Search

A concrete cantilevered building against blue sky and green landscaping

A large green wall with oil paintings in gold frames above a tiled floor

A museum interior space with paintings and concrete walls and stairs

A concrete-walled lobby with windows, a tiled floor, and a circular desk

The top of a concrete spiral staircase with a wooden railing

A tall tree is the focal point of a garden in between two concrete buildings

About arrow_back

Admission for everyone is always free! Check here for current hours and more.

A concrete cantilevered building against blue sky and green landscaping

Collections arrow_back

The Johnson Museum holds more than 40,000 works in its collection from around the world.

A large green wall with oil paintings in gold frames above a tiled floor

Exhibitions arrow_back

Check out what’s on view this season at the Museum and look back through our history.

A museum interior space with paintings and concrete walls and stairs

Events arrow_back

Free events for everyone, plus special programs for students, families, and more!

A concrete-walled lobby with windows, a tiled floor, and a circular desk

Learn arrow_back

The Johnson Museum actively contributes to the intellectual life of our campus and community.

The top of a concrete spiral staircase with a wooden railing

Support arrow_back

Help the Johnson Museum continue its legacy by making a gift today.

A tall tree is the focal point of a garden in between two concrete buildings

Igbo (Nigeria)

Maiden mask (Agbogho mmuo)

View All Works

Object Details

Culture

Igbo (Nigeria)

Medium

Wood, woven textiles, and pigment

Dimensions

22 1/2 x 8 x 14 1/2 inches (57.2 x 20.3 x 36.8 cm)

Credit Line

Gift of Dorothy Brill Robbins, Class of 1933

Object
Number

90.057.011

BRIEF DESCRIPTIONThis female spirit mask with elaborate openwork coiffure, scarifications, cloth and(…)

BRIEF DESCRIPTIONThis female spirit mask with elaborate openwork coiffure, scarifications, cloth and pigment, is likely one of several which depict sisters of various ages.WHERE WAS IT MADE?This mask was made in Nigeria, in an Igbo community. The Igbo people, also known as the Ibo people, originate from southeast Nigeria, originally being divided by further cultural sub-groups. Agriculture was and still remains a chief tenant of the Ibo cultureHOW WAS IT MADE?All Igbo masks are carved by men who gain status in the community for their skills and are encouraged to innovate on the maiden mask form within a certain range. Consequently, many masks of the same type illustrate a variety of differing features and artistic styles. Today, many Igbo villages have ceased to commission sculpted wood masks and have switched to using a cane structure covered with cloth and ornamentations.Although a single artist carves the mask, many village members may be involved in the production of the accompanying costume, a tightly fitted fabric bodysuit. (To see an Igbo maiden costume in the Johnson Museum’s collection, search for object number 2002.175.001 in the keyword search box.) Fabric attached to the mask visually connects the mask to the rest of the costume. Snug rather than loosely draped, this portion serves to elongate the appearance of the maiden’s neck. Igbo people admire long, graceful necks. The costume mimics uli body painting in its surface design and often features small, pointed breasts. When performed, the masquerade emphasizes female grace and humility.HOW WAS IT USED?The maiden masquerade embodies Igbo notions of female attractiveness, which combines grace, physical beauty, fertility, and moral behavior. The maskers are young men—few men over the age of twenty-five partake in the masking—and must be athletic, lean, and very graceful in order to mimic female gestures and elegance. They stress maidens’ obedience, generosity, and chastity with highly expressive and rhythmic movements. However, some men exaggerate femininity or dance more vigorously than would most females. Maidens dance on different occasions. When appearing just before the end of the dry season, they help to promote abundant crops; when dancing at prominent funerals, they serve as escorts to the spirit world. The modest size of the coiffure on this mask suggests that it represents one of the younger sisters. In the maiden masquerade, she would follow the eldest sister, called “Headload” (Idu), who leads the group wearing an enormous superstructure that reaches nearly three feet above the masker’s head.Among the Igbo, masquerades are believed to arise from the world of the dead. Masks represent spirits who have left the otherworld and entered the world of the living via anthills. WHY DOES IT LOOK LIKE THIS?Maiden masks embody Igbo notions of female beauty. The maskers represent unmarried girls in an idealized, unattainable form. Notice that the mask depicts fine facial features: a light complexion, smooth skin, high-bridged nose, facial tattoos and stamps, and a refined mouth. Maiden masks have fantastically elaborate coiffures that exaggerate real hairdos. The white skin of the maiden mask represents both physical and moral attractiveness. Light-skinned Igbo women are favored in the community, not because they appear more European, but because fairer skin allows for more conspicuous tattoos, body stamps, and uli body painting. These permanent and temporary body adornments draw public attention to a young woman’s symmetrical features. White skin also implies purity.

Create an account

Please take a moment to fill your information to create your account.

Reset Password

Lost your password? Please enter your email address. You will receive mail with link to set new password.

Save Artwork

Save the artwork in any of your exhibitions or create a new one.

You have not made any exhibitions.

Create New Exhibition

Create New Exhibition