Beyond aesthetics and appearance: Ẹpa masks of Iyah Gbẹdẹ

Abstract

Ẹpa masks are produced in order to enable the spirit of Ẹpa deity (Elela in Iyah Gbede) to be felt and appreciated by the society and to appear as a visible form or dramatic representation of mythical actions. However, there are substantial differences between some of the most spectacular and complex Ẹpa masks ever carved as far back as early to mid-20th century by some notable Yorùbá woodcarvers in southwestern Nigeria with those found nowadays in Iyah Gbede and some other Ẹpa practicing communities. Craftsmanship and form were considerations in the aesthetic judgment of the masks and headdresses among the masqueraders and the devotees of Ẹpa deity, but not necessarily the primary ethos. This paper therefore focused predominantly on visual element qualities and morphological presence in all Ẹpa masks and headdresses found in Iyah Gbede. The paper explored brief history and proceedings of Ẹpa masquerade tradition in Iyah Gbede as well as examining the visual content (thematic analysis) of the masks and headdresses to reveal a nexus between various creative traits and styles displayed by carvers in Iyah Gbede. Fourteen (14) major mask types found in the Iyah Gbede were identified from both conventional and unconventional (plastic) point of view. This paper concluded and affirmed that some new Ẹpa headdress were reproduced in Iyah Gbede when some of the ancient headdress was stolen; while some other headdresses were refurbished with paint.