Skin Masks & the Female Ideal by Therese Quiao

Beauty is a subjective, timeless concept. In the beginnings of human history, the survival of the fittest ensured the creation of future generations and genetic variation. In today’s society, attractiveness is worshipped in magazines and in the media. The idea of beauty has changed throughout the years, and is different for every society or civilization. Civilizations are often defined by political, cultural, and socio-economic factors. However, examining art can help one gain a better understanding on how individuals co-existed with each other. The National Museum of African art has a stunning collection of rare pieces that speak volumes about various African cultures. The skin-covered mask from the Walt Disney-Tishman African Art Collection was striking to see. This mask was both captivating and haunting. From a western perspective, one would assume that this mask was representative of warfare. However, this skin mask is actually a symbol of beauty in the Efik culture.



Even though, the origins of this mask are uncertain, it is believed to be the creation of the Efik peoples. They were located in the lower Cross River area in Calabar, which is in modern day Southeastern Nigeria. The Efik tribe was a part of the Ibibio, but they settled in the Cross River around the 17th Century (Olaniyan 29). Although the Efik was a self-reliant fishing community for many years, it became an area of prosperity and epicenter of European trade from the 17th to 19th centuries (Olaniyan 30). The Efik were notoriously known for exporting slaves to Europeans, and later provided palm oil for European goods. The Efik considered trading a privilege, and Europeans were expected to pay a tribute or “comey” to Efik chieftains. (Olaniyan 30)



The mask consists of wood, plant fiber, dye and bone. Its most distinctive feature is that it is made out of skin, which gives it an eerily life-like resemblance. The usage of skin in artwork is dominant in the southeastern Nigerian and west Cameroon regions. The curator noted that, “Historical evidence suggests that the peoples of this region regard skin as a substance associated with the spirits of the dead and their animal counterparts.” In other words, this mask may also have spiritual relevance in the Efik culture.



Women were an important aspect of the Efik tribe. In fact, it was commonplace for a man to take on several wives. Monogamy was rare (Olaniyan 31). The Efik valued women because they were the symbol of fertility and domestication. Even though men played a key role, society would not continue without women. “This mask portrays an ideal beauty with an elaborate hairstyle,” stated the museum curator. The horns on the mask represent an appealing hairstyle that women would wear before a marriage ceremony. Therefore, this piece of artwork plays an important role in determining Efik mating rituals.