User:Johns9ea/sandbox

Preliminary Observations

In the origin section, there is no citation for the first five sentences. There is also a sentence that begins with "According to some scholars". Who are these scholars? The second paragraph also has no citations save for the last sentence. This section needs work.

Most of the article does not have any citations. Many sections have none at all. In the Art section, there is little information, and there is a subheading called "Ibibio tribes and ethnic groups" which does not fit under the Art heading.

In the Regions with significant populations section, there is only one number which has a citation, and it says that number came from 1813. This could potentially be updated.

Notes

For my draft, I have typed some information that could be added into the article, but not pasted it into my sandbox. The information is in bullet points at the moment, but I plan on adding some transitions in between.

Art

Masks

A component that appears often in Ibibio masks is an articulated lower jaw. Ibibio often purposefully play with proportions in their masks to distort the face. Ibibio people have an overarching theme of contrasting male and female masks by using dark and light colors respectively. These masks are not always performed together, but there is a general understanding of their opposing relationship. Feminine masks are decorated with light colors such as white. Their features are delicate to emphasize their femininity. On the other hand, masculine masks use dark colors to represent the mystic forces of the forest. These masks often have large features and are created to be intentionally ugly. They achieve this by distorting the features in unnatural manners such as having bulging eyes or misplaced mouths. Many deformities present in the masks come from naturally occurring human diseases and illnesses. One that is often depicted is gangosa - a part of yaws. Signs of baldness and walking sticks also show up often in order to portray symbols of karma and old age. Men's costumes incorporate natural materials from the wilderness such as raffia, and seed pod rattles. Women's costumes use materials such as light colored cloth to represent the order of living in the village.

Ekpo/Ekpe

Ekpo society mask with attached raffia fringe

The masks of this society were used to elicit fear and execute social control. The most common type of mask is one made for the face with waist-length raffia attached. The affect of the masks and their intimidating quality is part of what gives them their power, in addition to the long history of the Ekpo. To put on an Ekpo mask is to surrender earthly identity and assume an ancestral one. Masks used may be ones owned by deceased ancestors, ones made to look like ancestors, or ones made to resemble to village heroes. Many are carved fro lightweight wood called ukot. This makes them easier to wear and move around in. For additional support, the mask is secured to the wearer's head with a rope, and a horizontal piece of wood may be inserted into the mask in order to bite into. In addition to the raffia on the mask itself, performers also wear a knee-length raffia skirt. The lower legs, arms, and hands are painted with charcoal. New raffia is added to the mask each season, and is displayed in the off-season in a family or village shrine.

Ikot Ekpene

From Nicklin, paraphrased information:

-The Ibibio are known for their woodcarvings, raffia-weavings, and pottery making.

-Ikot Ekpene is a town in Nigeria known for its marketplace in which crafts are sold to both tourists and middle-class Nigerians. While the Ibibio are not known for metalworking, there is a significant number of craftspeople making this type of art to be sold. Most metalwork objects produced have a practical purpose rather than a decorative one. Despite this, Ibibio coffins tend to be highly decorative. They feature ornamental painted metal motifs, colorful plastic sheets, and glass panels on the sides.

Many people who carve Ekpo masks live in Ikot Ekpene.

Body Art

Both temporary and permanent body modifications are used. Rhythm and nature are both considerable motifs at play in the designs. Hairdressing, body painting, and body modification are the main focus of body art performed by the Ibibio. Intentional fattening of young women is another culturally important aspect of the Ibibio.

Body painting

In painting, the goal is to emphasize rather than obscure the wearer's face or other parts of the body. The symbol of the dot plays a key role in the understanding of beauty. Okon Umetuk in his article "Body Art in Ibibio Culture", states that

A 'dot' is regarded as the only perfect mark to indicate and summarize beauty in Ibibio culture.

Evidence of this is found in the abundance of dots that appear on the faces and bodies of decorated individuals. An 'X' symbol may be applied to the forehead, wrists, and ankles as a way to mark mediation. When worn by a diviner, it may mark a connection with himself and the gods as well as his people. Members of a ritual may wear it to symbolize peace, humility, as well as acceptance. Odung is a type of body painting that is used for events such as marriage, childbirth, coming-of-age, and death. It may also be used to show a man's status in the Ekpo society. This process is commonly used among women. It is often done after the birth of a child. The stains that are left afterwards can stay on the skin for up to three months. Professionals are typically the ones who paint others, and the process may take from five to eight hours to complete. Iduot is another form of body painting which symbolizes fertility. The pigment is taken from crushed camwood and then added to water which produces a red substance. People's palms, feet, legs, and faces are decorated with the pigment. The Ibibio use it partially for its bleaching effect. After continuous usage, it produces a smooth and light skin complexion.

Modern versions of body decoration such as eyeshadow, lipstick, and eyeliner are used by contemporary Ibibio people. These products help them express themselves in conveniently, but are in now way a new form of expression. Body decoration has a long history to the Ibibio. Substances such as the Atido were used for eyelid decoration long before modern eyeshadow. Similar to other cultures around the world, Ibibio women put heavy emphasis on the eye when it comes to make-up.

Mbopo

The fattening of young women in preparation for marriage is an old custom which is dying out. The purpose of this is to enhance the beauty of an unmarried women and prepare her for married life. Once a girl has undergone this ritual, she is considered an Mbopo. This term refers to the process of fattening a girl as well as the girl herself. A key aspect of this is the teaching of future brides the ins and outs of childcare, motherhood, how to keep a home, and how she is expected to behave. The financial situation of a girl's parents determines how long she will stay in the fattening house. This can range anywhere from three months to seven years, but most stay for an average of three years. During their stay, the girls are fed well and not expected to do any labor. This is due to the fact that historically, being overweight was a sign of wealth and good health to the Ibibio.

Nursing mothers also undergo a fattening ritual which usually occurs for only their first child. Both the husband and the mother-in-law are expected to pay for the ritual. The Ibibio consider it natural for a mother to rest following the birth of a child, and therefore the mother performs no strenuous tasks.

Hairstyles

Hair styles are another way for the Ibibio to symbolically mark certain occasions. Styles of hair in Ibibioland include both elaborate braiding with and also without the use of thread. Some styles are symbolic of stories or events that have occured in the wearer's life. If a married woman has unkempt hair, this indicates that someone she is close to, typically her husband, a child, or another relative, has died. Other styles may be indicative of age, marital status, or social standing. There also exists hairstyles without any meaning that are simply worn for fashion purposes.

Political system[edit]

Traditionally Ibibio society consists of communities that are made up of large families with blood affinity each ruled by their constitutional and religious head known as the Ikpaisong'. The Obong Ikpaisong ruled with the Mbong Ekpuk (Head of the Families) which together with the heads of the cults and societies constitute the 'Afe or Asan or Esop Ikpaisong' (Traditional Council or Traditional Shrine or Traditional Court'). The decisions of the Obong Ikpaisong were enforced by members of the Ekpo or Obon society who act as messengers of the spirits and the military and police of the community. Ekpo members are always masked when performing their policing duties. Although their identities are almost always known, fear of retribution from the ancestors prevents most people from accusing those members who overstep their social boundaries, effectively committing police brutality. Membership is open to all Ibibio males, but one must have access to wealth to move into the politically influential grades. The main purpose of Ekpo is to protect its people and act as a defense against potential attackers. They are concerned with issues and emergencies that pertain to the safety of the town as a whole. In addition, it serves as an outlet for men to productively use energy to benefit everyone. In the months of June through December, the Ekpo society plays a large role in the community's life. Many activities such as farming, shopping, and obtaining food and water are prohibited on days in which the masks are out and being performed. Crimes also carry heavier consequences during this time period. While the punishments are more lax today, a person caught stealing during this time period in the 1940's would be killed by members of the Ekpo. The chief will send masked individuals to confront a rule-breaker if the need arises. It is known as a secret society despite the fact that the purpose and activities are widely known by the village. This is due to the fact that everyone must abide by certain laws during Ekpo season. The most important secrets are a series of code words and dance steps taught to initiates and used by members. Knowing these secrets allows members to travel freely during the season, and being caught traveling without knowing the secret terms and dance will result in being arrested.

The Obon society, with its strong enticing traditional musical prowess and popular acceptability, openly executes its mandates with musical procession and popular participation by members which comprises children, youth, adults and brave elderly women.

References

-Adepegba, Cornelius Oyeleke. Nigerian Art Its Traditions and Modern Tendencies. Jodad Publishers, 1995.

-Bascom, William Russell. African Art in Cultural Perspective: an Introduction. W. W. Norton & Company, Inc., 1973.

-Imeh, Imo Nse. Daughters of Seclusion: the Revelation of the Ibibio "Fattened Bride" as the Icon of Beauty and Power. Peter Lang, 2012.

-Imperato, Pascal James. “Ibo, Ibibio and Ogoni Masks.” African Arts, vol. 8, no. 4, 1975, pp. 76–76. JSTOR, www.jstor.org/stable/3335094.

-Nicklin, Keith, and Jill Salmons. “On Ekkpe, Ekpe, Ekpo, Ogbom.” African Arts, vol. 15, no. 4, 1982, pp. 78–79. JSTOR, www.jstor.org/stable/3335823.

-Nicklin, Keith. “The Ibibio Musical Pot.” African Arts, vol. 7, no. 1, 1973, pp. 50–92. JSTOR, www.jstor.org/stable/3334752.

-Preston, George. “Ibo, Ibibio, Ogoni: Art in Wood from Three South-Eastern Nigerian Tribes.” African Arts, vol. 9, no. 2, 1976, pp. 66–66. JSTOR, www.jstor.org/stable/3335025.