Okenekene Restoration

Restoring African Tribal Art is always a tricky business. The interesting part is that more is not necessarily better with respect to older pieces but while there are varied perspectives, the final analysis comes down to the deterioration of the ‘authentic’ piece, and the addition of aesthetic features.

The Okenekene headdress lends itself to restoration for the following reasons:

  1. There are several removable component pieces (chameleon, python),
  2. The piece itself portrays an Okenekene narrative,
  3. The headdress showed signs of repeated use.
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Front section of Okenekene showing existing wave abstraction but missing the ‘Fishing Dragon’.

The frontal area of the purchased piece shows the feet of the broken ‘fishing dragon’ and the missing ‘wave’.

I was fortunate to come across this piece at a Merton Simpson estate auction. I suspect the only reason I was able to acquire the piece was as a result of a rare computer glitch which left me as the only bidder on the floor. With some verbal prompting from my Mum the auctioneer acquiesced and closed the deal.

click photo for video link: OKENEKENE RESTORATION

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In another of many related providential occurrences I had been gifted a book titled ‘Ways of the Rivers’ after purchasing pieces from the Alfred Prince collection. This book provided a lot of research on Okenekene headdresses, and my favorite Delta tribes (Urhobo, Ogoni, Ijo).

My luck had not run out since I was also able to have the restoration done (molding, carving, finishing) by the talented family Miller. It was a fantastic learning experience since the existing surface finish showed wonderful signs of ageing (crackling, alligatoring) and changed my perception on analyzing the quality of pieces forever.

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The Fox, Zakpai & Gagon

This weekend was ultra-solid as empty-nested and broken bracketed Easter weekends go. Sadly though it did begin on a low note since I was throughly priced out of a couple decent African tribal art offerings. Like any good fox however I found myself surprisingly amenable to spurning the ‘grapes’ and moving right along to more affordable fare.

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Zakpai Mask – Dan Tribe

Zakpai‘ is the fire prevention mask. Its function is to insure
that women have put out their cooking fires every day during
the dry season, before the afternoon winds begin to blow.
Zakpai is aggressive, sometimes throws things, and is
meant to inspire fear. Tall green leaves cover the head. In
addition, the masker wears pants with a ruff of raffia around
the waist and neck. It carries a branch as a weapon (Fischer
1978, 21). [1]

In keeping with the Dan trend my favorite dealer parted ways with this small treasure.

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Dan Tribe – Gagon

Masks with a large beak-like form and beard of monkey fur, often with a moveable lower jaw, are Gagon masks. Originally an educational mask instructing people on the importance of the hornbill bird to their culture, they are now used mostly for entertainment.[2]

These pieces were part of an African Art collection from the estate of Alfred M. Prince, both the scholar, philanthropist, and the avid collector.

The following photographs were recommended for addition (thanks Ed), and are sourced (as indicated) from the topic essay titled “MASQUERADES AMONG THE DAN PEOPLE” and the PinInterest site.

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Africa | People wear a “Dan” mask at the agricultural Festival of Ignames of the Yacouba tribe in Cote d’Ivoire. | Image and caption © Charles & Josette Lenars

 

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Two kagle masks and deangle, Dan peoples, Liberia. February 1986. Photo by William Siegmann.

 

[1] http://www.randtribal.com/Dan_Zakpai_mask.html

[2] http://www.hamillgallery.com/DAN/DanGagonMasks/DanGagonMasks.html

 

 

 

 

 

 

 

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