming down vertically over the actor\u2019s face or being extended forward at an angle (Jones, 1984, p.139)\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984, p.143)\n\nContext: Cole and Aniakor provide further in-depth description about the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]", "raw_text_dump": "IDNO\n\nN.13331.GIJ\n\nDescription\n\nA Mau helmet mask. The face of the mask is painted white with darker paint / pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open and outlined in black. On the temple are two circular etched and raised markings (resembling keloids?) and an etched marking in the centre of the forehead. The arched crest is striated with diagonal incisisions and there are round white markings adorning the side of the crest and in the centre. The side of the mask consists of swirled, incised designs representing uli and two etched combs are attached to the \u201chair\u201d.\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPrior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nPublication: Mask is located in the Pitt Rivers Museum, University of Oxford.\n\nContext: In relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60). Mau is translated as \u201csecret society\u201d.\n\nContext: There was a broad division in many Lower Niger masquerades between \u2018beautiful\u2019 and \u2018ugly\u2019 characters. The former were thought of as beautiful, serene, and usually female beings, the latter as dangerous, aggressive and masculine. The beautiful were usually white-faced with black hair and gaily decorated headdresses rounded, angular. The white-faced helmut type was confined to part of the Northern Ibo area and and to some of the Northern Edo. In the majority of examples the crested area, when scene in profile formed a curve which reached from the back of the head to the top of the forehead, while the mask section was flat and set at an angle to it, either coming down vertically over the actor\u2019s face or being extended forward at an angle (Jones, 1984, p.139)\n\nContext: The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984, p.143)\n\nContext: Cole and Aniakor provide further in-depth description about the maiden spirit masks or the \u201cThe Fame of Maidens,\u201d Ude Agbogho. Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be in elaborately and delicately dressed in the preferred crested\nstyle...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work\nhairstyles on maiden masks enlarge expressively on real hairdos,\nfacial features are finer and smaller in life, and the face is, of\ncourse, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]\n\nFM:147981\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13331_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000594_N.13331.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "D.169670.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463679", "metadata": {"title": "Untitled", "idno": "D.169670.GIJ", "description": "A Mgbedike or Agu neche enyi masquerade with supporters and onlookers. The mask or headdress consists of a fierce looking face with white v-shaped marking on the forehead, large eyes, pointed nose, over-sized mouth and menacing teeth painted white?, and crescent shaped ears. Protruding (twisted) horns encircle the top of the head in which there is an elaborate superstructure, with animals, horned figures and European or colonial officers (oyibo) dressed in European clothing with pith helmets. There is a painted serpent with its mouth wide open showing its teeth. The bulky costume of the masquerader is made of cloth, the upper body is adorned with leaves? or v-shaped dark material, a belt made of strands of cowrie shells with a metal bell attached, around the waist is a light coloured cloth, and rattles made of seeds around the legs. The masquerader is holding a club? or machete in one hand. In the left hand side of the photograph, a group of male supporters (wearing feathers in their hair) are next to the masquerader playing instruments - two are playing metal gongs, one is holding a fan?. In the background is a large group of onlookers watching the masquerade and behind them are trees and vegetation. [Description from record P.71559.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nD.169670.GIJ\n\nDescription\n\nA Mgbedike or Agu neche enyi masquerade with supporters and onlookers. The mask or headdress consists of a fierce looking face with white v-shaped marking on the forehead, large eyes, pointed nose, over-sized mouth and menacing teeth painted white?, and crescent shaped ears. Protruding (twisted) horns encircle the top of the head in which there is an elaborate superstructure, with animals, horned figures and European or colonial officers (oyibo) dressed in European clothing with pith helmets. There is a painted serpent with its mouth wide open showing its teeth. The bulky costume of the masquerader is made of cloth, the upper body is adorned with leaves? or v-shaped dark material, a belt made of strands of cowrie shells with a metal bell attached, around the waist is a light coloured cloth, and rattles made of seeds around the legs. The masquerader is holding a club? or machete in one hand. In the left hand side of the photograph, a group of male supporters (wearing feathers in their hair) are next to the masquerader playing instruments - two are playing metal gongs, one is holding a fan?. In the background is a large group of onlookers watching the masquerade and behind them are trees and vegetation. [Description from record P.71559.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nFM:310157\n\nImages (Click to view full size):"}, "images": [{"file_name": "D_169670_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127445_P.169670.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.71495.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364766", "metadata": {"title": "Untitled", "idno": "N.71495.GIJ", "description": "Boys\u2019 initiation dance in the Nri Akwa area. A masked character is in the foreground and is wearing a dark face mask and dressed in black shirt and trousers. He is holding a stick in one hand and a machete? in the other, around his waist is a water bottle?. The male initiates are dancing and some appear to be throwing things. They are wearing layers of short pieces of cloth around their waist and around the knees are bands made of seeds? or metal? which will sound as they dance. The heads are covered with cloth kerchiefs and they are holding feathers. In the right of the photograph is a male elder holding a long pole. In the background are spectators.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 49 of the negative album now numbered C15/.\n\nContext: For a detailed discussion of initiation rites see Jones, 1962. Cole and Aniakor also discuss the importance of initiation rites. \u201cAdolescent initiation inot th serious business of manhood in Igboland is normally marked by entry into a masked organization. Several regional variations exist (Cole and Anaikor, 1984, p.112).\n\nContext: Green in her ethnographic study of the Igbo discusses the complexity of initiation rites. She writes, \u201cThe question of initiation rites is not an easy one to deal with. Those of the boys have gone underground to a considerable extent from fear of European disapproval and tend now to be held in connection with the initiation of a dibea. None were held in Umueke while I was living there, though when a dibea was initiated in the neighbouring village-group of Umunuma, we saw boys in initiation dress going to market with him in his public inception as a diviner and they had probably been passing through a period of initiation at the same time as he did his own. I obtained a number of descriptions of the normal boys\u2019 initiation rites, which used to be held every few years and through which most of the boys in the village except the quite young ones had passed. The boys of part of the next door Agbaja village also participated. The chief feature of the rites was described as being the acquiring of aggressive medicine or magic rather than the receiving of instruction. This medicine could only be used against people who had not themselves acquired it, against strangers that is to say, and more particularly against women because the latter never acquired it. The medicine was put into the boys\u2019 eyes and into cuts in the skin over a period of eight days. In so far as they were not supposed to cry it may be said that hardihood was inculcated. \u201c She continues to say that the initiation rites were important for group solidarity and a certain code of morality. (Green, 1947, pp.80-81.)\n\nBibliographical Reference: Jones, G.I. 1962, \u201cIbo Age Organization, with Special Reference to the Cross River and North-eastern Ibo.\u201d The Journal of the Royal Anthropological Institute of Great Britain and Ireland, Vol. 92, No. 2, pp.191-211.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\nGreen, M.M. 1964 (second edition) Igbo Village Affairs (Frank Cass and Co.).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.71495.GIJ\n\nDescription\n\nBoys\u2019 initiation dance in the Nri Akwa area. A masked character is in the foreground and is wearing a dark face mask and dressed in black shirt and trousers. He is holding a stick in one hand and a machete? in the other, around his waist is a water bottle?. The male initiates are dancing and some appear to be throwing things. They are wearing layers of short pieces of cloth around their waist and around the knees are bands made of seeds? or metal? which will sound as they dance. The heads are covered with cloth kerchiefs and they are holding feathers. In the right of the photograph is a male elder holding a long pole. In the background are spectators.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 49 of the negative album now numbered C15/.\n\nContext: For a detailed discussion of initiation rites see Jones, 1962. Cole and Aniakor also discuss the importance of initiation rites. \u201cAdolescent initiation inot th serious business of manhood in Igboland is normally marked by entry into a masked organization. Several regional variations exist (Cole and Anaikor, 1984, p.112).\n\nContext: Green in her ethnographic study of the Igbo discusses the complexity of initiation rites. She writes, \u201cThe question of initiation rites is not an easy one to deal with. Those of the boys have gone underground to a considerable extent from fear of European disapproval and tend now to be held in connection with the initiation of a dibea. None were held in Umueke while I was living there, though when a dibea was initiated in the neighbouring village-group of Umunuma, we saw boys in initiation dress going to market with him in his public inception as a diviner and they had probably been passing through a period of initiation at the same time as he did his own. I obtained a number of descriptions of the normal boys\u2019 initiation rites, which used to be held every few years and through which most of the boys in the village except the quite young ones had passed. The boys of part of the next door Agbaja village also participated. The chief feature of the rites was described as being the acquiring of aggressive medicine or magic rather than the receiving of instruction. This medicine could only be used against people who had not themselves acquired it, against strangers that is to say, and more particularly against women because the latter never acquired it. The medicine was put into the boys\u2019 eyes and into cuts in the skin over a period of eight days. In so far as they were not supposed to cry it may be said that hardihood was inculcated. \u201c She continues to say that the initiation rites were important for group solidarity and a certain code of morality. (Green, 1947, pp.80-81.)\n\nBibliographical Reference: Jones, G.I. 1962, \u201cIbo Age Organization, with Special Reference to the Cross River and North-eastern Ibo.\u201d The Journal of the Royal Anthropological Institute of Great Britain and Ireland, Vol. 92, No. 2, pp.191-211.\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\nGreen, M.M. 1964 (second edition) Igbo Village Affairs (Frank Cass and Co.).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:206145\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71495_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656623_N.71495.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171159.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465220", "metadata": {"title": "Untitled", "idno": "P.171159.GIJ", "description": "Agaba (mgbedike) - 'time of brave and strong' - masquerade depicting a masquerader and supporters. The character is bending forward with legs apart facing the camera, is completely covered wearing a fierce mask with an elaborately carved helmet-like superstructure decorated with cloth and tassels, and a raffia fringed costume. He is holding a fly whisk in his right hand. To the left of the image are supporters and in the background are trees, huts and three small children. [PB 21/06/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767078.GIJ - P.767083.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171159.GIJ\n\nDescription\n\nAgaba (mgbedike) - 'time of brave and strong' - masquerade depicting a masquerader and supporters. The character is bending forward with legs apart facing the camera, is completely covered wearing a fierce mask with an elaborately carved helmet-like superstructure decorated with cloth and tassels, and a raffia fringed costume. He is holding a fly whisk in his right hand. To the left of the image are supporters and in the background are trees, huts and three small children. [PB 21/06/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767078.GIJ - P.767083.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311850\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171159_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144375_P.171159.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171182.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465243", "metadata": {"title": "Untitled", "idno": "P.171182.GIJ", "description": "Onyema Ogadi, a boy\u2019s mask on a masquerader. The mask is painted white with black markings to accentuate the eyebrows, nose, and mouth. There are black criss-cross designs underneath the eyed and black circles dotted along the forehead vertically and horizontally, and the top of the mask is painted black. The mask has two black incised horns pointing out from the top and is covered in long raffia \u201chair\u201d. The masquerader is wearing a striped, woven top. In the background are spectators. a building and trees. [Description from record P.71573.GIJ, PB 02/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "PP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767106.GIJ - P.767108.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171182.GIJ\n\nDescription\n\nOnyema Ogadi, a boy\u2019s mask on a masquerader. The mask is painted white with black markings to accentuate the eyebrows, nose, and mouth. There are black criss-cross designs underneath the eyed and black circles dotted along the forehead vertically and horizontally, and the top of the mask is painted black. The mask has two black incised horns pointing out from the top and is covered in long raffia \u201chair\u201d. The masquerader is wearing a striped, woven top. In the background are spectators. a building and trees. [Description from record P.71573.GIJ, PB 02/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nPP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767106.GIJ - P.767108.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311873\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171182_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144398_P.171182.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171513.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465574", "metadata": {"title": "Untitled", "idno": "P.171513.GIJ", "description": "A documentation photograph of two carved wooden figures, both standing without bases. The figure on the left is of a man, with arms by his side. Hair and ears are painted black. The figure on the right is of a woman, with a downward arrow painted black on her abdomen and a patterned line running from her neck to her waist and across her waist and forearms. [PB 03/10/24]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1987", "collection_name": "Jones Collection", "source": "", "format": "Print Colour", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171511.GIJ - P.171522.GIJ were located in a brown folder, now numbered C768/6.\n\nP.171512.GIJ - P.171513.GIJ were located in an envelope, now numbered C768/6/1.", "raw_text_dump": "IDNO\n\nP.171513.GIJ\n\nDescription\n\nA documentation photograph of two carved wooden figures, both standing without bases. The figure on the left is of a man, with arms by his side. Hair and ears are painted black. The figure on the right is of a woman, with a downward arrow painted black on her abdomen and a patterned line running from her neck to her waist and across her waist and forearms. [PB 03/10/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1987\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Colour\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171511.GIJ - P.171522.GIJ were located in a brown folder, now numbered C768/6.\n\nP.171512.GIJ - P.171513.GIJ were located in an envelope, now numbered C768/6/1.\n\nFM:312214\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171513_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144730_P.171513.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "LS.125564.TC1", "source_url": "https://collections.maa.cam.ac.uk/photographs/418832", "metadata": {"title": "Untitled", "idno": "LS.125564.TC1", "description": "On Catalogue Card: \"Nigeria.\n(Arts & Crafts).\nNative loom, ndengani. (Border of Efik & Ekoi countries).\"", "place": "W Africa; Nigeria; south eastern Nigeria", "cultural_affliation": "Efik; Ekoi", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Teaching Slide Collection", "source": "", "format": "Lantern Slide Black & White", "primary_documentation": "", "other_information": "", "raw_text_dump": "IDNO\n\nLS.125564.TC1\n\nDescription\n\nOn Catalogue Card: \"Nigeria.\n(Arts & Crafts).\nNative loom, ndengani. (Border of Efik & Ekoi countries).\"\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria\n\nCultural Affliation\n\nEfik; Ekoi\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nTeaching Slide Collection\n\nSource\n\nFormat\n\nLantern Slide Black & White\n\nPrimary Documentation\n\nOther Information\n\nFM:260214\n\nImages (Click to view full size):"}, "images": [{"file_name": "LS_125564_TC1_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/730633_LS.125564.TC1.png"}], "source_id": "maa_cambridge"}
{"id": "P.171539.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465600", "metadata": {"title": "Untitled", "idno": "P.171539.GIJ", "description": "A documentation photograph of a carved wooden face mask in the geometric style. The top of the mask is painted white, with two strings of cowrie shells wound round the mask beneath the hairline. The eyes are almond shaped and closed, highlighted with white paint. The mouth is small and pursed, highlighted with white paint. The cheeks, eye socket and lower face are recessed. The nose is prominent with a notched ridge in its centre. [PB 22/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Obigwe", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171538.GIJ and P.171539.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171539.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden face mask in the geometric style. The top of the mask is painted white, with two strings of cowrie shells wound round the mask beneath the hairline. The eyes are almond shaped and closed, highlighted with white paint. The mouth is small and pursed, highlighted with white paint. The cheeks, eye socket and lower face are recessed. The nose is prominent with a notched ridge in its centre. [PB 22/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Obigwe\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171538.GIJ and P.171539.GIJ are mounted on card.\n\nFM:312259\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171539_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144772_P.171539.GIJ_001.jpg"}, {"file_name": "P_171539_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144773_P.171539.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171220.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465281", "metadata": {"title": "Untitled", "idno": "P.171220.GIJ", "description": "A documentation photograph of four Agwu Nsi Figures. From left to right: the figure on the left is standing with a round head with crest, rounded shoulders, arms at the waist, and thick legs. The second figure is more abstract and has a pointed head with a beak like protrusion, curved markings for arms, and bent legs. The third figure consists of a large head with two pointed horns, rounded upper torso on a round pedestal base. The fourth figure is large and consists of a square head with rounded top, tusk like ears protruding upwards, and holding a pipe in his hands.[Description from record P.61538.GIJ, PB 05/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River area", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.", "raw_text_dump": "IDNO\n\nP.171220.GIJ\n\nDescription\n\nA documentation photograph of four Agwu Nsi Figures. From left to right: the figure on the left is standing with a round head with crest, rounded shoulders, arms at the waist, and thick legs. The second figure is more abstract and has a pointed head with a beak like protrusion, curved markings for arms, and bent legs. The third figure consists of a large head with two pointed horns, rounded upper torso on a round pedestal base. The fourth figure is large and consists of a square head with rounded top, tusk like ears protruding upwards, and holding a pipe in his hands.[Description from record P.61538.GIJ, PB 05/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River area\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\n\nFM:311911\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171220_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144436_P.171220.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.170432.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464493", "metadata": {"title": "Untitled", "idno": "N.170432.GIJ", "description": "A group of buildings with corrugated iron roofs, one with crosses on the gable ends. A man and a woman are standing in the open ground in front of the buildings. [PB 28/11/23]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "T.170298.GIJ - ??? were located as loose photos and envelopes in an folder box now numbered C760/.\n\nN.170407.GIJ - N.170437.GIJ were located in a cream coloured envelope, now numbered C760/5.", "raw_text_dump": "IDNO\n\nN.170432.GIJ\n\nDescription\n\nA group of buildings with corrugated iron roofs, one with crosses on the gable ends. A man and a woman are standing in the open ground in front of the buildings. [PB 28/11/23]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nT.170298.GIJ - ??? were located as loose photos and envelopes in an folder box now numbered C760/.\n\nN.170407.GIJ - N.170437.GIJ were located in a cream coloured envelope, now numbered C760/5.\n\nFM:311008\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_170432_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1199481_N.170432.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171193.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465254", "metadata": {"title": "Untitled", "idno": "P.171193.GIJ", "description": "Ogbugulu Mau 'daughter' masqueraders sitting down. One of the masqueraders is wearing an elaborate headdress consisting of colourful felt, string and tassels. The mask is painted white with black markings around the eyes, nose, mouth and accentuating the eyebrows and cheeks and attached to a harlequin-like costume. The other masquerader is also wearing a white face mask, headdress and harlequin like costume. In the background are spectators and trees. [Description from record P.71509.GIJ, PB 02/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767117.GIJ - P.767120.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171193.GIJ\n\nDescription\n\nOgbugulu Mau 'daughter' masqueraders sitting down. One of the masqueraders is wearing an elaborate headdress consisting of colourful felt, string and tassels. The mask is painted white with black markings around the eyes, nose, mouth and accentuating the eyebrows and cheeks and attached to a harlequin-like costume. The other masquerader is also wearing a white face mask, headdress and harlequin like costume. In the background are spectators and trees. [Description from record P.71509.GIJ, PB 02/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767117.GIJ - P.767120.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311884\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171193_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144409_P.171193.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71786.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/365057", "metadata": {"title": "Untitled", "idno": "N.71786.GIJ", "description": "A Lughulu comic male face mask. The mask is wooden and square in shape with an overly exaggerated high rounded forehead, square bulbous eyes, rectangular shaped nose between the eyes, the cheeks are rounded and swollen, the chin is pointed and the mouth is open. There appears to be hair or animal fur on the nose. In the background is a mud wall.", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division", "cultural_affliation": "Item", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 93 of the negative album now numbered C17/.\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]", "raw_text_dump": "IDNO\n\nN.71786.GIJ\n\nDescription\n\nA Lughulu comic male face mask. The mask is wooden and square in shape with an overly exaggerated high rounded forehead, square bulbous eyes, rectangular shaped nose between the eyes, the cheeks are rounded and swollen, the chin is pointed and the mouth is open. There appears to be hair or animal fur on the nose. In the background is a mud wall.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River; Northern Bende division\n\nCultural Affliation\n\nItem\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 93 of the negative album now numbered C17/.\n\nContext: ...the Item and Alayi tribes had their own particular masquerades called Lughulu. The characters wore masks, not heads, and these were of two kinds: beautiful, which were female, sometimes white-faced, sometimes stained a reddish brown colour with cam wood: and ugly, which were either white-faced or stained black, and were considered comic rather than fierce. These masks were sometimes full-sized but often, like some Ogoni masks, were small and designed to cover only the upper portion of the actor\u2019s face, leaving his mouth and jaw exposed (Jones, 1984, p.206)\n\nContext: Cole and Aniakor write, \u201cIn Item and Ugweke, for example, a series of fine masks are danced in a \u2018play\u2019 called Lughulu that includes the familiar opposition of pretty females and ugly males but almost nothing is known about the cult.\u201d (Cole and Aniakor, 1989, p. 166).\n\nBibliographical Reference:\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 21/11/2007]\n\nFM:206436\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71786_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656885_N.71786.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.7042.ACH1", "source_url": "https://collections.maa.cam.ac.uk/photographs/300314", "metadata": {"title": "Untitled", "idno": "P.7042.ACH1", "description": "On Catalogue Card: Women pounding yams, Near Abuton, borders of Efik and Ekoi countries.", "place": "W Africa; Nigeria; south eastern Nigeria; near Abuton", "cultural_affliation": "Efik; Ekoi", "named_person": "", "photographer": "None", "collector_/_expedition": "", "date": "", "collection_name": "Mounted Haddon Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "", "raw_text_dump": "IDNO\n\nP.7042.ACH1\n\nDescription\n\nOn Catalogue Card: Women pounding yams, Near Abuton, borders of Efik and Ekoi countries.\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; near Abuton\n\nCultural Affliation\n\nEfik; Ekoi\n\nNamed Person\n\nPhotographer\n\nNone\n\nCollector / Expedition\n\nDate\n\nCollection Name\n\nMounted Haddon Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nFM:141692\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_7042_ACH1_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/866765_P.7042.ACH1.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171230.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465291", "metadata": {"title": "Untitled", "idno": "P.171230.GIJ", "description": "An object documentation image of an ikenga figure. A horned standing figure with a pipe or straw. [PB 04/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767153.GIJ - P.767254.GIJ are mounted together on paper.\n\nThe figure is in the collection of the Volkerkunde Museum Vienna.", "raw_text_dump": "IDNO\n\nP.171230.GIJ\n\nDescription\n\nAn object documentation image of an ikenga figure. A horned standing figure with a pipe or straw. [PB 04/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767153.GIJ - P.767254.GIJ are mounted together on paper.\n\nThe figure is in the collection of the Volkerkunde Museum Vienna.\n\nFM:311921\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171230_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144446_P.171230.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13264.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306536", "metadata": {"title": "Untitled", "idno": "N.13264.GIJ", "description": "An Alose (tutelary deity) standing on a rock plinth inside a shrine. The Alose wooden sculpture has an elaborately decorated horned headdress painted in different colours with different figures. The face is white but accentuated with black markings outlining the eyes, nose, and mouth with painted black designs (uli?) on the cheek. The figure is wearing a harlequin-like outfit in various colours. The figure is holding a staff in one hand and a mirror? in the other. In front of the figure are other carved objects and behind are pieces of raffia. The figure is housed under a corrugated iron roof supported by wooden beams..", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Abaja; Northern Igbo; Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Alusi or Arunsi (shrines)\n3. Alusi (21st image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d(Jones, 1989, p. 37).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked lik\n\nContext: In relation to the Alusi figures, Cole and Aniakor write that, \u201cthe dead are conceived as part of the everyday world, and just as clearly, their presence can hold a positive or negative valence for the living; exactly the same is true of the tutelary deities, alusi. These forces, however, are neither personal (chi or ancestors) nor universal (Chineke, Chukwu). Rather, they are in part specific, usually tangible phenomena such as: Earth, the Niger or Imo river, Eke, Afo, Orie/Oye, or Nkwo market, an extraordinary tree, a binding oath at a particular shrine, or the canyon of erosion in Agulu. The preeminence of Ala/Ani does not eclipse the vitality of these other deities, especially those associated with water, or of Amadioha, god of thunder and lightening and, by extension, rain. These anthropomorphic male and female deities have priests and often elaborate cult apparatus, symbolic works of art, and finely decorated compounds. Each has general and specific powers, and although their priesthoods may be held by certain lineages, the more commanding of these cults have constituencies cutting across lines of kinship and stressing communal worship. Such tutelary deities are close to people, fast-acting (for good or ill), and often capricious, thus requiring frequent attention and sacrifice. ...(Cole and Aniakor, 1984, p.16).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1984, p.54)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989, Ibo Art (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/11/2007]", "raw_text_dump": "IDNO\n\nN.13264.GIJ\n\nDescription\n\nAn Alose (tutelary deity) standing on a rock plinth inside a shrine. The Alose wooden sculpture has an elaborately decorated horned headdress painted in different colours with different figures. The face is white but accentuated with black markings outlining the eyes, nose, and mouth with painted black designs (uli?) on the cheek. The figure is wearing a harlequin-like outfit in various colours. The figure is holding a staff in one hand and a mirror? in the other. In front of the figure are other carved objects and behind are pieces of raffia. The figure is housed under a corrugated iron roof supported by wooden beams..\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nAbaja; Northern Igbo; Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Alusi or Arunsi (shrines)\n3. Alusi (21st image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d(Jones, 1989, p. 37).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked lik\n\nContext: In relation to the Alusi figures, Cole and Aniakor write that, \u201cthe dead are conceived as part of the everyday world, and just as clearly, their presence can hold a positive or negative valence for the living; exactly the same is true of the tutelary deities, alusi. These forces, however, are neither personal (chi or ancestors) nor universal (Chineke, Chukwu). Rather, they are in part specific, usually tangible phenomena such as: Earth, the Niger or Imo river, Eke, Afo, Orie/Oye, or Nkwo market, an extraordinary tree, a binding oath at a particular shrine, or the canyon of erosion in Agulu. The preeminence of Ala/Ani does not eclipse the vitality of these other deities, especially those associated with water, or of Amadioha, god of thunder and lightening and, by extension, rain. These anthropomorphic male and female deities have priests and often elaborate cult apparatus, symbolic works of art, and finely decorated compounds. Each has general and specific powers, and although their priesthoods may be held by certain lineages, the more commanding of these cults have constituencies cutting across lines of kinship and stressing communal worship. Such tutelary deities are close to people, fast-acting (for good or ill), and often capricious, thus requiring frequent attention and sacrifice. ...(Cole and Aniakor, 1984, p.16).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1984, p.54)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989, Ibo Art (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/11/2007]\n\nFM:147914\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13264_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000527_N.13264.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169719.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463728", "metadata": {"title": "Untitled", "idno": "P.169719.GIJ", "description": "Half-length portrait of an Igbo man, smiling, and wearing a white collar less shirt. [PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169719.GIJ\n\nDescription\n\nHalf-length portrait of an Igbo man, smiling, and wearing a white collar less shirt. [PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310206\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169719_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127532_P.169719.GIJ_001.png"}, {"file_name": "P_169719_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127533_P.169719.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171110.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465171", "metadata": {"title": "Untitled", "idno": "P.171110.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nClose up portrait of a masquerade character identified as Egu Agu (\u2018Money Finish\u2019); the masquerader is wearing a helmet mask painted white with black markings to accentuate the eyes, nose, mouth and uli designs. The top of the mask is painted in black and white and with a crescent shape at the top; it is decorated with pieces of cloth and tassel. The masquerader is wearing a brightly coloured harlequin-like costume. A cloth shawl is tied around the neck, over woven cloth which is attached to the mask. In the background are trees. [Description from record N.13255.GIJ, PB 14/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767033.GIJ - P.767038.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\" [PB 13/06/24]\n\nAbout the character Egu Agu (money finish), G.I. Jones writes in the notes: \"A white faced \"Awka\" type of mask with an openwork superstructure of wire or cane covered with coloured wools and wearing a tight fitting costume of cloth covered with appliqued geometric patterns in red, green, blue and other coloured strands of cloth of the typical \"Awka\" Obugulu Mau type. \"Money finish\" indicated the costliness of her maintenance. She had rattles on her ankles and she danced and stamped before the first band, supported by the singing and clapping chorus and led by the piper on his whistle. When she had finished she sat on a chair near by.\"", "raw_text_dump": "IDNO\n\nP.171110.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nClose up portrait of a masquerade character identified as Egu Agu (\u2018Money Finish\u2019); the masquerader is wearing a helmet mask painted white with black markings to accentuate the eyes, nose, mouth and uli designs. The top of the mask is painted in black and white and with a crescent shape at the top; it is decorated with pieces of cloth and tassel. The masquerader is wearing a brightly coloured harlequin-like costume. A cloth shawl is tied around the neck, over woven cloth which is attached to the mask. In the background are trees. [Description from record N.13255.GIJ, PB 14/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767033.GIJ - P.767038.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\" [PB 13/06/24]\n\nAbout the character Egu Agu (money finish), G.I. Jones writes in the notes: \"A white faced \"Awka\" type of mask with an openwork superstructure of wire or cane covered with coloured wools and wearing a tight fitting costume of cloth covered with appliqued geometric patterns in red, green, blue and other coloured strands of cloth of the typical \"Awka\" Obugulu Mau type. \"Money finish\" indicated the costliness of her maintenance. She had rattles on her ankles and she danced and stamped before the first band, supported by the singing and clapping chorus and led by the piper on his whistle. When she had finished she sat on a chair near by.\"\n\nFM:311801\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171110_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144326_P.171110.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171277.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465338", "metadata": {"title": "Untitled", "idno": "P.171277.GIJ", "description": "An object documentation photograph of the face mask of a masquerade character Anumbii (horned beast) in the agaba masquerade. The face of the mask is made of moulded clay. The mask has four long inward curving and two straight horns. The horns at the front of the mask are decorated with lines and notches, highlighted with light pigment. Sharp spikes stick out from the sides of the mask. From the centre of the curved hair ridge, a narrow hose-like nose ends in a flat snout. The forehead has raised dots highlighted with light pigment. The eyebrows are moulded clay from which thick grass eyelashes hang. The mouth is wide open with several long sharp teeth. The base of the mask is fringed with strands of cloth. [PB 18/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra state; Idemili", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767201.GIJ - P.767202.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171277.GIJ\n\nDescription\n\nAn object documentation photograph of the face mask of a masquerade character Anumbii (horned beast) in the agaba masquerade. The face of the mask is made of moulded clay. The mask has four long inward curving and two straight horns. The horns at the front of the mask are decorated with lines and notches, highlighted with light pigment. Sharp spikes stick out from the sides of the mask. From the centre of the curved hair ridge, a narrow hose-like nose ends in a flat snout. The forehead has raised dots highlighted with light pigment. The eyebrows are moulded clay from which thick grass eyelashes hang. The mouth is wide open with several long sharp teeth. The base of the mask is fringed with strands of cloth. [PB 18/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra state; Idemili\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767201.GIJ - P.767202.GIJ are mounted together on card.\n\nFM:311968\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171277_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144493_P.171277.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171293.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465354", "metadata": {"title": "Untitled", "idno": "P.171293.GIJ", "description": "A painted wooden door, with geometric grooved patterns, including chevrons and circles. A group of children are standing next to the door. [Description from record P.767100.GIJ, PB 30/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nImage used in Jones G.I. Ibo Art. 1989. Princes Risborough: Shire. Fig 19 p25. Caption: \"Carved wooden door, Nri-Awka Ibo, forming gateway into walled compound.\"", "raw_text_dump": "IDNO\n\nP.171293.GIJ\n\nDescription\n\nA painted wooden door, with geometric grooved patterns, including chevrons and circles. A group of children are standing next to the door. [Description from record P.767100.GIJ, PB 30/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nImage used in Jones G.I. Ibo Art. 1989. Princes Risborough: Shire. Fig 19 p25. Caption: \"Carved wooden door, Nri-Awka Ibo, forming gateway into walled compound.\"\n\nFM:311984\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171293_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144509_P.171293.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171336.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465397", "metadata": {"title": "Untitled", "idno": "P.171336.GIJ", "description": "An Ogbugulu Mau helmet mask displayed on a prop. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open depicting teeth. On the forehead is a criss-cross marking in the centre and an elaborate crested coiffure painted black with white circles. The curls are incised to represent hair. The shape of the mask is extended forward at an angle. [Description from record N.13324.GIJ, PB 02/08/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka", "cultural_affliation": "Nri-Awka Igbo; Northern Igbo; Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767260.GIJ is mounted on card.", "raw_text_dump": "IDNO\n\nP.171336.GIJ\n\nDescription\n\nAn Ogbugulu Mau helmet mask displayed on a prop. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open depicting teeth. On the forehead is a criss-cross marking in the centre and an elaborate crested coiffure painted black with white circles. The curls are incised to represent hair. The shape of the mask is extended forward at an angle. [Description from record N.13324.GIJ, PB 02/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka\n\nCultural Affliation\n\nNri-Awka Igbo; Northern Igbo; Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767260.GIJ is mounted on card.\n\nFM:312027\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171336_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144552_P.171336.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171278.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465339", "metadata": {"title": "Untitled", "idno": "P.171278.GIJ", "description": "An object documentation photograph in profile of the face mask of a masquerade character Anumbii (horned beast) in the agaba masquerade. The face of the mask is made of moulded clay. The mask has four long inward curving and two straight horns. The horns at the front of the mask are decorated with lines and notches, highlighted with light pigment. Sharp spikes stick out from the sides of the mask. From the centre of the curved hair ridge, a narrow hose-like nose ends in a flat snout. The forehead has raised dots highlighted with light pigment. The eyebrows are moulded clay from which thick grass eyelashes hang. The mouth is wide open with several long sharp teeth. The base of the mask is fringed with strands of cloth. [PB 18/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra state; Idemili", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767201.GIJ - P.767202.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171278.GIJ\n\nDescription\n\nAn object documentation photograph in profile of the face mask of a masquerade character Anumbii (horned beast) in the agaba masquerade. The face of the mask is made of moulded clay. The mask has four long inward curving and two straight horns. The horns at the front of the mask are decorated with lines and notches, highlighted with light pigment. Sharp spikes stick out from the sides of the mask. From the centre of the curved hair ridge, a narrow hose-like nose ends in a flat snout. The forehead has raised dots highlighted with light pigment. The eyebrows are moulded clay from which thick grass eyelashes hang. The mouth is wide open with several long sharp teeth. The base of the mask is fringed with strands of cloth. [PB 18/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra state; Idemili\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767201.GIJ - P.767202.GIJ are mounted together on card.\n\nFM:311969\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171278_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144494_P.171278.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171334.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465395", "metadata": {"title": "Untitled", "idno": "P.171334.GIJ", "description": "Ogbugulu Mau Mask Series.\nA side view of an Ogbugulu Mau helmet mask displayed on a prop. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open. There are black cross designs on the cheek and forehead. The top of the mask consists of an arched crest with an incised circle in the centre. A knitted, striped fabric and pieces of felt are attached to the wooden mask and a small bell is dangling on the fabric. [Description from record N.13321.GIJ, PB 02/08/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka", "cultural_affliation": "Nri-Awka Igbo; Northern Igbo; Igbo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767258.GIJ is mounted on card.", "raw_text_dump": "IDNO\n\nP.171334.GIJ\n\nDescription\n\nOgbugulu Mau Mask Series.\nA side view of an Ogbugulu Mau helmet mask displayed on a prop. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open. There are black cross designs on the cheek and forehead. The top of the mask consists of an arched crest with an incised circle in the centre. A knitted, striped fabric and pieces of felt are attached to the wooden mask and a small bell is dangling on the fabric. [Description from record N.13321.GIJ, PB 02/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka\n\nCultural Affliation\n\nNri-Awka Igbo; Northern Igbo; Igbo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767258.GIJ is mounted on card.\n\nFM:312025\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171334_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144550_P.171334.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169848.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463860", "metadata": {"title": "Untitled", "idno": "P.169848.GIJ", "description": "Close up from rear view of masquerader's mask. The masquerade character is called Oki. The Oki mask is placed on top of the wearer\u2019s head and consists of a large horizontal wooden structure with coloured fringe around the base of the mask and in the centre of the mask are carved, painted designs and three large pointed fins. The masquerader is wearing different pieces of coloured cloth with long strands of palm fronds around the neck. There are attendants who are wearing printed wrappers around the waist and some are holding metal staffs and sticks. [PB 05/01/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross Rivers", "cultural_affliation": "Igbo {Ibo]; South Ikwerri", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169848.GIJ\n\nDescription\n\nClose up from rear view of masquerader's mask. The masquerade character is called Oki. The Oki mask is placed on top of the wearer\u2019s head and consists of a large horizontal wooden structure with coloured fringe around the base of the mask and in the centre of the mask are carved, painted designs and three large pointed fins. The masquerader is wearing different pieces of coloured cloth with long strands of palm fronds around the neck. There are attendants who are wearing printed wrappers around the waist and some are holding metal staffs and sticks. [PB 05/01/2023]\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross Rivers\n\nCultural Affliation\n\nIgbo {Ibo]; South Ikwerri\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310335\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169848_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127786_P.169848.GIJ_001.png"}, {"file_name": "P_169848_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127788_P.169848.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171232.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465293", "metadata": {"title": "Untitled", "idno": "P.171232.GIJ", "description": "An object documentation image of an ikenga figure. The figure is painted white and red, with elaborate horns, a cutlass in right hand and a head in left hand. [PB 04/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Colour Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767156.GIJ is mounted on paper.", "raw_text_dump": "IDNO\n\nP.171232.GIJ\n\nDescription\n\nAn object documentation image of an ikenga figure. The figure is painted white and red, with elaborate horns, a cutlass in right hand and a head in left hand. [PB 04/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Colour Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767156.GIJ is mounted on paper.\n\nFM:311923\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171232_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144448_P.171232.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71649.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364920", "metadata": {"title": "Untitled", "idno": "N.71649.GIJ", "description": "A photograph depicting three wooden carvings of spirits associated with Alose, with adults and children standing behind. The carving on the left is a side view of a free standing sculpture with a crested headdress, long neck, bent arms, and legs. The second carving depicts a frontal view with a crested headdress, humanistic face, with arms placed down to the sides. The third sculpture is slightly larger and shows a frontal view with a \u201chumanistic\u2019 face, a rectangular base on the top, long torso which is incised with designs, a protruding umbilicus, waistbands, and squat legs. In the background is a pregnant woman with a wrapper tied around her waist, several children and a man. Leaning against the building are white razor like (serrated edge) of ? In addition, t ere are mud and thatch buildings and trees.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Orsa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "P.71646.GIJ to P.71650.GIJ were wrapped in paper, now numbered C301/15/ and were presumed to come from box 4 now numbered C301/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Alusi or Arunsi (shrines)\n3. Alusi Several of the same group of Alusi figures (19th image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d(Jones, 1989, p. 37).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1989, p.54)\n\nContext: In relation to the Alusi figures, Cole and Aniakor write that, \u201cthe dead are conceived as part of the everyday world, and just as clearly, their presence can hold a positive or negative valence for the living; exactly the same is true of the tutelary deities, alusi. These forces, however, are neither personal (chi or ancestors) nor universal (Chineke, Chukwu). Rather, they are in part specific, usually tangible phenomena such as: Earth, the Niger or Imo river, Eke, Afo, Orie/Oye, or Nkwo market, an extraordinary tree, a binding oath at a particular shrine, or the canyon of erosion in Agulu. The preeminence of Ala/Ani does not eclipse the vitality of these other deities, especially those associated with water, or of Amadioha, god of thunder and lightening and, by extension, rain. These anthropomorphic male and female deities have priests and often elaborate cult apparatus, symbolic works of art, and finely decorated compounds. Each has general and specific powers, and although their priesthoods may be held by certain lineages, the more commanding of these cults have constituencies cutting across lines of kinship and stressing communal worship. Such tutelary deities are close to people, fast-acting (for good or ill), and often capricious, thus requiring frequent attention and sacrifice. ...(Cole and Aniakor, 1984, p.16).\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989, Ibo Art (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/11/2007]", "raw_text_dump": "IDNO\n\nN.71649.GIJ\n\nDescription\n\nA photograph depicting three wooden carvings of spirits associated with Alose, with adults and children standing behind. The carving on the left is a side view of a free standing sculpture with a crested headdress, long neck, bent arms, and legs. The second carving depicts a frontal view with a crested headdress, humanistic face, with arms placed down to the sides. The third sculpture is slightly larger and shows a frontal view with a \u201chumanistic\u2019 face, a rectangular base on the top, long torso which is incised with designs, a protruding umbilicus, waistbands, and squat legs. In the background is a pregnant woman with a wrapper tied around her waist, several children and a man. Leaning against the building are white razor like (serrated edge) of ? In addition, t ere are mud and thatch buildings and trees.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Orsa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71646.GIJ to P.71650.GIJ were wrapped in paper, now numbered C301/15/ and were presumed to come from box 4 now numbered C301/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Alusi or Arunsi (shrines)\n3. Alusi Several of the same group of Alusi figures (19th image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d(Jones, 1989, p. 37).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1989, p.54)\n\nContext: In relation to the Alusi figures, Cole and Aniakor write that, \u201cthe dead are conceived as part of the everyday world, and just as clearly, their presence can hold a positive or negative valence for the living; exactly the same is true of the tutelary deities, alusi. These forces, however, are neither personal (chi or ancestors) nor universal (Chineke, Chukwu). Rather, they are in part specific, usually tangible phenomena such as: Earth, the Niger or Imo river, Eke, Afo, Orie/Oye, or Nkwo market, an extraordinary tree, a binding oath at a particular shrine, or the canyon of erosion in Agulu. The preeminence of Ala/Ani does not eclipse the vitality of these other deities, especially those associated with water, or of Amadioha, god of thunder and lightening and, by extension, rain. These anthropomorphic male and female deities have priests and often elaborate cult apparatus, symbolic works of art, and finely decorated compounds. Each has general and specific powers, and although their priesthoods may be held by certain lineages, the more commanding of these cults have constituencies cutting across lines of kinship and stressing communal worship. Such tutelary deities are close to people, fast-acting (for good or ill), and often capricious, thus requiring frequent attention and sacrifice. ...(Cole and Aniakor, 1984, p.16).\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989, Ibo Art (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/11/2007]\n\nFM:206299\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71649_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656753_N.71649.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13335.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306607", "metadata": {"title": "Untitled", "idno": "N.13335.GIJ", "description": "A white face mask modelled by a man. The mask is white and has very human and stylised features. The eyes are inset and the pupils are painted white, black eyebrows, elongated nose, protruding ears, defined lips with a black marking above the lip. There is a black line running down the centre of the face. In addition, there are two small black linear lines underneath the eyes and two small black circles either side of the eyes. The hairline is scalloped and is possibly made of felt or fabric. Around the chin is a felt, stitched band with pieces of square felt attached; some of the squares have designs cut out of them. In the background is a man in a cloth and some buildings.", "place": "W Africa; Nigeria; South Eastern Nigeria; Nsukka division", "cultural_affliation": "Igbo [historically Ibo]; Nsukka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "Prior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nThis is the first image in the Nsukka area masquerade series of two photographs.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]Publication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13335.GIJ\n\nDescription\n\nA white face mask modelled by a man. The mask is white and has very human and stylised features. The eyes are inset and the pupils are painted white, black eyebrows, elongated nose, protruding ears, defined lips with a black marking above the lip. There is a black line running down the centre of the face. In addition, there are two small black linear lines underneath the eyes and two small black circles either side of the eyes. The hairline is scalloped and is possibly made of felt or fabric. Around the chin is a felt, stitched band with pieces of square felt attached; some of the squares have designs cut out of them. In the background is a man in a cloth and some buildings.\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Nsukka division\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nsukka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPrior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nThis is the first image in the Nsukka area masquerade series of two photographs.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 9/4/2008]Publication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147985\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13335_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000598_N.13335.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169648.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463636", "metadata": {"title": "Untitled", "idno": "P.169648.GIJ", "description": "Head and shoulders portrait of a man wearing a shirt and a knitted hat. There are spectators in the background. [Description from record N.13294.GIJ, PB 20/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.", "raw_text_dump": "IDNO\n\nP.169648.GIJ\n\nDescription\n\nHead and shoulders portrait of a man wearing a shirt and a knitted hat. There are spectators in the background. [Description from record N.13294.GIJ, PB 20/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nFM:310135\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169648_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127387_P.169648.GIJ_001.png"}, {"file_name": "P_169648_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127390_P.169648.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171112.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465173", "metadata": {"title": "Untitled", "idno": "P.171112.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nA close up portrait of a masquerader identified as Nwabogho Ehi (Heifer) wearing a carved wooden helmet mask with a curved crest, the face of the mask is white with black paint to accentuate the eyes, nose, mouth and facial markings and divided into four diagonals; a cloth scarf is tied around the neck, and a brightly coloured harlequin-like costume. There are male spectators in the background. [Description from record N.13251.GIJ, PB 14/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767033.GIJ - P.767038.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\" [PB 13/06/24]\n\nAbout the character Nwabogho Efi (Heifer), G.I. Jones writes in the notes: \"A name given to young and comely, young unmarried woman. This was a typical \"Awka\" helmet mask with a white female face and a crested mud and charcoal hair do. She danced in a similar manner and mimed before the second hand band with the same piping, directing and supporting singing chorus and thern sat on a chair nearby\"", "raw_text_dump": "IDNO\n\nP.171112.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nA close up portrait of a masquerader identified as Nwabogho Ehi (Heifer) wearing a carved wooden helmet mask with a curved crest, the face of the mask is white with black paint to accentuate the eyes, nose, mouth and facial markings and divided into four diagonals; a cloth scarf is tied around the neck, and a brightly coloured harlequin-like costume. There are male spectators in the background. [Description from record N.13251.GIJ, PB 14/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767033.GIJ - P.767038.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\" [PB 13/06/24]\n\nAbout the character Nwabogho Efi (Heifer), G.I. Jones writes in the notes: \"A name given to young and comely, young unmarried woman. This was a typical \"Awka\" helmet mask with a white female face and a crested mud and charcoal hair do. She danced in a similar manner and mimed before the second hand band with the same piping, directing and supporting singing chorus and thern sat on a chair nearby\"\n\nFM:311803\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171112_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144328_P.171112.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71420.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364691", "metadata": {"title": "Untitled", "idno": "N.71420.GIJ", "description": "A young boy standing with three \u2018modern\u2019 wood carvings: a woman, a leopard, and a policeman. The woman figure is standing holding a (wooden) umbrella in her hand. She has an elaborate coiffure parted in the middle and painted black. Her face is stylised and she has black eyebrows, almond shaped eyes with black pupils, nose and open mouth, her ears are adorned with earrings. She has a black painted neck and necklace, extended umbilicus, black painted loin covering (resembling beads?), striped leg rings and shoes, painted black with white spots for lacing.\nThe leopard figure is standing on four legs, with a large rounded face and tail. His mouth is open and his tongue is hanging out; it is decorated in black spots on a pale background, the paws are painted white with claws.\nThe policeman figure is standing wearing a uniform and holding a rifle in one hand. He is wearing a black hat on top of his pale face which is accentuated with almond shaped eyes, nose, rounded mouth and ears. The uniform is black but painted white to define the buttons, rank, and belt buckle, around the waist are truncheons. The young boy is staring at the photographer. In the background are trees and vegetation.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "Publication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Other Igbo cultural items\n3. Child with modern carvings A woman, leopard and policeman, Nri-Awka (20th image).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]", "raw_text_dump": "IDNO\n\nN.71420.GIJ\n\nDescription\n\nA young boy standing with three \u2018modern\u2019 wood carvings: a woman, a leopard, and a policeman. The woman figure is standing holding a (wooden) umbrella in her hand. She has an elaborate coiffure parted in the middle and painted black. Her face is stylised and she has black eyebrows, almond shaped eyes with black pupils, nose and open mouth, her ears are adorned with earrings. She has a black painted neck and necklace, extended umbilicus, black painted loin covering (resembling beads?), striped leg rings and shoes, painted black with white spots for lacing.\nThe leopard figure is standing on four legs, with a large rounded face and tail. His mouth is open and his tongue is hanging out; it is decorated in black spots on a pale background, the paws are painted white with claws.\nThe policeman figure is standing wearing a uniform and holding a rifle in one hand. He is wearing a black hat on top of his pale face which is accentuated with almond shaped eyes, nose, rounded mouth and ears. The uniform is black but painted white to define the buttons, rank, and belt buckle, around the waist are truncheons. The young boy is staring at the photographer. In the background are trees and vegetation.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Other Igbo cultural items\n3. Child with modern carvings A woman, leopard and policeman, Nri-Awka (20th image).\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]\n\nFM:206070\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71420_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656575_N.71420.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.71530.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364801", "metadata": {"title": "Untitled", "idno": "N.71530.GIJ", "description": "Obugulu mau masquerade. A close up view of the masquerader wearing a white and black painted face mask adorned with an elaborate superstructure. The top of the mask consists of pieces of cloth, ribbon, felt. tassels, carvings, and mirrors. The costume is harlequin like appliques material.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 16 of the negative album now numbered C15/\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Obugula Mmau Amuobia village (9th image).\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe\nFame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nMAA Exhibition: This image is included in the G.I. Jones' slide show in the Nigerian case, Maudslay Gallery, with the following caption:\n\"Obugulu Mau (Ghost) masquerader in a female\nhelmet mask.\nThe Obugulu Mau performer\u2019s headdress is a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures are attached.\u201d [JD 5/8/2014]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/11/2007]", "raw_text_dump": "IDNO\n\nN.71530.GIJ\n\nDescription\n\nObugulu mau masquerade. A close up view of the masquerader wearing a white and black painted face mask adorned with an elaborate superstructure. The top of the mask consists of pieces of cloth, ribbon, felt. tassels, carvings, and mirrors. The costume is harlequin like appliques material.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 16 of the negative album now numbered C15/\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Obugula Mmau Amuobia village (9th image).\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe\nFame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nMAA Exhibition: This image is included in the G.I. Jones' slide show in the Nigerian case, Maudslay Gallery, with the following caption:\n\"Obugulu Mau (Ghost) masquerader in a female\nhelmet mask.\nThe Obugulu Mau performer\u2019s headdress is a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures are attached.\u201d [JD 5/8/2014]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/11/2007]\n\nFM:206180\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71530_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656658_N.71530.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "T.169962.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463981", "metadata": {"title": "Untitled", "idno": "T.169962.GIJ", "description": "The interior of an Obu House with the close up view of a large wooden sculpture. The face of the sculpture consists of a humanised figure with carved arched eyebrows, elliptical shaped eyes, string nose, lips and curved ears, around the neck is a deeply incised circular base. On top of the head is a defined hairline with two linear projections with rounded tops painted with white dots in front of a rectangular base. The top is rounded and curved with thickly incised markings. Behind the sculpture is a block wall. [Description from record N.71855.GIJ, PB 28/07/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River [I]", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; October 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.169962.GIJ\n\nDescription\n\nThe interior of an Obu House with the close up view of a large wooden sculpture. The face of the sculpture consists of a humanised figure with carved arched eyebrows, elliptical shaped eyes, string nose, lips and curved ears, around the neck is a deeply incised circular base. On top of the head is a defined hairline with two linear projections with rounded tops painted with white dots in front of a rectangular base. The top is rounded and curved with thickly incised markings. Behind the sculpture is a block wall. [Description from record N.71855.GIJ, PB 28/07/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River [I]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; October 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310490\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_169962_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127963_T.169962.GIJ_001.png"}, {"file_name": "T_169962_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127964_T.169962.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169665.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463670", "metadata": {"title": "Untitled", "idno": "P.169665.GIJ", "description": "Onu Kamma (Mouth stronger than sword) masquerade showing three masqueraders wearing large conical shaped faceless masks made of layers of fibre and with a cloth panel in the front. The masqueraders are wearing tie-dyed/batik? tops and striped woven cloth trousers adorned with fibre skirts around the waist. One of the masqueraders is holding a metal gong. Behind the masqueraders is an attendant and a large crowd of bystanders in the background. [Description from record P.71567.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169665.GIJ\n\nDescription\n\nOnu Kamma (Mouth stronger than sword) masquerade showing three masqueraders wearing large conical shaped faceless masks made of layers of fibre and with a cloth panel in the front. The masqueraders are wearing tie-dyed/batik? tops and striped woven cloth trousers adorned with fibre skirts around the waist. One of the masqueraders is holding a metal gong. Behind the masqueraders is an attendant and a large crowd of bystanders in the background. [Description from record P.71567.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\n\nFM:310152\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169665_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127436_P.169665.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171566.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465627", "metadata": {"title": "Untitled", "idno": "P.171566.GIJ", "description": "A documentation photograph of two ekpu (ancestor) figures, representing the deceased heads of a family lineage. [Description from record T.170123.GIJ, PB 24/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Oron; Ebughu", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171566.GIJ is mounted on card.", "raw_text_dump": "IDNO\n\nP.171566.GIJ\n\nDescription\n\nA documentation photograph of two ekpu (ancestor) figures, representing the deceased heads of a family lineage. [Description from record T.170123.GIJ, PB 24/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Oron; Ebughu\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171566.GIJ is mounted on card.\n\nFM:312286\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171566_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144827_P.171566.GIJ_001.jpg"}, {"file_name": "P_171566_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144828_P.171566.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171300.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465361", "metadata": {"title": "Untitled", "idno": "P.171300.GIJ", "description": "Onye Ocha or Oybio (white man) masquerade character. The mask consists of a white face with black arched brows, slits for eyes, long nose and mouth with a black moustache. On the top is a carved white sun helmet with a black brim. The costume consists of a white drill jacket and trousers; the character is posed with one hand on his hip and in the other, he is holding a walking stick. On his feet are white shoes/slippers and his hands are covered in white mittens/gloves. [Description from record P.71603.GIJ, PB 30/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767224.GIJ is a cut out mounted on card.", "raw_text_dump": "IDNO\n\nP.171300.GIJ\n\nDescription\n\nOnye Ocha or Oybio (white man) masquerade character. The mask consists of a white face with black arched brows, slits for eyes, long nose and mouth with a black moustache. On the top is a carved white sun helmet with a black brim. The costume consists of a white drill jacket and trousers; the character is posed with one hand on his hip and in the other, he is holding a walking stick. On his feet are white shoes/slippers and his hands are covered in white mittens/gloves. [Description from record P.71603.GIJ, PB 30/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767224.GIJ is a cut out mounted on card.\n\nFM:311991\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171300_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144516_P.171300.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169850.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463863", "metadata": {"title": "Untitled", "idno": "P.169850.GIJ", "description": "Men and women dancing in single file at a masquerade. [PB 05/01/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo {Ibo]; South Ikwerri", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169850.GIJ\n\nDescription\n\nMen and women dancing in single file at a masquerade. [PB 05/01/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo {Ibo]; South Ikwerri\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310337\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169850_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127793_P.169850.GIJ_001.png"}, {"file_name": "P_169850_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127796_P.169850.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.71651.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364922", "metadata": {"title": "Untitled", "idno": "N.71651.GIJ", "description": "An Alose figure and shrine. The face of the figure consists of a rounded face with defined eyes, nose, mouth and a helmet-shaped or arched crest on the top of the head; the body of the figure is very geometric and abstract and consists of a series of rounded sections and adorned with strands of raffia tied around it. The shrine consists of two sticks and twine and several rocks. In the background are spectators; one of whom appears to be a chief dressed in a long-sleeved tunic, wrapper and wearing a hat. Mud and thatched buildings are visible.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "P.71646.GIJ to P.71650.GIJ were wrapped in paper, now numbered C301/15/ and were presumed to come from box 4 now numbered C301/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Alusi or Arunsi (shrines)\n3. Alusi (17th image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d(Jones, 1989, p. 37).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1989, p.54)\n\nContext: In relation to the Alusi figures, Cole and Aniakor write that, \u201cthe dead are conceived as part of the everyday world, and just as clearly, their presence can hold a positive or negative valence for the living; exactly the same is true of the tutelary deities, alusi. These forces, however, are neither personal (chi or ancestors) nor universal (Chineke, Chukwu). Rather, they are in part specific, usually tangible phenomena such as: Earth, the Niger or Imo river, Eke, Afo, Orie/Oye, or Nkwo market, an extraordinary tree, a binding oath at a particular shrine, or the canyon of erosion in Agulu. The preeminence of Ala/Ani does not eclipse the vitality of these other deities, especially those associated with water, or of Amadioha, god of thunder and lightening and, by extension, rain. These anthropomorphic male and female deities have priests and often elaborate cult apparatus, symbolic works of art, and finely decorated compounds. Each has general and specific powers, and although their priesthoods may be held by certain lineages, the more commanding of these cults have constituencies cutting across lines of kinship and stressing communal worship. Such tutelary deities are close to people, fast-acting (for good or ill), and often capricious, thus requiring frequent attention and sacrifice. ...(Cole and Aniakor, 1984, p.16).\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989, Ibo Art (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/11/2007]", "raw_text_dump": "IDNO\n\nN.71651.GIJ\n\nDescription\n\nAn Alose figure and shrine. The face of the figure consists of a rounded face with defined eyes, nose, mouth and a helmet-shaped or arched crest on the top of the head; the body of the figure is very geometric and abstract and consists of a series of rounded sections and adorned with strands of raffia tied around it. The shrine consists of two sticks and twine and several rocks. In the background are spectators; one of whom appears to be a chief dressed in a long-sleeved tunic, wrapper and wearing a hat. Mud and thatched buildings are visible.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.71646.GIJ to P.71650.GIJ were wrapped in paper, now numbered C301/15/ and were presumed to come from box 4 now numbered C301/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Alusi or Arunsi (shrines)\n3. Alusi (17th image).\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d(Jones, 1989, p. 37).\n\nContext: Jones also writes about the carved wooden Aluse figures, he notes that, \u201cA statue was associated for the most part with a religious or magical cult. The statue represented, stood for, a deity or spirit and it did not really matter what the object looked like provided the symbolism was accepted by the participants it the ritual\u201d. (Jones, 1989, p.54)\n\nContext: In relation to the Alusi figures, Cole and Aniakor write that, \u201cthe dead are conceived as part of the everyday world, and just as clearly, their presence can hold a positive or negative valence for the living; exactly the same is true of the tutelary deities, alusi. These forces, however, are neither personal (chi or ancestors) nor universal (Chineke, Chukwu). Rather, they are in part specific, usually tangible phenomena such as: Earth, the Niger or Imo river, Eke, Afo, Orie/Oye, or Nkwo market, an extraordinary tree, a binding oath at a particular shrine, or the canyon of erosion in Agulu. The preeminence of Ala/Ani does not eclipse the vitality of these other deities, especially those associated with water, or of Amadioha, god of thunder and lightening and, by extension, rain. These anthropomorphic male and female deities have priests and often elaborate cult apparatus, symbolic works of art, and finely decorated compounds. Each has general and specific powers, and although their priesthoods may be held by certain lineages, the more commanding of these cults have constituencies cutting across lines of kinship and stressing communal worship. Such tutelary deities are close to people, fast-acting (for good or ill), and often capricious, thus requiring frequent attention and sacrifice. ...(Cole and Aniakor, 1984, p.16).\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press); Jones, G.I. 1989, Ibo Art (Shire)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 26/11/2007]\n\nFM:206301\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71651_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656756_N.71651.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171197.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465258", "metadata": {"title": "Untitled", "idno": "P.171197.GIJ", "description": "A group of young boys and men playing in a band. There are various types of musical instruments including igba (membrane drums with drum sticks), pot drums, ngedegwu (zylophone, made from a pot base with wooden slats), abia (metal gongs), and rattles. The clothing of the band members varies from loin cloths, shorts, and smocks. The band is located under a tree with some musicians sitting and other standing. In the background are trees and vegetation. [Description from record P.71608.GIJ, PB 02/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767121.GIJ - P.767127.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171197.GIJ\n\nDescription\n\nA group of young boys and men playing in a band. There are various types of musical instruments including igba (membrane drums with drum sticks), pot drums, ngedegwu (zylophone, made from a pot base with wooden slats), abia (metal gongs), and rattles. The clothing of the band members varies from loin cloths, shorts, and smocks. The band is located under a tree with some musicians sitting and other standing. In the background are trees and vegetation. [Description from record P.71608.GIJ, PB 02/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767121.GIJ - P.767127.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311888\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171197_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144413_P.171197.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71489.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364760", "metadata": {"title": "Untitled", "idno": "N.71489.GIJ", "description": "A goat or antelope head mask made of wood from the Nri Akwa area. The carved mask depicts the head of a goat or antelope with two curled, incised horns painted in a striped pattern of white and black. The eyes are painted white and there is a long rounded snout, floppy ears on either side and rounded base of the mask.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 41 of the negative album now numbered C27/.\n\nContext: The area that produced most of the carvings in the Lower Niger style was the Nri/Akwa Ibo area of the Onitisha province. Not only masks and figures but decorative carvins of all sorts were produced here and in considerable quantity.(See Jones, 1984, p. 142)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]", "raw_text_dump": "IDNO\n\nN.71489.GIJ\n\nDescription\n\nA goat or antelope head mask made of wood from the Nri Akwa area. The carved mask depicts the head of a goat or antelope with two curled, incised horns painted in a striped pattern of white and black. The eyes are painted white and there is a long rounded snout, floppy ears on either side and rounded base of the mask.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 41 of the negative album now numbered C27/.\n\nContext: The area that produced most of the carvings in the Lower Niger style was the Nri/Akwa Ibo area of the Onitisha province. Not only masks and figures but decorative carvins of all sorts were produced here and in considerable quantity.(See Jones, 1984, p. 142)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/11/2007]\n\nFM:206139\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71489_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656617_N.71489.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "N.13179.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306451", "metadata": {"title": "Untitled", "idno": "N.13179.GIJ", "description": "An Ekpo panel mask. The panel is rounded at the top with a flat bottom, the oval face is raised in the centre and is naturalistic and serene in form. The mask consists of a rounded border at the top of the head, high forehead, slit eyes with overhanging eyelids, squarish nose, and diamond shaped open mouth, elliptical shaped ears, and keloid markings on the side.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\n\nPublication: Jones, 1984, p. 129, Plate 40 with the caption, \u201cEkpo mask, naturalistic in style.\n\nContext: \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]", "raw_text_dump": "IDNO\n\nN.13179.GIJ\n\nDescription\n\nAn Ekpo panel mask. The panel is rounded at the top with a flat bottom, the oval face is raised in the centre and is naturalistic and serene in form. The mask consists of a rounded border at the top of the head, high forehead, slit eyes with overhanging eyelids, squarish nose, and diamond shaped open mouth, elliptical shaped ears, and keloid markings on the side.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Ikot Ekpene\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\n\nPublication: Jones, 1984, p. 129, Plate 40 with the caption, \u201cEkpo mask, naturalistic in style.\n\nContext: \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]\n\n\nFM:147829\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13179_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000441_N.13179.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169720.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463729", "metadata": {"title": "Untitled", "idno": "P.169720.GIJ", "description": "Half-length portrait of a man in profile. There is a wall in the background. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169720.GIJ\n\nDescription\n\nHalf-length portrait of a man in profile. There is a wall in the background. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310207\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169720_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127534_P.169720.GIJ_001.png"}, {"file_name": "P_169720_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127535_P.169720.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171105.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465166", "metadata": {"title": "Untitled", "idno": "P.171105.GIJ", "description": "Ogbugulu Mau (Ghost) masquerade.\nA close up view of Iro Ekpetu (Merciless) wearing a fierce, black wooden face mask; the forehead is incised with decoration, the eyes consist of two small holes but accentuated with white paint around the eyes, a pointed nose, round ears and protruding mouth and teeth, accentuated by white paint. On the head is a protrusion, such as a keloid? or rhomboid? Raffia \u2018hair\u2019 is attached to the back of the mask. The upper torso is covered in a cloth top, which is attached to the mask. The masquerader is holding up a stick switch. In the background is a mud and thatch building surrounded by trees and vegetation. [Description from record N.13254.GIJ, PB 14/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village", "cultural_affliation": "Igbo [historically Ibo]; Isuochi", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767029.GIJ - P.767032.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Iro Ekpetu (Merciless), G.I. Jones writes in the notes: \"There were two of these fierce masks, black with fang-like teeth, wearing a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia, and carrying a wand or a stick with which to theaten the crowd.\"", "raw_text_dump": "IDNO\n\nP.171105.GIJ\n\nDescription\n\nOgbugulu Mau (Ghost) masquerade.\nA close up view of Iro Ekpetu (Merciless) wearing a fierce, black wooden face mask; the forehead is incised with decoration, the eyes consist of two small holes but accentuated with white paint around the eyes, a pointed nose, round ears and protruding mouth and teeth, accentuated by white paint. On the head is a protrusion, such as a keloid? or rhomboid? Raffia \u2018hair\u2019 is attached to the back of the mask. The upper torso is covered in a cloth top, which is attached to the mask. The masquerader is holding up a stick switch. In the background is a mud and thatch building surrounded by trees and vegetation. [Description from record N.13254.GIJ, PB 14/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha Province; near Awka; Amuda village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Isuochi\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767029.GIJ - P.767032.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nRelated Archive: Jones' notes in the folder 'Mau Masquerade. Amuda Village. Isu Ochi Tribe. Northern Ibo', \"This masquerade was played in the dry season usually in December. The performers consisted of a chorus of young men who clapped and sang, two bands and eight masked characters.\nThe first band contained three small Ibibio type membrane drums, played with a crooked stick and the fingers, one small double iron gong, a pair of basket rattles and a piper with a two toned whistle.\nThe second band had one large pot with a hole in the side on which the player beat with the palm of his hand, one small double gong and one two toned whistle.\nThe actors in the masks had costumes which completely covered their hands and feet (with old cloth or in the case of the feet of some of them, old stockings). Whenever through furious dancing a toe or a finger might become exposed the attendant (each character was, as usual, guided and guarded by an uncostumed servant) broke off a spray of a shrub and struck the ground in front of the character and then made off for the dressing enclosure hotly pursued by the mask.\nThere was no concerted acting. The masks appeared sometimes together, sometimes separately, spoke to each other and to the crowd in \"ghostly\" voice (through voice disguisers) mimed, paraded through the village, and stood about in the arena. The white faced \"beautiful\" ones danced stamping with rattles on their ankles in front of the band, the \"fierce\" or comic ones stood around, threatened the crowd or danced, as the spirit moved them.\nThe performance went on for most of the afternoon. I left before it hand ended.\"\n\nAbout the character Iro Ekpetu (Merciless), G.I. Jones writes in the notes: \"There were two of these fierce masks, black with fang-like teeth, wearing a loose costume of sacking or soiled cotton cloth with an apron-like skirt of raffia, and carrying a wand or a stick with which to theaten the crowd.\"\n\nFM:311796\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171105_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144321_P.171105.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169661.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463661", "metadata": {"title": "Untitled", "idno": "P.169661.GIJ", "description": "Three Obugulu mau masqueraders standing. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appliqued costumes with pointed breasts; their hands and feet are covered with cloth. [Description from record P.71527.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria: Onitsha Province; Nri Awka; Amobia village", "cultural_affliation": "Ibo [historically Igbo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.", "raw_text_dump": "IDNO\n\nP.169661.GIJ\n\nDescription\n\nThree Obugulu mau masqueraders standing. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appliqued costumes with pointed breasts; their hands and feet are covered with cloth. [Description from record P.71527.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria: Onitsha Province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169652.GIJ - P.169679.GIJ were located in a brown envelope now numbered C754/2/.\n\nFM:310148\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169661_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127427_P.169661.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.169631.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463602", "metadata": {"title": "Untitled", "idno": "P.169631.GIJ", "description": "Head and shoulders portrait of a man wearing a shirt and a knitted hat. There are spectators in the background. [Description from record N.13294.GIJ, PB 20/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.", "raw_text_dump": "IDNO\n\nP.169631.GIJ\n\nDescription\n\nHead and shoulders portrait of a man wearing a shirt and a knitted hat. There are spectators in the background. [Description from record N.13294.GIJ, PB 20/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nFM:310118\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169631_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127321_P.169631.GIJ_001.png"}, {"file_name": "P_169631_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127323_P.169631.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171245.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465306", "metadata": {"title": "Untitled", "idno": "P.171245.GIJ", "description": "A close up portrait of a seated masquerader, wearing an animal-like mask (? jackal) which has a long snout with nostrils in the end, and a slit mouth with teeth. The face is bowl-like with white almond-shaped eyes. Coils of rope are attached to the back of the mask and tumble down over the shoulders. The masquerader is wearing a tunic of woven ropes with a waist band decorated with cowrie shells. His arms are covered with strip-weave cloth. An attendant is standing to the masquerader's right. [PB 05/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra state; Nnewi; Otolo", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767169.GIJ - P.767171.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171245.GIJ\n\nDescription\n\nA close up portrait of a seated masquerader, wearing an animal-like mask (? jackal) which has a long snout with nostrils in the end, and a slit mouth with teeth. The face is bowl-like with white almond-shaped eyes. Coils of rope are attached to the back of the mask and tumble down over the shoulders. The masquerader is wearing a tunic of woven ropes with a waist band decorated with cowrie shells. His arms are covered with strip-weave cloth. An attendant is standing to the masquerader's right. [PB 05/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra state; Nnewi; Otolo\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767169.GIJ - P.767171.GIJ are mounted together on card.\n\nFM:311936\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171245_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144461_P.171245.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171593.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465654", "metadata": {"title": "Untitled", "idno": "P.171593.GIJ", "description": "A documentation photograph of six carved wooden ancestral figures, standing in front of an open framework of canes in an enclosure in a village. The figures all have carved faces, with various coiffures. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Obogwe", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171593.GIJ to P.171595.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171593.GIJ\n\nDescription\n\nA documentation photograph of six carved wooden ancestral figures, standing in front of an open framework of canes in an enclosure in a village. The figures all have carved faces, with various coiffures. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Obogwe\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171593.GIJ to P.171595.GIJ are mounted on card.\n\nFM:312313\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171593_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144881_P.171593.GIJ_001.jpg"}, {"file_name": "P_171593_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144882_P.171593.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171342.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465403", "metadata": {"title": "Untitled", "idno": "P.171342.GIJ", "description": "A documentation photograph in profile of a carved wooden figure. The figure is sitting on a stool, with elbows bent and hands by waist. Six anklets are carved on the ankles. The neck is elongated, and has a cord attached dangling behind the figure, with a loop at its end. A peg juts out of the base of the head at its rear. the hair is carved into an elaborate crest of feather like hair horns with a disc at the side of a head band. [PB 08/08/2024]", "place": "W Africa; Nigeria; South Ibo; South Eastern Nigeria; Akwa Ibom state; Ikot Abia town", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171342.GIJ - P.171348.GIJ were located in a 'Gateway' folder, now numbered C768/1.\n\nImages P.171342.GIJ and P.768005.GIJ to P.768008.GIJ are of the same figure.", "raw_text_dump": "IDNO\n\nP.171342.GIJ\n\nDescription\n\nA documentation photograph in profile of a carved wooden figure. The figure is sitting on a stool, with elbows bent and hands by waist. Six anklets are carved on the ankles. The neck is elongated, and has a cord attached dangling behind the figure, with a loop at its end. A peg juts out of the base of the head at its rear. the hair is carved into an elaborate crest of feather like hair horns with a disc at the side of a head band. [PB 08/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Ibo; South Eastern Nigeria; Akwa Ibom state; Ikot Abia town\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171342.GIJ - P.171348.GIJ were located in a 'Gateway' folder, now numbered C768/1.\n\nImages P.171342.GIJ and P.768005.GIJ to P.768008.GIJ are of the same figure.\n\nFM:312043\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171342_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144558_P.171342.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171537.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465598", "metadata": {"title": "Untitled", "idno": "P.171537.GIJ", "description": "A documentation photograph in profile of two wooden face masks. The smaller mask on the left has an oblong profile, with raised hairline and stud hair crest. The ear is circular and highlighted with white paint. The eye holes and mouth are narrow slits and highlighted with white paint. The cheeks have itchi markings. There is a beard of black hair attached to the chin.\n\nThe larger mask on the right has a curved surface with itchi marks on forehead and cheeks. The eyes and mouth are protruding and highlighted with white paint. There is a peglike crest from the top of the head, bound with rings. The chin has a beard of black hairs. The cord to attach the mask is shown. [PB 22/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Obigwe", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171535.GIJ to P.171537.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171537.GIJ\n\nDescription\n\nA documentation photograph in profile of two wooden face masks. The smaller mask on the left has an oblong profile, with raised hairline and stud hair crest. The ear is circular and highlighted with white paint. The eye holes and mouth are narrow slits and highlighted with white paint. The cheeks have itchi markings. There is a beard of black hair attached to the chin.\n\nThe larger mask on the right has a curved surface with itchi marks on forehead and cheeks. The eyes and mouth are protruding and highlighted with white paint. There is a peglike crest from the top of the head, bound with rings. The chin has a beard of black hairs. The cord to attach the mask is shown. [PB 22/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Obigwe\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171535.GIJ to P.171537.GIJ are mounted on card.\n\nFM:312257\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171537_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144768_P.171537.GIJ_001.jpg"}, {"file_name": "P_171537_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144769_P.171537.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13300.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306572", "metadata": {"title": "Untitled", "idno": "N.13300.GIJ", "description": "Close up portrait of a childl leaning against a wall. Another child is in the background.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]", "raw_text_dump": "IDNO\n\nN.13300.GIJ\n\nDescription\n\nClose up portrait of a childl leaning against a wall. Another child is in the background.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nContext: This is one of a series of portraits of individuals for which no prints have been found (July 1999). The series runs from N.13292.GIJ to N.13316.GIJ\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 12/2/2008]\n\nFM:147950\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13300_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000563_N.13300.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171344.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465405", "metadata": {"title": "Untitled", "idno": "P.171344.GIJ", "description": "A documentation photograph of an Ugbom headdress depicting a female figure without arms. The figure is carved of wood and the head consists of an arched curved crest coiffure on the top, high forehead with keloid markings in the centre, slit eyes, nose, and protruding mouth, elongated neck and cylindrical torso with two breasts and a protruding round umbilicus. There are anklets around the ankles. [PB 08/08/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Etinan", "cultural_affliation": "Anang; Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171342.GIJ - P.171348.GIJ were located in a 'Gateway' folder, now numbered C768/1.\n\nP.768002.GIJ and P.768004.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171344.GIJ\n\nDescription\n\nA documentation photograph of an Ugbom headdress depicting a female figure without arms. The figure is carved of wood and the head consists of an arched curved crest coiffure on the top, high forehead with keloid markings in the centre, slit eyes, nose, and protruding mouth, elongated neck and cylindrical torso with two breasts and a protruding round umbilicus. There are anklets around the ankles. [PB 08/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Etinan\n\nCultural Affliation\n\nAnang; Ibibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171342.GIJ - P.171348.GIJ were located in a 'Gateway' folder, now numbered C768/1.\n\nP.768002.GIJ and P.768004.GIJ are mounted together on card.\n\nFM:312045\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171344_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144560_P.171344.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169765.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463774", "metadata": {"title": "Untitled", "idno": "P.169765.GIJ", "description": "Half-length portrait of a man in profile. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169765.GIJ\n\nDescription\n\nHalf-length portrait of a man in profile. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310252\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169765_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127624_P.169765.GIJ_001.png"}, {"file_name": "P_169765_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127625_P.169765.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171202.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465263", "metadata": {"title": "Untitled", "idno": "P.171202.GIJ", "description": "Young adult males performing in an age set dance, surrounded by crowds. The dancers are leaping into the air. They are wearing waist ornaments and bands, some of which have bells attached to them, knee-rattles, and head-gear (which appears to be a wig with pale round ornaments sewn onto it). [Description from record N.13260.GIJ, PB 02/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; near Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nIn his notes in the folder about 'Age Set Passage Dance, N. Ibo. (?Nri-Awka Area) , G.I. Jones explains:\n\n\"This is a dance performed by adolescent males age set as it passes from the grade of boys to that of men. The dancers are attired as adolescent females (who until they are married are naked except for a string of beads around their waist and, when they go into seclusion before their marriage, with an elaborate hair do. The dancers have added to their waist strings little harness and other small bells, and have rattles of shells round their legs and they wear wigs representing elaborate hair dos.\n\nIn this dance they produced an acrobatic ballet, dancing together with elaborate leaps and bounds.\n\nIn other dance the players appeared with hand mirrors and mimicked young women at their toilets.\"", "raw_text_dump": "IDNO\n\nP.171202.GIJ\n\nDescription\n\nYoung adult males performing in an age set dance, surrounded by crowds. The dancers are leaping into the air. They are wearing waist ornaments and bands, some of which have bells attached to them, knee-rattles, and head-gear (which appears to be a wig with pale round ornaments sewn onto it). [Description from record N.13260.GIJ, PB 02/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; near Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nIn his notes in the folder about 'Age Set Passage Dance, N. Ibo. (?Nri-Awka Area) , G.I. Jones explains:\n\n\"This is a dance performed by adolescent males age set as it passes from the grade of boys to that of men. The dancers are attired as adolescent females (who until they are married are naked except for a string of beads around their waist and, when they go into seclusion before their marriage, with an elaborate hair do. The dancers have added to their waist strings little harness and other small bells, and have rattles of shells round their legs and they wear wigs representing elaborate hair dos.\n\nIn this dance they produced an acrobatic ballet, dancing together with elaborate leaps and bounds.\n\nIn other dance the players appeared with hand mirrors and mimicked young women at their toilets.\"\n\nFM:311893\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171202_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144418_P.171202.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171609.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465670", "metadata": {"title": "Untitled", "idno": "P.171609.GIJ", "description": "A cut out image of an carved wooden ancestral figure with back to camera. The figure is male, with angled limbs. A shallow sun hat painted white is on top of its head. [PB 05/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Obogwe", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171608.GIJ to P.171612.GIJ are mounted on card.\n\nImages P.171608.GIJ to P.171612.GIJ are of the same figures.", "raw_text_dump": "IDNO\n\nP.171609.GIJ\n\nDescription\n\nA cut out image of an carved wooden ancestral figure with back to camera. The figure is male, with angled limbs. A shallow sun hat painted white is on top of its head. [PB 05/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Obogwe\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171608.GIJ to P.171612.GIJ are mounted on card.\n\nImages P.171608.GIJ to P.171612.GIJ are of the same figures.\n\nFM:312329\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171609_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144913_P.171609.GIJ_001.jpg"}, {"file_name": "P_171609_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144914_P.171609.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171229.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465290", "metadata": {"title": "Untitled", "idno": "P.171229.GIJ", "description": "An object documentation image of an ikenga figure. A horned standing figure with a pipe or straw. [PB 04/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767153.GIJ - P.767254.GIJ are mounted together on paper.\n\nThe figure is in the collection of the Volkerkunde Museum Vienna.", "raw_text_dump": "IDNO\n\nP.171229.GIJ\n\nDescription\n\nAn object documentation image of an ikenga figure. A horned standing figure with a pipe or straw. [PB 04/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767153.GIJ - P.767254.GIJ are mounted together on paper.\n\nThe figure is in the collection of the Volkerkunde Museum Vienna.\n\nFM:311920\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171229_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144445_P.171229.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171536.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465597", "metadata": {"title": "Untitled", "idno": "P.171536.GIJ", "description": "A documentation photograph of a carved dark wooden face mask. The wooden is oval shaped and on the top of the head is a plume of black hair. The mask has a high forehead with incised design of diagonal and vertical grooves leading down to horizontal rows of notches, above narrow slit eyes highlighted with white paint, a straight broad nose and a rectangular mouth under a protruding upper lip. At the bottom of the chin is a beard made of the strands of dark hair. [PB 22/10/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Kreigani", "cultural_affliation": "Igbo [historically Ibo]; Ekpeya", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171535.GIJ to P.171537.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171536.GIJ\n\nDescription\n\nA documentation photograph of a carved dark wooden face mask. The wooden is oval shaped and on the top of the head is a plume of black hair. The mask has a high forehead with incised design of diagonal and vertical grooves leading down to horizontal rows of notches, above narrow slit eyes highlighted with white paint, a straight broad nose and a rectangular mouth under a protruding upper lip. At the bottom of the chin is a beard made of the strands of dark hair. [PB 22/10/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Kreigani\n\nCultural Affliation\n\nIgbo [historically Ibo]; Ekpeya\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171535.GIJ to P.171537.GIJ are mounted on card.\n\nFM:312256\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171536_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144766_P.171536.GIJ_001.jpg"}, {"file_name": "P_171536_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144767_P.171536.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71478.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364749", "metadata": {"title": "Untitled", "idno": "N.71478.GIJ", "description": "A documentation photograph of two Agwu Nsi Figures made of wood. The figure on the left depicts an animal with a janus? head and pointed ears. The figure on the right depicts a head with a crested, incised and curved coiffure, face with serene features and scarification marks in the centre of the forehead on a pedestal base attached to a plinth.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; ?Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 92 of the negative album now numbered C16/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Agwu Nsi Figures\n3. Agwu Nsi figures (Dibia) Nri-Awka Igbo (1st image).\n\nContext: Jones writes about these figures and explains they were used by diviners. \u201cQuite as importantly, particularly in the Lower Niger area, were the figures representing personal deities decorating the meeting houses of wealthy Northern Ibo men, who vied each other in such displays. The best known of these cults was the Ikenga. Northern and Southern Ibo diviners carried with them as part of their paraphernalia their Agu Nsi, small carvings of humans, animals, Ikenga and other ritual objects which were believed to help them in their divination.\u201d (Jones, 1989, p.38)\n\nContext: As the Owerri creation story indicates, the deity Agwushi is a a critical force in Igbo life, standing between mankind and the various gods and ancestors. The priest/doctor/diviner, dibia, consults Agwushi to interpret the needs and dissatifactions of other deities. Diviners are wise, educated men who can elicit the meanings of things and see the past, present and future with clarity. They prescribe ritual procedures and sacrifices and prepare substances - magical medicines, ogwu - which correct mistakes, cure diseases, and otherwise bring the world of the client back into proper balance. Some of these medicinal preparations are rubbed on a patient or swallowed, but others are considered just for their existence. Agwushi creates order by arbitrating between mankind and the gods, giving something to each (Cole and Aniakor, 1984, pp. 16-17.)\n\nBibliographical Reference: Jones, G.I. Ibo Art. 1989 (Shire);\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 5/3/2008]", "raw_text_dump": "IDNO\n\nN.71478.GIJ\n\nDescription\n\nA documentation photograph of two Agwu Nsi Figures made of wood. The figure on the left depicts an animal with a janus? head and pointed ears. The figure on the right depicts a head with a crested, incised and curved coiffure, face with serene features and scarification marks in the centre of the forehead on a pedestal base attached to a plinth.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; ?Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 92 of the negative album now numbered C16/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Agwu Nsi Figures\n3. Agwu Nsi figures (Dibia) Nri-Awka Igbo (1st image).\n\nContext: Jones writes about these figures and explains they were used by diviners. \u201cQuite as importantly, particularly in the Lower Niger area, were the figures representing personal deities decorating the meeting houses of wealthy Northern Ibo men, who vied each other in such displays. The best known of these cults was the Ikenga. Northern and Southern Ibo diviners carried with them as part of their paraphernalia their Agu Nsi, small carvings of humans, animals, Ikenga and other ritual objects which were believed to help them in their divination.\u201d (Jones, 1989, p.38)\n\nContext: As the Owerri creation story indicates, the deity Agwushi is a a critical force in Igbo life, standing between mankind and the various gods and ancestors. The priest/doctor/diviner, dibia, consults Agwushi to interpret the needs and dissatifactions of other deities. Diviners are wise, educated men who can elicit the meanings of things and see the past, present and future with clarity. They prescribe ritual procedures and sacrifices and prepare substances - magical medicines, ogwu - which correct mistakes, cure diseases, and otherwise bring the world of the client back into proper balance. Some of these medicinal preparations are rubbed on a patient or swallowed, but others are considered just for their existence. Agwushi creates order by arbitrating between mankind and the gods, giving something to each (Cole and Aniakor, 1984, pp. 16-17.)\n\nBibliographical Reference: Jones, G.I. Ibo Art. 1989 (Shire);\nCole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 5/3/2008]\n\nFM:206128\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71478_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656608_N.71478.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169890.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463909", "metadata": {"title": "Untitled", "idno": "P.169890.GIJ", "description": "Drawing, outlined in white, on wall of a horned man holding a cutlass wearing white? raffia clothing around the wrists, ankles and waist (reminiscent of a masquerade?).\n[Description from record N.71501.GIJ, PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169890.GIJ\n\nDescription\n\nDrawing, outlined in white, on wall of a horned man holding a cutlass wearing white? raffia clothing around the wrists, ankles and waist (reminiscent of a masquerade?).\n[Description from record N.71501.GIJ, PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310377\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169890_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127858_P.169890.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "N.71528.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364799", "metadata": {"title": "Untitled", "idno": "N.71528.GIJ", "description": "Three Obugulu mau masqueraders standing. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appiqued costumes with pointed breasts; their hands and feet are covered with cloth.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Ibo [historically Igbo]", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 15 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Obugula Mmau Amuobia village (9th image).\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe\nFame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nExhibition: Digital reproduction of photograph exhibited in \u2018Afrique, mille vies d\u2019objects / Africa, a thousand lives of objects\u2019 at Mus\u00e9e de Confluences, Lyon, France, from June 2023 \u2013 February 2024. See www.museedesconfluences.fr/en. [JD 25/01/2023]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/11/2007]", "raw_text_dump": "IDNO\n\nN.71528.GIJ\n\nDescription\n\nThree Obugulu mau masqueraders standing. Each of the characters is wearing a white and black painted face mask adorned with an elaborate headdress covered in tassels and cloth with streamers or ribbons. They are wearing the harlequin-like, appiqued costumes with pointed breasts; their hands and feet are covered with cloth.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 15 of the negative album now numbered C15/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Nsukka and Nri/Awka Igbo\n2. Nri-Awka Igbo\n3. Obugula Mmau Amuobia village (9th image).\n\nContext: Jones provides a detailed discussion of masquerades in Eastern Nigeria. He defines masquerades as \u201cspectacular and dramatic performances in which the principal action was provided by actors whose true identities were concealed from the audience. The essential characteristic was this disguising of the identity of the actor by covering his face and, as a rule, his body. He or she became another personality. This personality was defined in the visually in the costume which the actor wore and dramatically by his actions.The costume might be made more realistic and the character more precise by the addition of a face, a mask, or its anonymity and abnormality might be enhanced by giving it no face at all and by hiding the actor\u2019s own face behind a piece of plain cloth or net. In some cases, the visual element might be removed completely. The character could be heard but not seen by the uninitiated on pain of death,\u201d (Jones, 1984,p.56).\n\nIn reference to the photograph, The number and variety of masks and masquerades [in the Nri/Awka Igbo area of Ontisha province] was considerable: they were referred to generically as Mau (Ghost) and one of the more recent was Obugulu Mau, in which the characters were a grandmother, a mother, and a number of daughter masks attired in bright harlequin-like tights and wearing helmet masks or masks with a head-dress made up of a superstructure of wire and cane covered in brightly coloured wools or streamers to which cloth or wooden figures were attached.\u201d (Jones,1984,p 143)\n\nIn relationship to this photograph, the masquerade Obugulu Mau, was very popular in the 1930s and consisted of a small group of female helmet-masked characters in brightly coloured harlequin-like tights (Jones, 1984. p.60).\n\nAniakor and Cole discuss the maiden spirit masks or the \u201cThe\nFame of Maidens,\u201d Ude Agbogho. or Adolescent female masks, Agbogho Mmanwu (or mmuo) . During the performance the males embody the ideals of youthful feminine beauty which includes light complexions, pointed breasts, slim waist, fine facial features, and her hair will be elaborately and delicately dressed in the preferred crested style...The maiden spirit masquerade reempahsises and exaggerates the \u2018feminine ideal\u2019. The tight fitting brilliantly coloured and patterned appliqu\u00e9 costume derive from uli and other painted body designs. Flamboyant, delicate open work hairstyles on maiden masks enlarge expressively on real hairdos, facial features are finer and smaller in life, and the face is, of course, whiter, an allusion to the spiritual beauty and moral purity. (Aniakor and Cole, 1986, pp.1201-121.)\n\nBibliographical Reference: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nExhibition: Digital reproduction of photograph exhibited in \u2018Afrique, mille vies d\u2019objects / Africa, a thousand lives of objects\u2019 at Mus\u00e9e de Confluences, Lyon, France, from June 2023 \u2013 February 2024. See www.museedesconfluences.fr/en. [JD 25/01/2023]\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/11/2007]\n\nFM:206178\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71528_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656657_N.71528.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171595.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465656", "metadata": {"title": "Untitled", "idno": "P.171595.GIJ", "description": "A documentation photograph of two carved wooden ancestral figures. The figure on the left facing the camera is of a man wearing uniform and holding a staff in his right hand. The figure on the right is in profile. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Obogwe", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171593.GIJ to P.171595.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171595.GIJ\n\nDescription\n\nA documentation photograph of two carved wooden ancestral figures. The figure on the left facing the camera is of a man wearing uniform and holding a staff in his right hand. The figure on the right is in profile. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Obogwe\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171593.GIJ to P.171595.GIJ are mounted on card.\n\nFM:312315\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171595_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144885_P.171595.GIJ_001.jpg"}, {"file_name": "P_171595_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144886_P.171595.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169724.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463733", "metadata": {"title": "Untitled", "idno": "P.169724.GIJ", "description": "Half-length portrait of a man wearing a tunic shirt. [Description from record N.13311.GIJ, PB 27/10/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169724.GIJ\n\nDescription\n\nHalf-length portrait of a man wearing a tunic shirt. [Description from record N.13311.GIJ, PB 27/10/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310211\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169724_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127542_P.169724.GIJ_001.png"}, {"file_name": "P_169724_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127543_P.169724.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13169.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306441", "metadata": {"title": "Untitled", "idno": "N.13169.GIJ", "description": "An Ekpo mask in the \u201crounded mode\u201d. The features of the mask consist of slit eyes, nose and mouth with jagged teeth, rectangular keloid markings on the side, an incised border or rim around the forehead. The mask is dark with a smooth and polished finish.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: This photograph is reproduced on the front cover of The Art of Eastern Nigeria (Jones, 1984), and as Figure 41 (p. 129) with the caption \u201cEkpo mask, rounded mode\u201d.\n\nContext: The Ibibio ekpo characters were said to be spirits from the surrounding area (or water), brought to the village during masquerades by members of the society that ministers to them.\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio., though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nAkpan, J. 1994. \u201cEkpo Society Masks of the Ibibio\u201d. African Arts, Vol. XXVII, No.4, pp.. 48-53.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]", "raw_text_dump": "IDNO\n\nN.13169.GIJ\n\nDescription\n\nAn Ekpo mask in the \u201crounded mode\u201d. The features of the mask consist of slit eyes, nose and mouth with jagged teeth, rectangular keloid markings on the side, an incised border or rim around the forehead. The mask is dark with a smooth and polished finish.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nPublication: This photograph is reproduced on the front cover of The Art of Eastern Nigeria (Jones, 1984), and as Figure 41 (p. 129) with the caption \u201cEkpo mask, rounded mode\u201d.\n\nContext: The Ibibio ekpo characters were said to be spirits from the surrounding area (or water), brought to the village during masquerades by members of the society that ministers to them.\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio., though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\nAkpan, J. 1994. \u201cEkpo Society Masks of the Ibibio\u201d. African Arts, Vol. XXVII, No.4, pp.. 48-53.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]\n\n\n\nFM:147819\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13169_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000431_N.13169.GIJ_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.171276.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465337", "metadata": {"title": "Untitled", "idno": "P.171276.GIJ", "description": "An object documentation photograph of an ogbugulu mau face mask. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open. There are elaborate painted designs above and beneath the eyes and on the cheeks. The top of the mask consists of a dark arched crest with white circles on the side and with swirled incised designs representing uli on the sides of the crest. [PB 18/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Anambra; Oyi; Ogbunike", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767199.GIJ - P.767200.GIJ are mounted together on card.", "raw_text_dump": "IDNO\n\nP.171276.GIJ\n\nDescription\n\nAn object documentation photograph of an ogbugulu mau face mask. The face of the mask is painted white with darker paint/pigments to accentuate the eyebrows, eyes, mouth, hair and crested structure. The eyes are small slits and the mouth is open. There are elaborate painted designs above and beneath the eyes and on the cheeks. The top of the mask consists of a dark arched crest with white circles on the side and with swirled incised designs representing uli on the sides of the crest. [PB 18/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Anambra; Oyi; Ogbunike\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767199.GIJ - P.767200.GIJ are mounted together on card.\n\nFM:311967\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171276_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144492_P.171276.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13193.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306465", "metadata": {"title": "Untitled", "idno": "N.13193.GIJ", "description": "A side view or proifile of a panel mask: face in centre of rectangular panel, holes around the edge of the panel. Face has the remains of a white pigment on the skin areas, and is darkened in the top hair area. Delicate features: slit eyes, nose, lips, ears.\n\nObject documentation photograph; mask photographed in profile hung in front of a plain backdrop.", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]", "raw_text_dump": "IDNO\n\nN.13193.GIJ\n\nDescription\n\nA side view or proifile of a panel mask: face in centre of rectangular panel, holes around the edge of the panel. Face has the remains of a white pigment on the skin areas, and is darkened in the top hair area. Delicate features: slit eyes, nose, lips, ears.\n\nObject documentation photograph; mask photographed in profile hung in front of a plain backdrop.\n\n\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cIBIBIO & OKWU WALL\u201d by G. I. Jones, and numbered \u201cC12/\u201d by the cataloguer.\n\nContext: \u201cEkpo masks, like those of northern Ibo, could be divided into \u2018beautiful\u2019 and \u2018fierce\u2019. The beautiful ones were said to be white, though most of those collected by Murray and myself were black like the fierce ones. But this was due to the conditions under which they had been preserved. Before they were used again, according to our informants, they would have had to be repainted. Most Ibibio masks, until the 1930s, were stained and polished black, in the case of the fierce ones, or coloured white or white and light brown with local pigments. The more modern ones were coloured with imported and mainly oil paints in most of the colours that found favour in other parts of Eastern Nigeria.The finest and oldest of the Anang (Ibibio) masks were used in the Ekpo masquerades, which tried to emphasise their timeless antiquity both in their masks and in their costumes; these remained the traditional ones of raffia fringes, cloaks and skirts which ended at the knees leaving the arms and legs of the actor bare and free for active movement. The Ekpo characters, particularly the fierce ones (and these were in the majority), were intended to inspire respect and admiration but were heavily laden with fear and mystery; to heighten these effects their raffia costumes were dyed black.\u201d (Jones, 1984, pp. 182-183).\n\nContext: Jones devotes a chapter to the Anang (Ibibio) style and shows the diversity in the masks and sculptures. Jones writes that, \u201cThe Ibibio style was only one of a number of styles found in the Anang area. I called it Anang (Ibibio), distinguishing where necessary between Traditional Anang (Ibibio), the style of the Ekpo socieity masks, and modern Anang (Ibibio), the style of some of their Ekong masks and other more recent masquerades as well as some of most of the heads, masks and figures which they made for sale outside the area.\n\nThere is a wide range of masks and \u201cit was in this style and in this area that Eastern Nigeria face masks attained their greatest development. They were heart-shaped, oval or rectangular in form and they could be carved on circular or on rectangular panels , they could have additional smaller faces carved on the forehead, on a superstructure above it, or on panels hinged to its sides. While normally human in form, they could on occasion be in animal form, or in a combination of human, animal or bird features in order to horify and strike terror into the beholder. But another type of Anang mask achieved this even more successfully by depicting faces ravaged by disfiguring tropical diseases (for instance, rodent ulcers, gangosa, nodular leprosy). These pathological masks were peculiar to the Ibibio, though some were copied by Northern Ibo. Another feature confined to masks in this Anang (Ibibio) style was the representation of the Idiong ring, a circlet of leather fitting tightly around the forehead - the insignia of a member of the prestigious Ididong society ofdoctors and diviners. Another exclusive feature which the ibibio shared with those of the Ogoni was the possession in many cases of a moveable lower jaw. Keloids and other scarifications were not of much use in distinguishing between Ibibio masks. Many carried a rectangular groups of them on each temple, often balanced by one in the center of the forehead, some carried a single vertical scar on the forehead, while some were without any facial markings.\u201d (Jones, 1984, pp. 74-179)\n\nBibliographical Reference: Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 14/1/2008]\n\n\n\nFM:147843\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13193_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000455_N.13193.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171297.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465358", "metadata": {"title": "Untitled", "idno": "P.171297.GIJ", "description": "Onyema Ogadi, a boy\u2019s mask on a masquerader. The mask is painted white with black markings to accentuate the eyebrows, nose, and mouth. There are black crisscross designs underneath the eyed and black circles dotted along the forehead vertically and horizontally, and the top of the mask is painted black. The mask has two black incised horns pointing out from the top and is covered in long raffia \u201chair\u201d. The masquerader is wearing a striped, woven top. In the background are spectators. a building and trees. [Description from record P.71573.GIJ, PB 30/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767221.GIJ is mounted on card.", "raw_text_dump": "IDNO\n\nP.171297.GIJ\n\nDescription\n\nOnyema Ogadi, a boy\u2019s mask on a masquerader. The mask is painted white with black markings to accentuate the eyebrows, nose, and mouth. There are black crisscross designs underneath the eyed and black circles dotted along the forehead vertically and horizontally, and the top of the mask is painted black. The mask has two black incised horns pointing out from the top and is covered in long raffia \u201chair\u201d. The masquerader is wearing a striped, woven top. In the background are spectators. a building and trees. [Description from record P.71573.GIJ, PB 30/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767221.GIJ is mounted on card.\n\nFM:311988\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171297_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144513_P.171297.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171558.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465619", "metadata": {"title": "Untitled", "idno": "P.171558.GIJ", "description": "A man wearing a face mask for the character Ala in the Owu masquerade. The mask is painted white, with black pigment highlighting the hair, eyebrows and eyelids. The hair consists of a single coil on each side with a small round stud in the centre of the top of the head. The mouth is open and curving upward. [PB 22/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Ogba; Akabuka", "cultural_affliation": "Igbo [historically Ibo]; Oba", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171556.GIJ to P.171558.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171558.GIJ\n\nDescription\n\nA man wearing a face mask for the character Ala in the Owu masquerade. The mask is painted white, with black pigment highlighting the hair, eyebrows and eyelids. The hair consists of a single coil on each side with a small round stud in the centre of the top of the head. The mouth is open and curving upward. [PB 22/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ogba; Akabuka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oba\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171556.GIJ to P.171558.GIJ are mounted on card.\n\nFM:312278\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171558_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144810_P.171558.GIJ_001.jpg"}, {"file_name": "P_171558_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144811_P.171558.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.13338.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306610", "metadata": {"title": "Untitled", "idno": "N.13338.GIJ", "description": "A white wooden helmet mask with a large open mouth with four pointed teeth, on the forehead above the eyes is an area carved with incised vertical and curved lines. Above the ears are two crescent protrusions, and two (large) horns rise out of the forehead. The face below the eyes, and the crescent protrusions are painted white, while the forehead, cheeks and horns are painted a darker colour.", "place": "W Africa; Nigeria; South Eastern Nigeria; near Awka; Nimo [town]", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "Prior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nNote: the mask depicted is NOT the same as the mask in the Pitt Rivers Museum with the accession number 1938.15.16.\n\nContext:\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]", "raw_text_dump": "IDNO\n\nN.13338.GIJ\n\nDescription\n\nA white wooden helmet mask with a large open mouth with four pointed teeth, on the forehead above the eyes is an area carved with incised vertical and curved lines. Above the ears are two crescent protrusions, and two (large) horns rise out of the forehead. The face below the eyes, and the crescent protrusions are painted white, while the forehead, cheeks and horns are painted a darker colour.\n\n\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; near Awka; Nimo [town]\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nPrior to re-housing, this negative was kept in a film storage album numbered \u201cC14/\u201d by the cataloguer.\n\nNote: the mask depicted is NOT the same as the mask in the Pitt Rivers Museum with the accession number 1938.15.16.\n\nContext:\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 8/11/2007]\n\nFM:147988\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13338_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000601_N.13338.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.171533.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465594", "metadata": {"title": "Untitled", "idno": "P.171533.GIJ", "description": "A documentation photograph of a carved wooden ikenga figure and an ano mimi box. The ikenga has a base of two disc-shaped platforms joines by six bent legs, on top of which a janus-head sits adorned by an large elaborate headdress consisting of a two d-shaped bows joined by a central horizontal sash with three circular studs in the centre. The ano mimi box to the right is shaped like a gourd or phallus, with a short handle and a stand like a foot. [PB 18/10/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Ebonyi State; Okposi", "cultural_affliation": "Igbo [historically Ibo]; Oba", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171533.GIJ and P.171534.GIJ are mounted on card.", "raw_text_dump": "IDNO\n\nP.171533.GIJ\n\nDescription\n\nA documentation photograph of a carved wooden ikenga figure and an ano mimi box. The ikenga has a base of two disc-shaped platforms joines by six bent legs, on top of which a janus-head sits adorned by an large elaborate headdress consisting of a two d-shaped bows joined by a central horizontal sash with three circular studs in the centre. The ano mimi box to the right is shaped like a gourd or phallus, with a short handle and a stand like a foot. [PB 18/10/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ebonyi State; Okposi\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oba\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171533.GIJ and P.171534.GIJ are mounted on card.\n\nFM:312253\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171533_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144760_P.171533.GIJ_001.jpg"}, {"file_name": "P_171533_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144761_P.171533.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171228.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465289", "metadata": {"title": "Untitled", "idno": "P.171228.GIJ", "description": "An object documentation image of an ikenga figure. The figure is standing with knees slightly bent, the face has incised striations on the forehead and two horns. [PB 04/07/24]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767150.GIJ - P.767152.GIJ are mounted together on paper.\n\nPublication: the figures in P.767150.GIJ - P.767152.GIJ are a collage image in Jones, 1984, Plate 36, p. 42 with the caption: \u201cIkenga figures. Nimo town. Nri-Awka Ibo. The one in the centre has a cutlass and a human head; the one on the left is drinking palm wine through a straw.\"", "raw_text_dump": "IDNO\n\nP.171228.GIJ\n\nDescription\n\nAn object documentation image of an ikenga figure. The figure is standing with knees slightly bent, the face has incised striations on the forehead and two horns. [PB 04/07/24]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767150.GIJ - P.767152.GIJ are mounted together on paper.\n\nPublication: the figures in P.767150.GIJ - P.767152.GIJ are a collage image in Jones, 1984, Plate 36, p. 42 with the caption: \u201cIkenga figures. Nimo town. Nri-Awka Ibo. The one in the centre has a cutlass and a human head; the one on the left is drinking palm wine through a straw.\"\n\nFM:311919\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171228_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144444_P.171228.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171082.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465143", "metadata": {"title": "Untitled", "idno": "P.171082.GIJ", "description": "Young adult males performing in an age set dance, surrounded by crowds. The dancers are leaping into the air. They are wearing waist ornaments and bands, some of which have bells attached to them, knee-rattles, and head-gear (which appears to be a wig with pale round ornaments sewn onto it). [Description from record N.13260.GIJ, PB 13/06/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; near Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nIn his notes in the folder about 'Age Set Passage Dance, N. Ibo. (?Nri-Awka Area) , G.I. Jones explains:\n\n\"This is a dance performed by adolescent males age set as it passes from the grade of boys to that of men. The dancers are attired as adolescent females (who until they are married are naked except for a string of beads around their waist and, when they go into seclusion before their marriage, with an elaborate hair do. The dancers have added to their waist strings little harness and other small bells, and have rattles of shells round their legs and they wear wigs representing elaborate hair dos.\n\nIn this dance they produced an acrobatic ballet, dancing together with elaborate leaps and bounds.\n\nIn other dance the players appeared with hand mirrors and mimicked young women at their toilets.\"", "raw_text_dump": "IDNO\n\nP.171082.GIJ\n\nDescription\n\nYoung adult males performing in an age set dance, surrounded by crowds. The dancers are leaping into the air. They are wearing waist ornaments and bands, some of which have bells attached to them, knee-rattles, and head-gear (which appears to be a wig with pale round ornaments sewn onto it). [Description from record N.13260.GIJ, PB 13/06/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; near Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767001.GIJ - P.767009.GIJ are mounted together on paper.\n\nIn his notes in the folder about 'Age Set Passage Dance, N. Ibo. (?Nri-Awka Area) , G.I. Jones explains:\n\n\"This is a dance performed by adolescent males age set as it passes from the grade of boys to that of men. The dancers are attired as adolescent females (who until they are married are naked except for a string of beads around their waist and, when they go into seclusion before their marriage, with an elaborate hair do. The dancers have added to their waist strings little harness and other small bells, and have rattles of shells round their legs and they wear wigs representing elaborate hair dos.\n\nIn this dance they produced an acrobatic ballet, dancing together with elaborate leaps and bounds.\n\nIn other dance the players appeared with hand mirrors and mimicked young women at their toilets.\"\n\n\n\nFM:311773\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171082_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144298_P.171082.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.170271.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464332", "metadata": {"title": "Untitled", "idno": "P.170271.GIJ", "description": "Close up view of two Ekpo face masks, both fringed with plant fibres. The mask on the left of the image has a high panel crest and protruding ears, almond shaped eyes, a carinated nose, shallow cheeks, and a closed mouth. The mask on the right of the image has a high hair band, and twisted facial features, including bulbous cheek and deformed nose, and a jagged mouth with teeth. The masks are highly polished darkened wood. [PB 03/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Ikot Abia village", "cultural_affliation": "Anang; Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.", "raw_text_dump": "IDNO\n\nP.170271.GIJ\n\nDescription\n\nClose up view of two Ekpo face masks, both fringed with plant fibres. The mask on the left of the image has a high panel crest and protruding ears, almond shaped eyes, a carinated nose, shallow cheeks, and a closed mouth. The mask on the right of the image has a high hair band, and twisted facial features, including bulbous cheek and deformed nose, and a jagged mouth with teeth. The masks are highly polished darkened wood. [PB 03/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Akwa Ibom; Ikot Abia village\n\nCultural Affliation\n\nAnang; Ibibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170258.GIJ - P.170273.GIJ were located in a paper folder, now numbered C759/5.\n\nFM:310829\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170271_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131708_P.170271.GIJ_001.png"}, {"file_name": "P_170271_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1131709_P.170271.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "T.169959.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463978", "metadata": {"title": "Untitled", "idno": "T.169959.GIJ", "description": "The interior of an Obu House with the close up view of two figures and a wooden slit drum. The figure on the left has an abstract face which is elongated and mounted on a rounded plate behind; the upper torso depicts rounded shoulders, a protruding umbilicus, clenched hands, and the legs are bent at the knees with squarish feet with incised markings. The figure is painted in different colours and patterned designs. The figure on the right is more human-like and the face is rounded with a crested headdress, the upper torso depicts rounded shoulders, clenched fists with an object in one hand, bent knees and round anklets. The drum is hanging on the wall and hollowed wooden sculpture. [Description from record N.71871.GIJ, PB 28/07/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939; 1984", "collection_name": "Jones Collection", "source": "", "format": "Colour Transparency", "primary_documentation": "", "other_information": "T.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.", "raw_text_dump": "IDNO\n\nT.169959.GIJ\n\nDescription\n\nThe interior of an Obu House with the close up view of two figures and a wooden slit drum. The figure on the left has an abstract face which is elongated and mounted on a rounded plate behind; the upper torso depicts rounded shoulders, a protruding umbilicus, clenched hands, and the legs are bent at the knees with squarish feet with incised markings. The figure is painted in different colours and patterned designs. The figure on the right is more human-like and the face is rounded with a crested headdress, the upper torso depicts rounded shoulders, clenched fists with an object in one hand, bent knees and round anklets. The drum is hanging on the wall and hollowed wooden sculpture. [Description from record N.71871.GIJ, PB 28/07/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939; 1984\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nColour Transparency\n\nPrimary Documentation\n\nOther Information\n\nT.169937.GIJ - T.170148.GIJ were located together in a Agfa transparency box, now numbered C756/.\n\nFM:310487\n\nImages (Click to view full size):"}, "images": [{"file_name": "T_169959_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127957_T.169959.GIJ_001.png"}, {"file_name": "T_169959_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127958_T.169959.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169868.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463887", "metadata": {"title": "Untitled", "idno": "P.169868.GIJ", "description": "An Obugulu mau masquerader dancing in front of standing spectators. He is wearing a harlequin-like, appliqued costume; his hands and feet are bare. He has folded cloths hanging from his waist from a belt from which hang metal bells.\n[PB 12/01/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.", "raw_text_dump": "IDNO\n\nP.169868.GIJ\n\nDescription\n\nAn Obugulu mau masquerader dancing in front of standing spectators. He is wearing a harlequin-like, appliqued costume; his hands and feet are bare. He has folded cloths hanging from his waist from a belt from which hang metal bells.\n[PB 12/01/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nFM:310355\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169868_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127829_P.169868.GIJ_001.png"}, {"file_name": "P_169868_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127830_P.169868.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171347.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465408", "metadata": {"title": "Untitled", "idno": "P.171347.GIJ", "description": "A documentation photograph from rear of a carved wooden figure. The figure is sitting on a stool, with elbows bent and hands on waist. Six anklets are carved on the ankles. The neck is elongated, and has a cord attached dangling behind the figure, with a loop at its end. A peg juts out of the base of the head at its rear. the hair is carved into an elaborate crest of feather like hair horns with a disc at the side of a head band. [PB 08/08/2024]", "place": "W Africa; Nigeria; South Ibo; South Eastern Nigeria; Akwa Ibom state; Ikot Abia town", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171342.GIJ - P.171348.GIJ were located in a 'Gateway' folder, now numbered C768/1.\n\nP.768005.GIJ to P.768008.GIJ are mounted together on card.\n\nImages P.171342.GIJ and P.768005.GIJ to P.768008.GIJ are of the same figure", "raw_text_dump": "IDNO\n\nP.171347.GIJ\n\nDescription\n\nA documentation photograph from rear of a carved wooden figure. The figure is sitting on a stool, with elbows bent and hands on waist. Six anklets are carved on the ankles. The neck is elongated, and has a cord attached dangling behind the figure, with a loop at its end. A peg juts out of the base of the head at its rear. the hair is carved into an elaborate crest of feather like hair horns with a disc at the side of a head band. [PB 08/08/2024]\n\nPlace\n\nW Africa; Nigeria; South Ibo; South Eastern Nigeria; Akwa Ibom state; Ikot Abia town\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171342.GIJ - P.171522.GIJ were located together in a brown box, now numbered C768/.\n\nP.171342.GIJ - P.171348.GIJ were located in a 'Gateway' folder, now numbered C768/1.\n\nP.768005.GIJ to P.768008.GIJ are mounted together on card.\n\nImages P.171342.GIJ and P.768005.GIJ to P.768008.GIJ are of the same figure\n\nFM:312048\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171347_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144563_P.171347.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.170391.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464452", "metadata": {"title": "Untitled", "idno": "N.170391.GIJ", "description": "A documentary photograph of a wooden carved face mask, lying on its back. The mask is of the character Utobo (Hippopotamus) in the Owu masquerade. The mask has large pointed ears pointing forwards, deep eye recesses, prominent cheeks, a ridged nose, and a wide jaw with a bottom tooth at each side. [PB 24/11/23", "place": "W Africa; Nigeria; South Eastern Nigeria; Nembe; Twon", "cultural_affliation": "Ijo", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Glass Negative 1/8 plate", "primary_documentation": "", "other_information": "T.170298.GIJ - ??? were located as loose photos and envelopes in an folder box now numbered C760/.\n\nN.7604001.GIJ - N.7604016.GIJ were located in a Kodak transparency box, now numbered C760/4.\n\nPublication: This mask is featured in in Jones G.I., 1984. The Art of Eastern Nigeria. (Cambridge: CUP), Fig 74 p 167, and captioned \"Utobo (Hippopotamus): Owu masquerade. Twon village. Nembe state. Central Ijo.\" [PB 24/11/23", "raw_text_dump": "IDNO\n\nN.170391.GIJ\n\nDescription\n\nA documentary photograph of a wooden carved face mask, lying on its back. The mask is of the character Utobo (Hippopotamus) in the Owu masquerade. The mask has large pointed ears pointing forwards, deep eye recesses, prominent cheeks, a ridged nose, and a wide jaw with a bottom tooth at each side. [PB 24/11/23\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Nembe; Twon\n\nCultural Affliation\n\nIjo\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nGlass Negative 1/8 plate\n\nPrimary Documentation\n\nOther Information\n\nT.170298.GIJ - ??? were located as loose photos and envelopes in an folder box now numbered C760/.\n\nN.7604001.GIJ - N.7604016.GIJ were located in a Kodak transparency box, now numbered C760/4.\n\nPublication: This mask is featured in in Jones G.I., 1984. The Art of Eastern Nigeria. (Cambridge: CUP), Fig 74 p 167, and captioned \"Utobo (Hippopotamus): Owu masquerade. Twon village. Nembe state. Central Ijo.\" [PB 24/11/23\n\nFM:310967\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_170391_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1199399_N.170391.GIJ_001.jpg"}, {"file_name": "N_170391_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1199400_N.170391.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "N.71476.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/364747", "metadata": {"title": "Untitled", "idno": "N.71476.GIJ", "description": "A standing Ikenga figure with two pointed horns smoking a pipe. The wooden figure is rectangular in shape and does not have any arms. The head of the figure has incised striation markings on the face with clearly defined eyes, long nose and mouth with a long thin pipe. The torso is decorated with linear and square geometric patterns, a ruffle like tunic around the waist, and straight legs.", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; ?Nri Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Akwa", "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": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was found in pocket 89 of the negative album now numbered C16/.\n\nPublication: Same figure published in Jones, 1984, Plate, 50, p. 143 with the caption, \u201cIkenga Figure smoking a pipe\u201d.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Ikenga Nimo, Nri-Awka Igbo (Pitt Rivers Museum Oxford (1938 15 43) (7th image)\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d In reference to Ikenga figures, he writes, \u201c The best known Ibo personal cult and the one that has given rise to the greatest number of carvings is that of Ikenga, a Lower Niger cult of a man\u2019s right arm and of success associated with it, which the Edo shared with the Western, Northern, most of the Southern Ibo and with Igala groups. The Ohuhu-Ngwa, Cross River and Northeastern Ibo did not participate in it. Most Ibo and Edo had a small cylindrical object with some geometrical carving on it and ending in a pair of pointed horns. Some Western Ibo increased the size so that it looked more like a circular stool . Other Ibo and Edo added a head and some carved a whole figure. The Nri-Akwa Ibo produced the most elaborate cult objects and in the greatest number. Older examples carved by them elaborated the horns and the head, which was shown smoking a pipe. Later ones consisted of complete figures which were shown standing or more usually seated on a circular stool with a cutlass in one hand and a human head in the other or, alternatively, holding a tusk horn and an ornamental staff (Jones, 1989, p.40). Also, see Jones, 1984, pp. 141-142.\n\nContext: Cole and Aniakor write in detail about Ikenga (see Chapter Two). They show that the concept of Ikenga reverberates throughout much of Igbo life . These images are found in the shrines of individual diviners and corporate tutelary cults and as representatives of age-grades and communities. ...They continue to describe that the basic Igbo Ikenga image is a human with horns, sometimes rendered very simply as an abstract head and horns base. Larger, more elaborate examples include fully realized males seated on stools, holding and wearing various symbols, and with more or less complex headdresses determined in part by horns and often including several other motifs (Cole and Aniakor, 1984, p.24).\n\nPublications: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]", "raw_text_dump": "IDNO\n\nN.71476.GIJ\n\nDescription\n\nA standing Ikenga figure with two pointed horns smoking a pipe. The wooden figure is rectangular in shape and does not have any arms. The head of the figure has incised striation markings on the face with clearly defined eyes, long nose and mouth with a long thin pipe. The torso is decorated with linear and square geometric patterns, a ruffle like tunic around the waist, and straight legs.\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; ?Nri Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Akwa\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was found in pocket 89 of the negative album now numbered C16/.\n\nPublication: Same figure published in Jones, 1984, Plate, 50, p. 143 with the caption, \u201cIkenga Figure smoking a pipe\u201d.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF ]\n1. Index to Igbo music, shrines, architecture and other cultural artifacts\n2. Ikenga\n3. Ikenga Nimo, Nri-Awka Igbo (Pitt Rivers Museum Oxford (1938 15 43) (7th image)\n\nContext: Jones writes that \u201c cult figures of tutelary deities were made principally among the Northern and Isuama Ibo.\u201d In reference to Ikenga figures, he writes, \u201c The best known Ibo personal cult and the one that has given rise to the greatest number of carvings is that of Ikenga, a Lower Niger cult of a man\u2019s right arm and of success associated with it, which the Edo shared with the Western, Northern, most of the Southern Ibo and with Igala groups. The Ohuhu-Ngwa, Cross River and Northeastern Ibo did not participate in it. Most Ibo and Edo had a small cylindrical object with some geometrical carving on it and ending in a pair of pointed horns. Some Western Ibo increased the size so that it looked more like a circular stool . Other Ibo and Edo added a head and some carved a whole figure. The Nri-Akwa Ibo produced the most elaborate cult objects and in the greatest number. Older examples carved by them elaborated the horns and the head, which was shown smoking a pipe. Later ones consisted of complete figures which were shown standing or more usually seated on a circular stool with a cutlass in one hand and a human head in the other or, alternatively, holding a tusk horn and an ornamental staff (Jones, 1989, p.40). Also, see Jones, 1984, pp. 141-142.\n\nContext: Cole and Aniakor write in detail about Ikenga (see Chapter Two). They show that the concept of Ikenga reverberates throughout much of Igbo life . These images are found in the shrines of individual diviners and corporate tutelary cults and as representatives of age-grades and communities. ...They continue to describe that the basic Igbo Ikenga image is a human with horns, sometimes rendered very simply as an abstract head and horns base. Larger, more elaborate examples include fully realized males seated on stools, holding and wearing various symbols, and with more or less complex headdresses determined in part by horns and often including several other motifs (Cole and Aniakor, 1984, p.24).\n\nPublications: Cole, H. & C. Aniakor, 1984. Igbo Arts: Community and Cosmos (Museum of Cultural History, University of California)Jones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 13/11/2007]\n\n\n\nFM:206126\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_71476_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/656607_N.71476.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169641.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463622", "metadata": {"title": "Untitled", "idno": "P.169641.GIJ", "description": "A full length portrait of a man sitting on a chair outside a house. There are three children in the background. The man is looking at the camera. He is wearing a patterned wrapper. He is working at a hand-driven sewing machine, tailoring patterned material. There is a a roll of palm fencing propped up against a wall to the left of the man and a palm hand-broom on the ground between the roll and the wall. [PB 24/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Ibo [historically Igbo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.", "raw_text_dump": "IDNO\n\nP.169641.GIJ\n\nDescription\n\nA full length portrait of a man sitting on a chair outside a house. There are three children in the background. The man is looking at the camera. He is wearing a patterned wrapper. He is working at a hand-driven sewing machine, tailoring patterned material. There is a a roll of palm fencing propped up against a wall to the left of the man and a palm hand-broom on the ground between the roll and the wall. [PB 24/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIbo [historically Igbo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nFM:310128\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169641_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127362_P.169641.GIJ_001.png"}, {"file_name": "P_169641_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127364_P.169641.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171583.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465644", "metadata": {"title": "Untitled", "idno": "P.171583.GIJ", "description": "A documentation full length photograph of a carved wooden ancestral female figure, facing the camera. The wood is worn and aged. There is a cord tied around the neck and remains of a cloth wrapper around the waist. The head is etched with diagonal lines. There is a single hair crest. [PB 01/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171583.GIJ to P.171585.GIJ are mounted on card.\n\nImages P.171583.GIJ to P.171585.GIJ are of the same figure.", "raw_text_dump": "IDNO\n\nP.171583.GIJ\n\nDescription\n\nA documentation full length photograph of a carved wooden ancestral female figure, facing the camera. The wood is worn and aged. There is a cord tied around the neck and remains of a cloth wrapper around the waist. The head is etched with diagonal lines. There is a single hair crest. [PB 01/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri; Okparanadim\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171583.GIJ to P.171585.GIJ are mounted on card.\n\nImages P.171583.GIJ to P.171585.GIJ are of the same figure.\n\nFM:312303\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171583_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144861_P.171583.GIJ_001.jpg"}, {"file_name": "P_171583_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144862_P.171583.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.169790.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463799", "metadata": {"title": "Untitled", "idno": "P.169790.GIJ", "description": "View of a riverbank from either a boat on the river or the opposite riverbank. There are palm trees and bush. The riverbank is elevated above the river. There are people descending to the water's edge, where there are two canoes. There are thatched buildings to the right. [PB 15/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169780.GIJ - P.169790.GIJ were located in an brown envelope now numbered C754/7/.", "raw_text_dump": "IDNO\n\nP.169790.GIJ\n\nDescription\n\nView of a riverbank from either a boat on the river or the opposite riverbank. There are palm trees and bush. The riverbank is elevated above the river. There are people descending to the water's edge, where there are two canoes. There are thatched buildings to the right. [PB 15/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169780.GIJ - P.169790.GIJ were located in an brown envelope now numbered C754/7/.\n\nFM:310277\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169790_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127673_P.169790.GIJ_001.png"}, {"file_name": "P_169790_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127674_P.169790.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.170296.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464357", "metadata": {"title": "Untitled", "idno": "P.170296.GIJ", "description": "A documentation photograph of a Benin mini mask and a wooden Ibiibio panel mask.\nThe Benin mini mask at the top consists of a head with a hairstyle of concentric rings, incised rows of hair, prominent forehead with scarification marks, almond shaped eyes, nose, and lips. Around the chin are seven looped markings. The bottom mask is a rectangular panel with five linear rows with markings; in the centre of the panel is a raised face which is round and consists of a high forehead, slit eyes, nose, linear mouth and etched markings in the centre of the forehead and on each cheek.[Description from record N.13192.GIJ; PB 10/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; ?Benin City", "cultural_affliation": "Ibibio; Edo [historically Bini]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170288.GIJ - P.170277.GIJ were located in a folder, now numbered C759/7.", "raw_text_dump": "IDNO\n\nP.170296.GIJ\n\nDescription\n\nA documentation photograph of a Benin mini mask and a wooden Ibiibio panel mask.\nThe Benin mini mask at the top consists of a head with a hairstyle of concentric rings, incised rows of hair, prominent forehead with scarification marks, almond shaped eyes, nose, and lips. Around the chin are seven looped markings. The bottom mask is a rectangular panel with five linear rows with markings; in the centre of the panel is a raised face which is round and consists of a high forehead, slit eyes, nose, linear mouth and etched markings in the centre of the forehead and on each cheek.[Description from record N.13192.GIJ; PB 10/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?Benin City\n\nCultural Affliation\n\nIbibio; Edo [historically Bini]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170288.GIJ - P.170277.GIJ were located in a folder, now numbered C759/7.\n\nFM:310854\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170296_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1132158_P.170296.GIJ_001.png"}, {"file_name": "P_170296_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1132159_P.170296.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "N.13259.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/306531", "metadata": {"title": "Untitled", "idno": "N.13259.GIJ", "description": "Young adult males performing in an age set dance, surrounded by crowds. Male in centre is wearing waist ornaments and bands, some of which have bells attached to them, knee-rattles, and head-gear (which appears to be a wig with pale round ornaments sewn onto it).", "place": "W Africa; Nigeria; South Eastern Nigeria; Ontisha province; near Awka", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Gwilliam Iwan (known as G.I.)", "format": "Film Negative Black & White", "primary_documentation": "", "other_information": "This negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nNo print was found for this image. June 1999.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/3/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]", "raw_text_dump": "IDNO\n\nN.13259.GIJ\n\nDescription\n\nYoung adult males performing in an age set dance, surrounded by crowds. Male in centre is wearing waist ornaments and bands, some of which have bells attached to them, knee-rattles, and head-gear (which appears to be a wig with pale round ornaments sewn onto it).\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Ontisha province; near Awka\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Gwilliam Iwan (known as G.I.)\n\nFormat\n\nFilm Negative Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis negative was kept in a film storage album labelled \u201cISU-OCHI - etc. ...\u201d by G. I. Jones, and numbered \u201cC13/\u201d by the cataloguer.\n\nNo print was found for this image. June 1999.\n\nThis catalogue record has been updated with the support of the Getty Grant Program Two. [Alicia Fentiman 19/3/2008]\n\nPublication: The photograph has been digitised for the European Collected Library of Artistic Performance (ECLAP) and is accessible on the portal http://www.eclap.eu/drupal/. [SG 30/10/2012]\n\nFM:147909\n\nImages (Click to view full size):"}, "images": [{"file_name": "N_13259_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1000522_N.13259.GIJ.png"}], "source_id": "maa_cambridge"}
{"id": "P.169629.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463599", "metadata": {"title": "Untitled", "idno": "P.169629.GIJ", "description": "A close up view of a carved wooden canoe with figures. The sculpture consists of a long cylindrical hollowed base and six figures. The figures from left to right: the first figure appears to be carrying a pot on her head, the second figure is holding a paddle, the next two figures are seated and are wearing hats; the fourth is holding a bottle in one hand and a glass in the other, the fifth figure is holding a stick (like a scythe or hockey stick) with a curved bottom; the sixth figure is holding a stick in one hand and musical instrument in the other. The figures are stylised with elongated necks, rounded shoulders and elongated torsos. The sculpture is leaning against a cracked mud wall.[Description from record N.71835.GIJ, PB 01/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Cross River", "cultural_affliation": "Igbo [historically Ibo]; Abiriba", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF]\n1. Index to Abiriba Igbo\n2. Abiriba Igbo\n3. Canoe with figures Abiriba. (4th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abiriba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). (Jones, 1988, pp.61-62)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)", "raw_text_dump": "IDNO\n\nP.169629.GIJ\n\nDescription\n\nA close up view of a carved wooden canoe with figures. The sculpture consists of a long cylindrical hollowed base and six figures. The figures from left to right: the first figure appears to be carrying a pot on her head, the second figure is holding a paddle, the next two figures are seated and are wearing hats; the fourth is holding a bottle in one hand and a glass in the other, the fifth figure is holding a stick (like a scythe or hockey stick) with a curved bottom; the sixth figure is holding a stick in one hand and musical instrument in the other. The figures are stylised with elongated necks, rounded shoulders and elongated torsos. The sculpture is leaning against a cracked mud wall.[Description from record N.71835.GIJ, PB 01/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Cross River\n\nCultural Affliation\n\nIgbo [historically Ibo]; Abiriba\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169627.GIJ - P.169651.GIJ were located in a paper bag now numbered C754/1/.\n\nPublication: Same image published on John McCall\u2019s G.I. Jones website with the following information: [Source: www.siu.edu/~anthro/mccall/jones/, AF]\n1. Index to Abiriba Igbo\n2. Abiriba Igbo\n3. Canoe with figures Abiriba. (4th image).\n\nContext: Jones describes the sculpture from Abiriba. He writes, \u201c Abiriba was, like Awka, a town of traders and craftsmen, with travelling doctors, diviners, blacksmiths and carvers of masks and figures in either a local Abiriba style or in what they insisted was Ibibio. Others made ornamental bowls and dishes, drums and other objects. More recently they have introduced a system of resist-dyeing of imported baft cloth (called Ukara). (Jones, 1988, pp.61-62)\n\nBibliographical Reference: Jones, G.I. 1988. Ibo Art (Shire)\nJones, G.I., 1984. The Art of Eastern Nigeria (Cambridge University Press)\n\n\nFM:310116\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169629_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127313_P.169629.GIJ_001.png"}, {"file_name": "P_169629_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127316_P.169629.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.169760.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463769", "metadata": {"title": "Untitled", "idno": "P.169760.GIJ", "description": "Half-length portrait of a young person smiling. [PB 8/12/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.", "raw_text_dump": "IDNO\n\nP.169760.GIJ\n\nDescription\n\nHalf-length portrait of a young person smiling. [PB 8/12/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169719.GIJ - P.169770.GIJ were located in an brown envelope now numbered C754/5/.\n\nFM:310247\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169760_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127614_P.169760.GIJ_001.png"}, {"file_name": "P_169760_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127615_P.169760.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.170288.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/464349", "metadata": {"title": "Untitled", "idno": "P.170288.GIJ", "description": "Documentary photograph of the head or top of a carved wooden staff. The carving depicts a squat figure perched on a wooden plinth, with a rounded head accentuated by an incised brow line, slit eyes, nose, mouth and protruding ears. Carved on top of the head is a large cylindrical pot with incised markings around the lip of the pot.\nThe figure is photographed in front of a plain backdrop. [Description from record N.13148.GIJ, PB 10/11/2023]", "place": "W Africa; Nigeria; South Eastern Nigeria; ?Ikot Ekpene", "cultural_affliation": "Ibibio", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170288.GIJ - P.170277.GIJ were located in a folder, now numbered C759/7.", "raw_text_dump": "IDNO\n\nP.170288.GIJ\n\nDescription\n\nDocumentary photograph of the head or top of a carved wooden staff. The carving depicts a squat figure perched on a wooden plinth, with a rounded head accentuated by an incised brow line, slit eyes, nose, mouth and protruding ears. Carved on top of the head is a large cylindrical pot with incised markings around the lip of the pot.\nThe figure is photographed in front of a plain backdrop. [Description from record N.13148.GIJ, PB 10/11/2023]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; ?Ikot Ekpene\n\nCultural Affliation\n\nIbibio\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.170232.GIJ - P.170297.GIJ were located as loose photos and papers in an assemblage now numbered C759/.\n\nP.170288.GIJ - P.170277.GIJ were located in a folder, now numbered C759/7.\n\nFM:310846\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_170288_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1132143_P.170288.GIJ_001.png"}, {"file_name": "P_170288_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1132144_P.170288.GIJ_002.png"}], "source_id": "maa_cambridge"}
{"id": "P.171613.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465674", "metadata": {"title": "Untitled", "idno": "P.171613.GIJ", "description": "A cut out image of a carved wooden figure. A face with incised lines on the forehead, and rimmed almond shaped eyes and mouth, sits between two sets of limbs that project out from the side of the face, arms above and legs below. [PB 05/11/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri", "cultural_affliation": "Igbo [historically Ibo]; Oratta", "named_person": "", "photographer": "Murray, Kenneth. C.", "collector_/_expedition": "Jones, Gwilliam Iwan (known as G.I.)", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171613.GIJ and P.171614.GIJ are mounted on card.\n\nPublication: Image published in Jones, G.I. The Art of Eastern Nigeria. 1984 Cambridge: CUP. Fig 64 p187, and captioned: \"Wooden figures\"", "raw_text_dump": "IDNO\n\nP.171613.GIJ\n\nDescription\n\nA cut out image of a carved wooden figure. A face with incised lines on the forehead, and rimmed almond shaped eyes and mouth, sits between two sets of limbs that project out from the side of the face, arms above and legs below. [PB 05/11/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Imo State; Owerri\n\nCultural Affliation\n\nIgbo [historically Ibo]; Oratta\n\nNamed Person\n\nPhotographer\n\nMurray, Kenneth. C.\n\nCollector / Expedition\n\nJones, Gwilliam Iwan (known as G.I.)\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.171523.GIJ - P.171669.GIJ were located in a series of loose folders now numbered C769/.\n\nP.171625.GIJ - P.171669.GIJ were located in a brown folder, now numbered C769/5.\n\nP.171613.GIJ and P.171614.GIJ are mounted on card.\n\nPublication: Image published in Jones, G.I. The Art of Eastern Nigeria. 1984 Cambridge: CUP. Fig 64 p187, and captioned: \"Wooden figures\"\n\nFM:312333\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171613_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144921_P.171613.GIJ_001.jpg"}, {"file_name": "P_171613_GIJ_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144922_P.171613.GIJ_002.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.171184.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/465245", "metadata": {"title": "Untitled", "idno": "P.171184.GIJ", "description": "Nwa Ekpo, A boy\u2019s masquerade. The masquerader is wearing a dark mask painted with white markings that accentuate the top of the head with a V-shape in the centre of the forehead, slit eyes, long nose, open mouth with white teeth and rounded white ears. The top of the mask is adorned with raffia \u201chair\u201d. The masquerader is wearing a dark woven costume with pieces of raffia tied to the waist. In the background are young boys, one of whom is playing a small wooden slit gong. [Description from record P.71581.GIJ, PB 02/07/2024]", "place": "W Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village", "cultural_affliation": "Igbo [historically Ibo]; Nri Awka", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "1932 - 1938", "collection_name": "Jones Collection", "source": "", "format": "Print Black & White Mounted", "primary_documentation": "", "other_information": "P.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767106.GIJ - P.767108.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]", "raw_text_dump": "IDNO\n\nP.171184.GIJ\n\nDescription\n\nNwa Ekpo, A boy\u2019s masquerade. The masquerader is wearing a dark mask painted with white markings that accentuate the top of the head with a V-shape in the centre of the forehead, slit eyes, long nose, open mouth with white teeth and rounded white ears. The top of the mask is adorned with raffia \u201chair\u201d. The masquerader is wearing a dark woven costume with pieces of raffia tied to the waist. In the background are young boys, one of whom is playing a small wooden slit gong. [Description from record P.71581.GIJ, PB 02/07/2024]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria; Onitsha province; Nri Awka; Amobia village\n\nCultural Affliation\n\nIgbo [historically Ibo]; Nri Awka\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\n1932 - 1938\n\nCollection Name\n\nJones Collection\n\nSource\n\nFormat\n\nPrint Black & White Mounted\n\nPrimary Documentation\n\nOther Information\n\nP.767001.GIJ - P.767265.GIJ were located together in a brown box, now numbered C767/.\n\nP.767106.GIJ - P.767108.GIJ are mounted together on paper.\n\nBibliographical Reference: G.I. Jones explains secret societies and their masquerades in Jones G.I., 1984. The art of Eastern Nigeria. (Cambridge: CUP), pp. 56-75. [PB 13/06/24]\n\nFM:311875\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_171184_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1144400_P.171184.GIJ_001.jpg"}], "source_id": "maa_cambridge"}
{"id": "P.30462.NWT", "source_url": "https://collections.maa.cam.ac.uk/photographs/323734", "metadata": {"title": "Untitled", "idno": "P.30462.NWT", "description": "On Negative Listing: \"2038. 2. Cutting up of meat. [Thomas' manuscript on RAI MS 467-2(1801-2475)]\n\nIn Blench and Alexander Catalogue for N. W. Thomas photograph collection: \u201c2038 location: Amobia; associations: religion?;\u201d [printed text]", "place": "W Africa; Nigeria; south eastern Nigeria; near Awka; Amobia village", "cultural_affliation": "", "named_person": "", "photographer": "Thomas, Northcote Whitridge", "collector_/_expedition": "", "date": "1909 - 1913", "collection_name": "Northcote Thomas Collection", "source": "Thomas, Northcote Whitridge", "format": "Print Black & White", "primary_documentation": "", "other_information": "This print was previously stored in a box in the fourth drawer of a container which has four drawers. The cataloguer has marked the container C70/, the fourth drawer C70/4/ and the box in which this print was kept C70/4/6/.", "raw_text_dump": "IDNO\n\nP.30462.NWT\n\nDescription\n\nOn Negative Listing: \"2038. 2. Cutting up of meat. [Thomas' manuscript on RAI MS 467-2(1801-2475)]\n\nIn Blench and Alexander Catalogue for N. W. Thomas photograph collection: \u201c2038 location: Amobia; associations: religion?;\u201d [printed text]\n\nPlace\n\nW Africa; Nigeria; south eastern Nigeria; near Awka; Amobia village\n\nCultural Affliation\n\nNamed Person\n\nPhotographer\n\nThomas, Northcote Whitridge\n\nCollector / Expedition\n\nDate\n\n1909 - 1913\n\nCollection Name\n\nNorthcote Thomas Collection\n\nSource\n\nThomas, Northcote Whitridge\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nThis print was previously stored in a box in the fourth drawer of a container which has four drawers. The cataloguer has marked the container C70/, the fourth drawer C70/4/ and the box in which this print was kept C70/4/6/.\n\n\n\nFM:165112\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_30462_NWT_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/860120_P.30462.NWT_001.png"}, {"file_name": "P_30462_NWT_1.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/860121_P.30462.NWT_001.png"}], "source_id": "maa_cambridge"}
{"id": "P.169690.GIJ", "source_url": "https://collections.maa.cam.ac.uk/photographs/463699", "metadata": {"title": "Untitled", "idno": "P.169690.GIJ", "description": "A group of human remains, including three skulls. The remains are clustered in the leafy undergrowth of a tree. [PB 24/11/2022]", "place": "W Africa; Nigeria; South Eastern Nigeria", "cultural_affliation": "Igbo [historically Ibo]", "named_person": "", "photographer": "Jones, Gwilliam Iwan (known as G.I.)", "collector_/_expedition": "", "date": "circa 1930 - 1939", "collection_name": "Jones Collection", "source": "Jones, Ursula", "format": "Print Black & White", "primary_documentation": "", "other_information": "P.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169680.GIJ - P.169690.GIJ were located in a brown envelope now numbered C754/3/.", "raw_text_dump": "IDNO\n\nP.169690.GIJ\n\nDescription\n\nA group of human remains, including three skulls. The remains are clustered in the leafy undergrowth of a tree. [PB 24/11/2022]\n\nPlace\n\nW Africa; Nigeria; South Eastern Nigeria\n\nCultural Affliation\n\nIgbo [historically Ibo]\n\nNamed Person\n\nPhotographer\n\nJones, Gwilliam Iwan (known as G.I.)\n\nCollector / Expedition\n\nDate\n\ncirca 1930 - 1939\n\nCollection Name\n\nJones Collection\n\nSource\n\nJones, Ursula\n\nFormat\n\nPrint Black & White\n\nPrimary Documentation\n\nOther Information\n\nP.169627.GIJ - P.169904.GIJ were located together in a brown box, now numbered C754/.\n\nP.169680.GIJ - P.169690.GIJ were located in a brown envelope now numbered C754/3/.\n\nFM:310177\n\nImages (Click to view full size):"}, "images": [{"file_name": "P_169690_GIJ_0.jpg", "original_url": "https://collections.maa.cam.ac.uk/media/library_images/web/1127475_image_not_public.jpg"}], "source_id": "maa_cambridge"}