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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