Objects of the day: two Keaka headdresses from Cameroon

October 1, 2014
Keaka headdress. Image courtesy of the Linden Museum Stuttgart. Staatliches Museum für Völkerkunde, Stuttgart, Germany (#45.455). Height: 22 cm.
Keaka headdress. Image courtesy of the Linden Museum Stuttgart. Staatliches Museum für Völkerkunde, Stuttgart, Germany (#45.455). Height: 22 cm.

As discussed last week here a lot of heavily encrusted figures from the southern Nigeria-Cameroon border are mistakenly identified as Keaka. I illustrated my text with such a Kaka figure, but wanted to take this opportunity to show two headdresses from the Keaka (or Eastern Ejagham) to give an idea of the art they in their turn created. Just as their neighbors the Banyang and Anyang, the Keaka adopted several mask types from the Boki, most notoriously the headdresses (sometimes called crest masks) covered with antelope skin and with a basketwork cap as the base for the dancer’s head. The two examples illustrated here belong to Stuttgart’s Linden Museum in Germany. Unfortunately I couldn’t find any additional information about them but they can most likely be dated as late 19th century (as many similar examples in German museums). Unless the exact provenance is given, It’s not always easy to determine the precise origin of these headdresses, that’s why we often find them listed as Ekoi (the common language in this area). Keaka examples generally distinct themselves by their naturalism (notable in the oval eyes, nose and mouth).

 

Keaka headdress. Image courtesy of the Linden Museum Stuttgart. Staatliches Museum für Völkerkunde, Stuttgart, Germany (#33.286). Height: 29 cm.
Keaka headdress. Image courtesy of the Linden Museum Stuttgart. Staatliches Museum für Völkerkunde, Stuttgart, Germany (#33.286). Height: 29 cm.
 
Map from Blier (S.P.), Africa ́s Cross River. Art of the Nigerian-Cameroon Border Redefined, L. Kahan Gallery, New York, 1980: p. 3.
Map from Blier (S.P.), Africa ́s Cross River. Art of the Nigerian-Cameroon Border Redefined, L. Kahan Gallery, New York, 1980: p. 3.

About the author

Bruno Claessens

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