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University of Nigeria Research Publications
Aut
hor
NSENTIP, Udom Udeme
PG/MFA/03/34691
Title
Mbopo Institution: Exploration of Forms and Motifs
for Decorative Ceramics
Facu
lty
Arts
Dep
artm
ent
Fine and Applied Art
Dat
e
March, 2006
Sign
atur
e
MBOPO INSTITUTION: EXPLORATION OF FORMS AND
MOTIFS FOR DECORATIVE CERAMICS
NSENTIP UDOM UDEME PG / MFA / 03 / 34691
A PROJECT REPORT SUBMITTED TO THE DEPARTMENT OF
FINE AND APPLIED ART
IN PARTIAL FULFILMENT OF THE REQUIRMENTS FOR THE
AWARD OF MASTER OF FINE ARTS (MFA) IN CERAMICS.
MARCH, 2006.
TITLE PAGE
MBOPO INSTITUTION: EXPLORATION OF FORMS AND
MOTIFS FOR DECORATIVE CERAMICS
NSENTIP UDOM UDEME
PG / MFA / 03 / 34691
A PROJECT REPORT SUBMITTED TO THE DEPARTMENT OF
FINE AND APPLIED ART:
IN PARTIAL FULFILMENT OF THE REQUIRMENTS FOR THE
AWARD OF MASTER OF FINE ARTS (MFA) IN CERAMICS.
MARCH, 2006.
APPROVAL PAGE
This project has been read and approved for the Department
Of Fine and Applied Arts of the Faculty Of Arts, University Of
Nigeria, Nsukka.
Prof. Dr. 0. K. Oyeoku. Dr. Bomkole E. Ojo.
Supervisor
Internal Examiner
External Examiner n,
Dr. mest st C. Okoli.
Dean Of Faculty
DEDICATION
This project work is dedicated to my father, God Almighty,
also to my sweet loving wife Faith Wisdom Udom Nsentip and my
four loving kids, God-bright, Caleb, David and Peace Wisdom.
iii
ACKNOWLEDGEMENT
I wish to express my sincere gratitude to the Almighty God
through His Son Jesus Christ for the strength and favour He had
accorded me through out my academic program and especially for
making sure that I am alive to complete this project. I bless your
name forever and ever, Amen.
The success of this work was the result of a streamlined
assistance of some people. It is however my wish and desire to
acknowledge and appreciate all those who in one-way or the other
assisted or contributed in making this dream a reality.
I am grateful to my supervisor, Professor Dr Okpan OyeoW
who painstakingly read meaning out of my bad and wonderful
handwriting. He understood my period of difficulties and saw to it
that the project is a success. Thank you Prof.
Special thanks also go to my Head of Department Dr Ernest
Okolie and to the following Lecturers: Prof. Dr C Aniakor, Prof. E&
1 Anatsui, Prof. Dr Ola Oloidi, Prof. C.S. Okeke, Mr. Go Diogu, Mr.
A. Vincent, Mr. Ozioma Onuzulike, Mr. Emeka Okpara for their
useful suggestions and stimulating discussions with me at different
times.
I am also grateful to my colleague Mrs. Grace (Ezefia) Asogwa
and her husband for their care and goodwill towards me. I will also
not forget my friends, Eze B.,Moses, Innocent (SPG) and Francis
Umoh and His family for their encouragement and care.
Most of all, to my loving wife Faith Wisdom and my enduring
kids though with sobbing tears of affation still will sum up courage
and wish me a successful carrier most of all God's journey mercies.
Finally, my sincere thanks goes to my beloved mother,
Deaconess E.U.U. Nsentip, to my brother and sister for their patience
and prayers, they have helped to light my path to success.
And lastly to all those who due to one reason or the other I
have failed to mention here, I say thank to you all,
ABSTRACT
Traditionally, the sustainability and effective monitoring of socio-
political lives, norms, values and beliefs of the Ibibio speaking race, was
by evolving a unique system of control via the establishment of various
institutions. These institutions were numerous, ranging fiom "Ekpe"
society, "Ekpo", "Obon", "Akata", "Ekong", "Idiong", "Ebre" and
"Mbopo", just to mention a few.
The societies were institutionalized and were vested with the
responsibility of evolving norms; beliefs and practice meant to produce
an orderly and well behaved egalitarian society.
This project seeks to explore the forms and motifs of Mbopo
institution with the aim of applying same in the art of producing
decorative ceramics, Onyelola (1976) of a truth in his contribution to the
variegated cultural exertion of the traditional African, affirm that these
traditions are replete with physical features that are capable of
metamorphosing with styles.
Therefore, the study focuses on highlighting this diversified
uniqueness of Mbopo as an institution with the hue of beauty. The beauty
of Mbopo radiates creative rays packed in motifs, forms and symbols,
such that it is capable of captivating and inspiring new ideas, thoughts
and rhythm towards reorientation and psychological change.
Also there is an elucidation of the various stages of exploration,
from the study. In the same vein it is expected that this research will
precariously stimulate and enhance &her research.
NSENTIP,U.U.
Department: Fine and
Applied Arts, University
Of Nigeria Nsukka.
Abstract ---- - ----- - ---- .............................................. v
Table of content ------------------ ...................................... vi - vii ... List of figures and plates --------------- -------------------------------vlll-ix
CHAPTER ONE: - INTRODUCTION 1.0 Introduction ...................... -----I--------------------------------- 1
1.1 Historical Background -------- -------- ---- ............................. 2
1.2 Statement of Problem----------------------------------------------- 9
1.3 Purpose of the study ------------ ------------------ ---- ----------------- 10 . . . 1.4 Dellmltatlon-- --------- ---- 10
. . . 1.5 Llmltatlon--------------------------------------------------------------- 10
CHAPTER TWO: - 2.0 Literature review-- ----------- ------------------ ------ - ----------------- I I 2.1 The place of pottery in traditional living--------------------------- 11
2.2 Ceramics as a depository of historical antecedent------------------- 12
2.3 The role of Mbopo institution in the traditional Ibibio society---I3
2.4 Mbopo practice and fimctions-------------------------- 1 3-1 4
2.5 . Aesthetics of Mbopo forms, motifs and symbols------------ 15-16
CHAPTER THREE: - 3.0 Materials for ceramics production---------------------------------- 20
3.1 Materials and methods-- ------ -------------- .......................... 22 3.2 Body preparation------ --------- ---- -------- - 22
3.3 Drawings------------ ---------- - ....................................... 22
3.4 Production techniquesl--------------- ---------- - ..................... 23
vii
3 5 Decoration ------------- --- ----- ----- ---- ................................. 23
3.6 Drying and firing -------- - ..................... ----- ------ - --------- 24
CHAPTER FOUR: - 4.0 Mbopo institution synthesis of beauty and moral rectitude-------- 25
4.1 Description of product of the research--------------------------- 26
CHAPTER W E : - 5.0 Suggestions I summary 1 conclusion--------------------------- 3 3
. . 5 1 Blbllography ---------------- ..- ---- - --------- - --------- --- ----- -- --------- 35
viii
LIST OF PLATES AND FIGURES
Page No
Plate 0.1
Plate 0.2
plate 0.3
plate 0.4
Plate 0.5
Plate 0.6
Plate 0.7
Plate 0.8
Plate 0.9
Plate 10
Plate 11
Plate 12
A picture of a maiden with a special ceremonial
A maiden with assorted beads, mrnong-mmong
hair design and a design motifs on her forehead.
(Is0 Adiahaowo) ---- - -------- ------------------------------ 2
A maiden with a design motifs on her forehead,
beads and a special hair do.------------------------------- 5
A maiden displaying her maiden hood beauty-showing
special treated necklace and beads.------------------------- 6
An Mbopo maiden displaying the usefulness of dot on
the forehead as a summary of beauty.--------------------- 7
An Efik maiden day-to-day attire showing special
coiled beads on the waist ,--- .......................... ------ - 8
An Efik maiden performing her ceremonial outing in
Full regalia with special dance steps.---------------------- 14
A maiden on display radiating beauty via the use of
body mark, beautiful hairstyling and functional . . appllcatlon of beads and wear.---------------------- ---- ---- 17
A maiden with motifs design and beads.------------------- 17
A maiden on display showing the use of motifs
on her forehead.
Moni Nkim fkom the Northern part of Cross Rivers
state on display.
Plate 13
Plate 14
Plate 15
Plate 16
Plate 17
Plate 18
Plate 19
Plate 20
Plate 21
Plate 22
Plate 23
Plate 24
Plate 25
Plate 26
Plate 27
Plate 28
CHAPTER ONE
1.0 INTRODUCTION
The African traditional society is anchored on
the facts that institutions, beliefs, social order,
norms and several practices, which are of
truth, must of necessity be given foundational
rites of passage. This empowerment is usually
through visual interpretation, which may
reflect in several forms of art ranging from
dance, music, folklore etc most often the
interpretations are engaged to demonstrate and ;a E w i ?- 1 highlight social demeanor and decorum, as it is Plate 0.1: Apicture of a
maiden with a special mirrored in the thought and beliefs of a cemMoniaI ou@t special
cherished culture of the people. hairstyling.
Among the Ibibios, typical African settings were not in anyway
short of this prodigious admiration in the search for a pleasant society that
would systematize, pride and prestige. In responding to the need for such
a visual interpretation, various institutions
meant to serve and salvage the numerous socio-
political and economic needs and problems of
the people were established. Among these are
"Ekpe", "Ebre", "Ekong", and Mbopo etc.
Mbopo is one of such rare cultures the Ibibio
people institutionalized solely for the reason of
Plate 0.2: An Mbopo maiden with her splendous hairstyles and design on the back
inculcating social order, chastity and oral values as a way of life of maidens.
In his attempt to define the Mbopo institution Umoetuk (1985) wrote,
"Mbopo is an Ibibio customary way of preparing a young girl for her future
role as a woman. This customary way manifest itself through the institution
of Mbopo", from the definition given above, it is apparent that Mbopo
institution establishes women of dignity and respect whose morality
permeates through the fabric of society and forms the bed rock of a sustained
marital life, full of honor an respectability.
1 . HISTORICAL BACKGROUND BIB10 ORIGIN
The Ibibio speaking tribe is presently located within five states of
Nigeria, namely, Akwa-Ibom, CrossRiver,
Ebonyi, Abia and Rivers States.
According to some sociological and
anthropological finding by Nicklin (1 98 l),
Forde and Jones (1950), Talbot (1926),
Amaku (1941), Aye (1967) and Ekong
(1 983), suggestively group the Ekoi,
Annang, Oron, Arochukwu, Ejagham,
Afikpo, Efik, Okpobo and Ibibio-central as Plate 0.3 A maiden with assorted
sub grouping of the Ibibio's. The beads, mmong-mmong hair design and a design mot@ on her
population of the Ibibio is estimated to be f o r e h d (Is0 Adiahowo).
over ten million if the entire sub groupings are adequately considered.
The Ibibio traditionally were farmers and craftsmen. They cultivated
yams, maize, plantain, cassava etc. Carving and crafting was a very serious
preoccupation in Ibibio society. Among the Ibibio's, including the sub
grouping, there is a wealth of cultural heritage manifested in ceremonies
linked with farming, birth, marriages and numerous social institutions.
Duke (2000) observed that these cultural activities contain the
richness in poetry and prose, excellent music and lively drama meant to
communicate order and moral rectitude within the Ibibio society.
MBOPO INSTITUTION
An Mbopo institution one of such cultural activities in Ibibio society
is an action pact confraternity with songs, dance, forms, symbols and motifs.
It is an important cultural event in the life of the Ibibio and its root is deep in
traditional religion and moral rectitude.
MBOPO MORPHOLOGY
Mbopo or Nkouho institution is a conglomeratian of several structures
and forms, the structure evolving fiom stage to stage are brought together
harmoniously to demonstrate a common strength, beauty, inculcate in the
young girl, the attributes and responsibilities of womanhood that are ideal to
the norms of social and moral behavior which are jealously, regarded as well
as acceptable to the society.
The institution is segmented into several forms, ranging form
initiation rites, institutional education in morals, skills and home craR
lessons, body care and house wifery, music and dance entertainment and
ceremonial outing and the kinetic invisible and audible tale bearer
(masquerade). Music, dance and entertainment and ceremonial outing and
Kinetic invisible and audible tale-bearer are those veritable forms of
Mbopo institution that display some very high level of aesthetic
appellation and grandeur. The hairstyles are specially designed to reflect
the coming of age in Ibibio-land, virginity is often regarded as a mark
depicting beauty and of character.
The hairstyle is an epitome of excellent achievement of artistic
weaving with indigenous hair attachment. Hairstyle ranges fiom Mkpuk-
Eba, the Mkpum or Eba-Nkuijieri, Ibout-Ekong - , Fiom Inyams Mmon-
mmon (back view), Mmon-mmon Cfront view), Ayo and Wobo and Idet
Ubok, Utom Eku Eteine, Otine Iso Inang - 0Ji.i Etine - see plate I - 6.
The hairstyles viewed as a whole are very advanced and
sophisticated; they seek to speak the aesthetical renditions of skill and
artistry. According to Okon (1983), see plate 1 and 11, the hairstyle and
make up can be grouped as standard and romantic in appeal and
approach. Body adornment / decoration is regarded as a very important
aspect of fashion and wear in Mbopo institution. It is most often
classified into two groupings: the temporary adornment and the
permanent adornment. The first one is the decorating of the skin, feet,
nails and hands.
The second is the practice of modification of the body part so as to
enhance beauty, such as body marks and tattooing, fattening,
circumcision and clitoridectomy and also the removal of teeth to create an
opening in the dentation.
The Mbopo institution made use of both the temporary and
permanent type of body decoration and the practice of painting their body
with "odung" is very common among the Mbopo. The painting is applied
directly on the skin with the aid of "Okpo Ayang" or "ndukpat" (broom-
stick, buck of a bamboo stick respectively). This type of body painting is
called and classified as Okukin or Odung as it is a cherished body
painting by the women and for Mbopo rituals.
The Okukin though it is grouped among the temporary body
decoration, has the staining ability to be retained on the skin for upward
of three weeks or a month. This body decoration simply defines the
aesthetical sense of the decorator and the people at large.
The use of assorted beads, worn round the neck and the waist
complement the body beautified with Odung, Okukin Ndom and Idout to
ginger admiration and also inspire the maiden, to be proud and overflow
with air of achievement and satisfaction. See plate 0.5 and 0.6.
Historically, it is very dificult to trace the origin of Mbopo. The
myth surrounding its evolvement attests to the fact that probably Mbopo
institution may be as old as Ibibio society. In his finding on the origin of
"Nsibidi" Ubom (1987) suggestively group the Ekio, Ibibio and Cross
River Igbo scripts writing with that of "Akwansi" stone figures.
Interestingly it is worthy to note that Mbopo - -- - -
institution is also reflected with notation of
"Nsibidi" symbols. These notations or reflection of
"Nsibidi" symbols in Mbopo language of
communication may possibly induce several
schools of thought on how and what led to this
evolvement. See plate 0.3 and 0.4.
The available ethnological findings on
Ibibio cultural institution are not conclusive on the
--
Plate 0.4: A maiden with a design motif On her forehead, beads and a special hair do.
origin of Mbopo tradition. Keith Nicklin (198 1) in his ethnographic field
work on the Ibibio pottery production conducted fiom 1971 - 1978 also
observed the need for interest on Ibibio studies about whom relatively little
research has been done.
According to him "since the monographs by D.A.Talbot (1915) and
P.A. Talbot (1923), in view of the patchy nature of literature - historical
studies of southern Nigeria tended virtually to ignore the Ibibio". Nicklin's
findings are of a truth as the facts remains that a lot are still required by
scholars to unearth the mysteries of Ibibio institutions.
Ibibio society as an embodiment 1
of the larger African society is suffering
from the same dilemma that Africa
faces today. Lovemore (2005) observed
that the dilemma that Africa faces today
is that it has been a continent with no
tangible history and also in the words
of late Steve Bainto Biko " A people
without a positive history is like a car
without an engine". It is through a
corrected version of Ibibio history that 0.5: A maiden
Ibibio can obtain the inspirational her maiden hood beauty - shnwinv smcinl treated n~cklncc
references, that will instill confidence in the harnessing and amassing the
vigor needed in re-affirming, re-constructing and resurrecting the rich Ibibio
cultural heritage that has been distorted, stolen or pushed aside during the
nightmare years of slavery and colonialism.
-- .- - ---- ----- -- - In attempt to proffer a solution, Udo
Ema (1978) suggests that "as the march
toward African renaissance goes on, there
is need for proper documentation of the C divers strands of arts, music dance,
sculpturing, crafts and institution that
identi@ the Afiican traditional
personality". He also called for the need of
creating a reservoir of information that will i
facilitate proper understanding and Plate 0.6: An M o p maiden displaying The usejklness of dot on a forehead as
appreciation of African's cultural past. Stlmmnrv o f henutv.
In the words of Ogbechie and Oyeoku (1991) "creativity involve an
ability to extract order out of the chaos, form out of the none form and
thus make meaning out of the variegated level of existence ... ability to
control the energies inherent in the act itself which enable the required
transmutation to take place". It is within the expectation of this study to
explore into the meaning and content, time and space inherent in the
Mbopo institutional practice which justifl an extraction of order out of
chaos, forms out of none form and eventually transmogrification of a
derailing lbibio society into the required transmutation.
An exploration into Mbopo institution can be classified as timely,
especially now that in all parts of the black world, particularly in today's
African continent, cultural revival activities is blowing like a breath of
refreshing air across the world. The burst of cultural revival and the
eagerness with which it is being pursued have been unprecedented, fiom
the hamlet to the village, fiom national arenas to international theatres,
the black man is thrusting open the recesses of his glorious cultural
traditional past.
Beside the cultural revival
syndrome an exploration into Mbopo ( institution can be seen as timely, ,
especially now that modernization has
greatly bastardized and eroded our
society of moral rectitude, in family life
and values. Today the whole world
through it's concept of globalization, is
searching for a way out of the invading . . -
trauma of the dreaded HIV - AIDS virus, Plate 0.7: An Efik maiden day-
which is brought into existence via social To-day attire showing special Coiled heah on the waist.
recklessness.
It boggles the mind that today's Afiican has become so enslaved by
foreign influence to the extent of loosing ones cultural identification. It is
possible for one to say that presently an Ibibio or an Igbo man, or any
other group within Africa can only be identified by his or her names
rather that by their culture and practice. The reasons are not far from the
facts that those peculiar patterns that project their identification as Ibibios
or Igbos are gradually eroded as a result of influences of westernization.
Essen (1987) observed "a peoples culture may be meaningfblly
examined in the light of their peculiar pattern of inter-personal
relationship and also a relationship with their physical environment. Also
significant is the relationship with the invisible forces (if any) which they
believe have influence on their lives, what a people hold to be true, right
or proper with regards to these things will explain much of the culture
traits by which they become identified" interestingly, Mbopo institution is
one of such institutions that can provide leads to Ibibio renaissance.
Among the Ibibios, Mbopo institution is the nucleus that sustains marital
life of the people, as no marriage is conducted within traditional Ibibio
society without the bride (maiden) having a rite of passage through the
cultural construct of the institution.
This cultural construct, pattern and peculiarities are embedded in
the institution rite of passage as it unveils mysteries and aesthetic system
which are synthesized to mark the dawn of an orderly and morally fitted
society which can easily be identified through time and space. Mbopo
institution is reflected with a lot of forms, which include body adornment,
ornamentals, dance, music and instructional language coded with signs
and symbols. It is hoped that this project will make an indebt study of
these forms, motifs and symbols as they are applicable to Mbopo for the
purpose of exploration and consequently adapt them for ceramic
production.
1.2 STATEMENT OF PROBLEM
Mbopo institution is a well structured and institutionalized organ in
Ibibio social - political and economic affairs, it is full of aesthetical and
artistic embellishment with the power to attract ethnological interest. But
the rate of awareness, exploration or usage, regarding concept, meaning
and content of forms, symbols and motifs associated with Mbopo
institution is untapped.
This neglect of Mbopo institution by the Ibibos and scholars at
large is an indicator showing that it is at the verge of disappearing. It is
the desire of the artist that this project will stimulate, explore and adapt
the motifs, symbols and forms of Mbopo institution into ceramics
decoration that will blend the old and the new.
1.3 PURPOSE OF THE STUDY
This study is of significance because of the few and scantly work
done on Mbopo traditional institution, which is at the verge of
disappearing. It also seeks to explore, adapt and preserve in visual
interpretation the Mbopo cultural facet. The study seeks to stimulate a
healthy discourse and a renewed interest and vigor in Ibibio ethnographic
studies. And most significant, is the exploration of forms and motifs of
Mbopo institution for adaptation into artistic language in the production
of ceramic wares and thereby preserving part of the Mbopo cultural
heritage of the Ibibio people.
1.4 DELIMITATION
This study is concerned with exploring the motifs, symbols, and
forms of Mbopo institution and its application on ceramics wares.
Therefore, collection of information was to an extent restricted to the
Ibibio- speaking communities of Akwa Ibom and Cross River States.
1.5 LIMITATIONS
Mbopo traditional institution as the case may be is purely a woman
affairs institution and the researcher is of the opposite sex or gender. The
major problem is getting information fiom the initiates, as there is a
degree of secrecy within the institution. The initiates were reserved about
giving out information on the confraternity due to fear of the oath of
secrecy.
There is also the problem of dearth of published materials on the
subject.
CHAPTER TWO
2.0 LITERATURE REVIEW
2.1 THE PLACE OF POTTERY IN TRADITIONAL LIVING
Pottery art through the ages has had historical trends filled with
fascinating adventure into ancient cultures. Severally, Archeologists had
uncovered the pottery remains of various societies that antedate historical
records over several decades or centuries. From pre-historic Stone Age to
modern and post modern adventures, ceramic art has served man the
utilitarian beauty and wants. Nsentip (2005) observed; ceramics artifacts
provide us a telescopic view in time and place to see cultural behaviors,
customs ideas and skill of the people, this expressionist attributes of
pottery explains why pots have been highly valued and are beautiful
objects in their own right. From the foregone statement, it serves to
present pots and the producer as one that have a common tire and destiny,
it metaphorically show case, pottery art as the most accurate and durable
diary the whole world had ever had. Also, Ekong (2000) stated that
several cultures have produced various pottery forms meant to serve some
particular purposes within the producer's localities.
He further observed that pottery production is not just for
production sake; rather art is conceptually designed to have aesthetic
consideration that reflects the life philosophy, ideology and religious
beliefs of the producers. Bassey (2004) went further to place
classification on the category of some pottery production and product to
match their hnctionalities (an example of Ibibio traditional pottery). Also
Bassey (2005) observed, the peculiarities of pot forms to the people as a
link between the people and certain deities as related to religious
worships.
2.2 CERAMICS AS A DEPOSITORY OF HISTORICAL
ANTECEDENT
Ceramics or pottery arts have been explored and analyzed by
several scholars, it seems to be on the lead providing answers on how,
whom and where about of the makers.
Green (1972), for instance observes that pottery art is capable to
stand tall over other crafts about which scientific and historical
antecedent can provide information on the nature of the earth and about
evolution of the environment. He also stresses that central to it, its ability
to "breathe life into a hazy scientific knowledge".
Baker (1961) a pottery notary observed that pottery art is
potentially capable of providing ready-made information, for the clearer
understanding of period and existence of a given practice. To him, the
extent and nature of pottery arts provides a reservoir of information as it
can stretch back literally into the unknown and bring forth to knowledge
the certainty of the duration and time. As the case of the Neolithic time
reflected in the bburns" used to contain ashes of the dead, dated back to
400Bc in Egypt.
Rhodes (1975) observed pottery arts as a channel of
communication capable of expressions that are unique, full of variety that
are permanent and utility based. Summing up this school of thought
Roscoe (1978) asserted that a look backward into history is regarded as a
first step to knowing one's culture.
2.3 THE ROLE OF MBOPO INSTITUTION IN THE
TRADITIONAL IBIBIO SOCIETY
This backward look or retrospect into history provides and
strengthens ones knowledge of activities and evolvement from period to
period, stage to stage, which eventually assists man to arrange his
priorities accordingly.
In line with this, Ekwere (2000) in his retrospections into the Ibibio
traditional history of "Ekong society, observed that, the only way a
woman can gain dignity and honor in Ibibio traditional society was for
that woman to live up to some spelt out societal norms, Which may
include among others, attainment of a certain age bracket, membership or
"Iban Ison" ("Ebre" Society) (women confi-aternity) and most of all
having a rite of passage through Mbopo rituals. This ritual is the
prerequisite qualification for entering into marital life.
2.4 MBOPO PRACTICE AND FUNCTIONS
Uford (1986) in agreement with Ekwere's finding remarks that
those women in Ibibio traditional culture who are not circumcised are
called "Edut" that is they are classified as infamous and infidels and
above all, misfit for the society.
Clitoridectomy is practiced severally in some part of the world, it is
not only in Afiica, the World Health Organization (WHO) and Human
Rights Information Pack (HIP) are currently organizing several
campaigns and research on the adverse effect of female genital mutilation
(FGM) and male neonatal circumcision (MNC). Currently some exponent
of the practice in several other countries supports the continuity of the
practice.
Njeri (2005) observed "circumcision makes women clean,
promotes virginity and chastity and guards young girls fiom sexual
hstration by deadening their sexual appetite".
According to Amnesty International (2004), in its campaign to
eradicate violence against women, it was observed that the available data
on the short and long-term medical effect on FGM couldn't be reliablp
estimated. But all the same W.H.O. has instructed countries where FGM
and MNC are in practiced to make laws that will put a stop or discourage
the continuity of the practice. For the Ibibios Ekong (1983) while writing
on the sociology of the Ibibio observed that September was most
generally accepted as the month or period prospective brides (maiden)
went into the Mbopo fattening room for seclusion. Usually the "Annang"
speaking Ibibio normally refers to the month as "Anantia". The maidens
may be kept in the fattening room for three months or may be extended to
nearly three years of seclusion.
Jeffery's (1950) work provided a
clue on the time of circumcision
(clitoridectomy), who does it and how it is
done. He observed that usually it is done
toward the end of the Mbopo seclusion
rather than at the beginning by a member
of a certain society namely Njama or
Ndam society.
Okon (1985) explained further the -- . - - 7 ;
purpose of Mbopo institution to include Plate 0.8: An Efk maiden other functions other than circumcision pegoming her outing in fill regalia with Special dance step.
and fattening. He emphasizes the fact that Mbopo serves other purpose in
the preservation of social and moral rectitude among the youths.
It provides facilities for relaxation, a system of formal education,
which trained the brides in childcare, mother craft and domestic science
and in the traditional norms and etiquettes.
2.5 AESTHETICS OF MBOPO FORMS, MOTIFS AND
SYMBOLS
Okon also diagree with Talbot (1968) claims over the hctionality
of the body mark, that it was not serving as an indicator of tribe or clan.
But it is rather a pointer to the understanding of Ibibio concept of beauty,
see plate iii-vi. That some times even goes beyond the known to the
unknown like the example of "Ekpenun" marks which are usually three
tiny vertical lines cut on the chest, waist and toes whose symbolism hung
on the belief to have magical powers to scare away evil spirit and
possible danger.
The Ibibios historically are not known to practice tribal body mark
/ in his attempt to strengthen the arguments asserted that a close "study of
the design motifs and symbols reveal a common feature in the use of
small dot at a spot on the face or body is regarded as a mark and summary
of beauty" (Sin Ntoi Uyai). See plate 0.6.
Akpaide (1982) afflrmed of this body mark with the aid of motifs
and color. Essien (1992) also along this symbolic representation take a
critical look at the hairstyles as it reflects Mbopo rituals.
Okon in his research into the history of Mbopo record about 30
face marks and body decorative motifs while Ekwere (2002) in the study
of bbrejuvenation of Ibibio traditional decorative motifs on ceramics
wares" also recorded about 9 decorative motifs.
On dance forms to Mbopo and it's symbolic nature of
communication Akpaobot (1 975) reflected on the usefblness of dance and
social control within traditional institution. He observed "dance is used
not only as a form of recreation but also as an instrument of social control
and nowhere is this more evident that in the various dances of the women
folk, where the effect of the song used during dancing help regulate
society". Mbopo dance is usually performed once a year.
Turner (1968) in agreement with this line of association affirm in
his work, even though it is not directly on Mbopo, rather it is related and
re-in forces Akpaobots work as he observed the effective finction of
dance as symbols which are related to the process adjusting the
individuals to the traditional social order.
Also, he stressed that "music" allows "emotional" expression,
gives aesthetic pleasure, entertains, communicates, elicit physical
response, enforce conformity to social norms and validates social
institutions and religious rituals". Music in this respect shows clearly that
it contributes to the continuity and stability of culture.
OUTING / CEREMONIES
Essema (2002) wrote on the dates of "Osio" Mbopo observing
when the girl would leave the fattening room and the nature of ceremony
that would accompany the outing. He pointed out that it would be
complete merriment for the whole community. This merriment reflects
various forms of dances as it relates to the group that is celebrating the
outing of their maiden. There are two distinctive forms of fattening, the
"Ekuk Uman" (Ngkouho) and (Nsin Mbopo) "Mbobi".
Mbopo institution has four major ceremonial dance steps as practiced
by the different grouping of the Ibibio. Mmoni Nkim by the northern
division, Ekombi
by the Efik
grouping, Asian
Uboikpa by the
h a n g and
maiden dance by
the southern and
central Ibibio.
Bassey 978) Plate 0.9: Some maiden on display radiating beauty via the use of body ;ark, beaut&? in hairstyle andfunctional application of beads and
aspects the Moni wear. Nkim
dance represents in the northern division, the Abang and Asian of the
southern (and central) part of the state. The musical instruments of the Moni
Nkim are the same as those of the Abang dances. The forms of dance are
much the same but
with variation
abound. The dancer
is just graduating
from the fattening
room like her
colleague in the
Abang and Asian
dance respectably
see plate 0.8,0.9 and
Plate 10: Some maiden with motvs design and beads.
Interestingly, a lot of research has been done on "Nsibidi," a close study
and analysis reveals that some Mbopo or Ibibio decorative motifs may
have been derived fiom "Nsibidi" script writings.
Kalu (1980) observed that some "Nsibidi" was not at all restricted
to secret societies alone, that some were secularized for economic and
social use by the people as they spread through out the cross River Basin.
Madumere (1988) also attested to kalu's finding as she writes that
there are three broad categories of "Nsibidi", the organic, in inorganic
and composite form that portrays such thematic grouping as love and
marriage, hatred, disunity and divorce, war and death, illicit intimacy and
object.
Ekong (2000) observed that a lot of work on "Nsibidi" has been on
focus by scholars. He mentions scholars like El- Anatusi (1988) and his
"Nsibidi" incorporation (1984) (1993) (1994). Udechukwu's " A boy is
born" (1985) and on far side, Rainbow arched-like Boa (2002), Tayo
Adeniake's work and many others have a renewed interest in ''Nsibidi"
symbols.
Mbopo institution, though it incorporates 'Wsibidi" motifs into its
existing design motifs, carved out a unique identity called Nwed
"Akukin," which is literally translated to mean writing or scripting of
mark on the body for beauty sake with the aim of communicating (uyai)
beauty. On comparative analysis of "Akukin", "Nsibidi" and "Ul i" motif,
it was discovered that some motif of "Nsibidi" was unavoidably featured
in Elizabeth Wills (1987) work on a lexicon of Igbo "Uli "Motifs. On
hrther research, it was discovered that she also collected some "Uli"
motifs fiom Ohuhu, Aro and Ohafia, which still have a handful of Igbo-
Ibibio in their grouping. According to Willis, "thus girls leaving the
fattening house
(Mgbede) about to be married would be adorned with "Uli "(Uri) mgbede
patterns.
From the above survey of available literature on Mbopo Institution, it
is clear that beside UwaUsen sculpture piece of Mbopo sited within the
university of Uyo main campus, there is no attempt yet to explore and adapt
Mbopo forms and motifs into visual interpretation in arts, it is apparently
clear that Mbopo institution is still a virgin ground yet untapped for
exploration and adaptation for ceramic art forms.
CHAPTER 3
METHODOLOGY AND LIST OF MATERIALS
This chapter places emphasis on the methodology and approach through
which the project work came to hition. Also, the chapter gives an
insight to the materials and tools used in carrying out this research.
3.0 MATERIALS AND TOOLS FOR CERAMICS PRODUCTION.
The material employed in the production process for the purpose of this
research work includes the following:
CLAY: clay is one of the most abundant of earth's natural resources and
it is a material that is put to use by every potter for the purpose of
moulding, mould making, designing and casting. It is made up of
alumina, silica and chemically combined water (AL2 0.3.' 2S, 02. 2H20).
Clay can be naturally found in two distinctive states, the primary
state (kaolin) and the secondary state (ball clay if it is plastic and
earthenware, if it is less plastic and porous). Its firing temperature ranges
fiom 800" to 1400°c depending on the adjustment of the bodies.
WATER: This is an essential material with which clay is also very handy
during throwing and even in the entire production processes.
GROG: This is fine sand and bisque ware finely crushed into tiny
granulated powder. It's usehlness is enormous, such as to give strength
to the walls of the ware, help reduce the shrinkage rate and possible
sagging of the ware during exposure to high temperatures firing.
GLAZES: Glazes are compounded materials which when subjected to
intense heat in a kiln, melt and form a glass-like coating on the surface of the
ware, glazes serve two distinctive functions, utilitarian and decorative in
nature Engel (1 968).
COLORING OXIDES: These are chemical materials used to color glazes
and slips (engobe).
ENGOBES OR SLIP: is clay in liquid form. Slip can be made coloured by
adding or staining with oxides.
WOOD: A hard material that the trunk and branches of a tree are made of.
TOOLS: The tools that were used by the artist in the processes includes the
following:
Kiln: An oven like device in which ceramics are fired.
Throwing wheel: This is a mechanical device in which clay
lumps are shaped on the wheel head into various forms or shapes.
Ball mill: A jar containing small pebbles or porcelain balls placed
on top of a motorized mechanism, which enables the jar to rotate,
and in the process the glaze is milled into finer particles for use.
Power tools: These include angle grinder, sander, jigsaw, router
etc. They were used especially in decorating the wood surfaces
Ceramics tools are quite many and vast to include measuring scale, sieves,
mesh, pop mould, bucket, basin, bowls spatulas, knife, cutting wire etc, all
these tools were effectively employed for use as the need arose.
3.1 MATERIALS AND METHODS.
METHODOLOGY: The artist made use of several approaches,
which aided in actualizing the set goals and objective of the research
work. Historical study was employed extensively during filed trip, which
was based on literary documentation as well as schedule oral interviews
with the initiates, mostly the elderly (age fiom 75 and above). Conceptual
approach was also employed during studio work. This approach was
employed because of its usefulness as a helping tool for separating the
various motifs, signs and symbols of Mbopo institution into their
respective concepts to reflect content and usage. The artist eventually
made use of selected varieties pf motif, forms and symbols of Mbopo
institution that had been properly analyzed, conceptualized to have direct
bearing in the communication of morals and beauty for the purpose of
exploration and adaptation for ceramics design and decoration.
3.2 BODY PREPARATION
Body preparation is a very important process in the art of ceramics
production. Various types of clay bodies were used for the formation of a
composite clay body, which is a pre requisite for the successful execution
of the project. The body is prepared with particular attention to its
suitability, pliability and maturing range.
3.3 DRAWINGS
Most often, many successful studio practices emplore the use of
sketches, which is very necessary for quick recording of inspirations and
ideas and mostly for the definition of forms and texture with the use of
line.
Thus, sketches based on the verities of motifs and forms of Mbopo were
made and further developed into full-blown drawing. The drawings are
interpreted, explored into two or three-dimensional form with particular
emphasis on forms that address moral issues and beauty.
3.4 PRODUCTION TECHNIQUES
The researcher employed many methods of ceramics production in
realizing the desired and required forms, namely, modeling, molding and
throwing. Also the artist is of the opinion that clay alone will be unable to
transport the full weight of the message and enquires of the project. Hence,
the artist resolved to use a mixed media technique of production where
pottery works are finished with the incorporation of other materials such as
wood work and mental designs etc, as it enhances solution to design
problems.
3.5 DECORATION
The decoration of the wares involved the use of variety of techniques
of pottery decorations such as relief, intaglio design, spraying, carving, slip
trailing, brushwork- with oxides and engobe most of all with the decorative
motifs of Mbopo as relics.
3.6 DRYING AND FIRING
The green wares were kept on the shelves until they are bone dry
before they were bisque-fired.
Selection was made from the bisque pieces for the purpose of gloss
firing. The selected bisque pieces were coated with glaze already prepared
by the researcher. The method employed for glazed application include
spraying, dipping and pouring, after which gloss firing was done.
CHAPTER FOUR
MBOPO INSITUTION, A SYNTHESIS OF BEAID')AND MORAL
RECTITUDE.
Mbopo institution an embodiment of Ibibio parent culture is coded
with forms which epitomize and dramatize beauty that can easily be
passed as beauty in his finest form. The beauty of Mbopo is so
magnificent and inspirational, it transience's the society like the sweet
smelling aroma of a rose perfume. It beauty is reflected within the society
with attendant result in the pursuit of good morals, obsolete chastity oy
young girls prior to marriage (ZIP UP). The Mbopo moral status is
always viewed within and outside the community as a source of honor
and pride equally shared and respected by all, especially, the parents and
the maiden, the fiance and the entire community and neighboring
communities.
The Mbopo rite of passage is more of a ceremonial grandeur full of
aesthetics application and entertainments both in forms, body adornment,
music's and education. The entertainment aspect of the Mbopo is adopted
as a key entertaining form during occasions such as coronation, new year
entertainment, national independence day celebration and when who is
who within the society is celebrating. It is obvious that Mbopo maiden
dance will grace the day.
The Mbopo outing ceremony is fully inspirational, challenging and
also on the watcher and observer. The outing is a loaded allegory with
lessons on home care, routine body care, house wifery and morals, which
serves as instrument of societal, control. It adjudicates mostly cases such
as gossip, adulterous men and women, disputes and way-ward girls both
within the family and village levels respectively.
DESCRIPTION OF PRODUCT OF THE RESEARCH.
THE MOON
The moon is a mixed media ceramics sculpture that paradoxically
expresses the relationship between the infinite and the finite. It provides a
resonance to the prevailing influences that Mbopo has on the Ibibios. The
pieces strive to present a sensation of emotion and spiritual obeisance and
obsession to the "moon" as a symbolic representation of Mbopo. Our
traditional values are fast eroding, according to Chinua Achebe in
"Things fall Apart" the Africans are more or less moving in a vicious
circles, the center can no longer hold.
Plate 18: The Moon.
Presently, the "moon" which represents the center of moral
rectitude for the Ibibios is on the verge of extinction. The work is borne
out of the artist's effort to bring alive the vivid history of Mbopo and to
commemorate its profound values towards a sustained moral lifestyle.
The work is finished in a mixed ceramic sculpture, with the use of
assorted wood relief panel that reflects the touch of the termites network
and a trade mark that carries a well decorated ceramics form that presents
highly coordinated collection of Mbopo spiral decorative symbols. The
work is manipulated into a semi -hemispherical perforated form that has
aesthetical and utilitarian h c t i o n as a lampshade.
PROHIBITION
This piece of work is a facsimile of Mbopo prohibitive rule and
norms. It strives to reflect the don'ts and taboos of Mbopo institution by
bringing out to focus as a reminder for the commemoration of the Ibibio
race as a group of people with highly esteemed moral rectitude and
values. The work is usually the artist's imaginary configuration of figures
and forms as a pictorial documentary of Mbopo social responsibilities and
obligation to the people and the society.
Plate 19: Prohibition
Lines abstracted into physically discrete, spiral forms has been a
recurring element in this work. It reflects the hsion of a finished
ceramics form to a surface textured and decorated wood panel that
enables the artist to creatively impart on his viewer the melancholic
symbolism of an irretrievable, and even imaginary past linked to the
world of reality. The bowls have an obvious connectivity to feminist
iconography. The wood is a pang symbol in
reflecting the forest of evil where such offenders
the world of tradition
were finally put to rest.
The artist 's explorative construction is a hsion between the wood and
earthenware. This work pushes the possibilities of materials beyond
accepted norms or it may be more or less setting a new benchmark for
ceramics art as a process.
Just Before the Cross-.
The fear of the cross is the beginning of Christianity and its' worship.
Plate Just Before The Cross
The cross is very symbolic and coded with a lot of messages and
imageries; all in an attempt to fashion out morally fitted and molded
minds. This piece of work strives to interchangeably place the cross and
the Mbop institution as a regulatory tool that enhances the emancipation
of social, religions and spiritual, order and norms. The work is a
reflection of the subliminal power of Mbopo as an institution with
subtlety. The work tries to place emphasis on the translucency of the
Mbopo institution, which served the Ibibio traditional society what
Christianity, is seriously struggling to serve humanity with minimal
success. The work is yet another fusion of assorted and well arranged and
decorated wood panel with the distinctively finished ceramics bowl that
symbolically represent the Mbopo as the nebula of our dark cloud.
CHRONICLE (1)
This is a distinctive a semblance of some Mbopo instructional/
decorative motifs with the intent to display and dramatically evoke an air
of passion for the simplification of Ibibio philosophy and to stress fiwther
its pervasive influence on the social change within Ibibio society and the
surrounding environs. A naturalistic gesture plays a vital role in the
artist's empathetic humanist ensembles.
Plate 21:Chronicle I
The juxtaposition of temacotta on an engraved designed wood
panel is another medium of expression that arouses inspirational anxiety
on whether it is appropriate or not as it is strange and possesses an air of
surrealism.
CHRONICLE (11)
This is another exploratory work done on the Mbopo instructional and
decorative motifs, forms and symbols. The work is an historical
documentation of Mbopo motifs, forms and symbols as relies well
deserved to be preserved.
Chronicle 2
The pieces is a configuration of many of the Mbopo motifs that
emphasize good morals with the intent to regulate the society for a more
purposeful, more rewarding, and a well behave society. A good moral
instruction brings about respect, integrity and sanity. This pieces seeks to
stimulate a dialogue between past, present and the hope. The medium is a
coalition of wood into a panel well decorated with engraved drawing and
a college of terracotta ceramic tile fill of Mbopo motifs as relics.
POROSITY
Pots are containers made for utilitarian purposes, virtually, all pots
are produced by the potter for some specific functions, where a product
out lives its fbnction it is easily disregarded, thrown away or left for
destruction. The pot entitled porosity is the artist visionary pains of what
is a melancholic expression of the artist's feeling, as presently our
maidens seems to have no regards for virginity, decency, integrity and
above all self-control and chastity are far forgotten.
Even to some of our married women, their bodies are full of eyes
and mouths; they see and discuss issue that had never seen the light of the
day. It is time to retrospect into our traditional values that once kept us
neat and decent.
Edu Edi Uyai (1) and (11)
This is a one sided semi -hemispherical pot with a painted flat wall.
Edu Edi Uyai is literally translated to mean character is beauty. On the
flat painted wall is the motif of a reptile known as "Utia". The Mbopo
institution used these reptile motifs as an instructional language that
fiowns at deception.
Plate 24: Edu Ediuyai I&II
In order to emphasize in strong terms that every prospective maiden
should abstain form falsehood, as reflected in this lyrics:
Nsidi Oko Ke Enyon
Ekpok Odok Ukin a
Edem Ebiet Utai
This pieces of work call for an indebt re-appraisal of our characters, it
raises such issues as self- conviction, double standard, deception and
falsehood. Who so ever posses any of these characters is a trait to good
living and has no beauty in him or her.
Plate 25: Untitled Hate 26: Untitled
Plate 2 7: Untitled Plate 28: Untitled
CHAPTER FIVE
SUGGESTIONS, SUMMARY AND CONCLUSION
The research work has proved that Mbopo institution is an aspect
of Ibibio institutionalized cultural heritage that can provide and enhance
information on Ibibio renaissance.
It is quite obvious that the conceptualization of Mbopo institution
as an Ibibio cultural heritage is of great significance. It is significant in
that the institution becomes the rallying point through which social
stability is anchored. Also, from this study of Mbopo institution, it is
vividly clear that D.A.Talbot's erroneous comments on the Ibibio as
"mere mud fish" was far fiom being truth. A close study of Ibibio
institution, secrete cult and cultural society reveals a well stratified and
conceptualized organization that are meant to regulate the society and
bring about peace, justice, fair play and above all honor and prestige.
It was discovered during the field trip that nearly all the
neighboring communities surrounding Ibibio speaking tribe are now
practicing Mbopo cultural norms as a borrowed culture. Example is the
Irumobegde of Igbo speaking society etc. from this study; it is considered
that the Ibibio have led a civilized life of their own.
Contemporary, Mbopo institution and its fame are still very much
in use rather as fashion in hair styling or ceremonial display on occasions.
It is also obvious that, central to the Ibibio society, beauty is not
just attached to facial look rather, beauty is reflected in one's character in
relation to morals, orderliness, neatness and productivity which informed
the reason for Mbopo institution.
The artist also realized through the research that Mbopo institution
undoubtedly has an inexhaustible repository of symbols and forms
capable of design inspiration. Mbopo motifs, symbols and forms with its
adaptative potentials is not only limited to pottery exploration but can be
excellently explored in other areas of art.
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