Mgbedike Mask

Origin: Igbo Tribe, Nigeria
Composition: wood, pigment dyes

Mgbedike masks such as this are distinguished by their large size and bold, exaggerated features, including an open, snaggle-toothed mouth. Their purpose is to oppose the maiden spirit mask, which represents a beautiful, marriageable girl. Gender relations and the general duality of male and female are dominant themes in Igbo ritual, and the mgbedike mask creates another such contrast (male power with female beauty). The power of the mask is reinforced by its ponderous, aggressive dancing style.

Though linguistically related, the Igbo were not otherwise unified until grouped together by British colonial officers at the turn of the century. Egalitarian and individualistic, the Igbo have historically been an aggressive, expansionist people who are progressive and receptive to change. Igbo political structures vary considerably from one area to another, and most of Igboland has never embraced a central authority or the idea of a single ruler —the Igbo typically invest power in councils of elders and titled men. A cluster of villages claiming common ancestry is nearly everywhere the largest political unit. Igbo arts retain a regional characteristic, for apart from personal shrines, most Igbo art is associated with institutions rather than individuals (Ref: Visona, A History of Art in Africa).