The Egungun aids in upholding the moral stan-
dards of the society by bringing the ideas of the
past generations to the contemporary Yoruba.
When the Odun (festival) Egungun is held and the
masquerade begins under the direction of a family
elder or Alagba, the society feels a strong bond
with the ancestors because they realize that the
Egungun will help them invoke the powers of
their great ancestors through drumming and
dance. The Yoruba teach that, in the traditional
African religion, we are not individuals, but parts
of a coherent, collective legacy that ties all the
spirits together in one massive community.
Molefi Kete AsanteSeealsoAncestors; Death; Rites of Passage; Rituals
Further Readings
Barnes, S. (1989).Africa’s Ogun:Old World and New.
Indianapolis, IN: Indiana University Press.
Davidson, B. (1994).The Search for Africa:History,
Culture,Politics. New York: Times Books/Random
House.
Drewal, H., Mason, J., with a contribution by Shukla, P.
(1996).Beads Body and Soul. Ibadan, Nigeria:
Onibonjre Press.
Murphy, H. (1991).Ancestral Connection. Chicago:
University of Chicago Press.
EKOI
The Ekoi people, also called Ejagham, are found in
southeastern Nigeria; their territory straddles the
border with Cameroon. Known for their mastery
of the art of sculpture, the Ekoi have developed
one of the most complex forms of group organiza-
tion based on or, at least, expressed through their
art form. There are seven clans that include all
Ekoi, much like the seven abusua of the Akan of
Ghana. However, whereas the Akan are matrilin-
eal, the Ekoi are patrilineal, and this has implica-
tions for kinship links as well as ceremonial styles.
Ekoi clans represent kinship and initiation pat-
terns that are reflected in the kind of sculptures
worn during ceremonial occasions as expressions
of the ancestral clan. Indeed, just as in all African
societies, the Ekoi clans are ancestral. However,
the specialized emblem of clan membership
through the use of particular sculptures under-
scores the Ekoi’s religious kinship as one of blood
relation. The fact that the people have an emblem
of their common membership in a clan is not so
unusual, but the fact that it is a sculpture, espe-
cially carved for the clan to recognize and solidify
their commonality, is a form of sanctification of
the clan relationship. This entry looks at their
religion and the masks that are part of its rituals.Religious Practices
The religious practice of the Ekoi is related to the
general context of their existence and reflects their
outlook on life. For example, the Ekoi are some of
the best hunters in their area because of their con-
stant monitoring of the conditions around them.
They have historically been keen regarding the
movement of animals, the nature of the forest,
and the character of the weather. Their diviners
and priests have made studies of the natural envi-
ronment that guide them in determining the direc-
tion of the wind, the time of the rains, and how
much and how long it will rain. This combination
of skills, honed by time, tradition, and study of
nature, has added to the tremendous respect that
surrounding ethnic groups have for the Ekoi’s
ability to hunt, investigate, discover, and make
sacrifice.
On special religious and ceremonial days, the
Ekoi villages organized into the seven clans come
together to celebrate with elaborately decorated
wood-sculptured masks. Usually covered with the
skins of animals, the powerful Ekoi mask is situ-
ated on a basket and worn on top of the head with
a cowl covering the face of the wearer who dances
the special dance of a particular ancestor or spirit.
These masks are quite dynamic, and their visages
are meant to represent vitality, power, courage,
skill, character, discipline, and strength. The
messages are clear to the observers who watch the
dancers and discover in them philosophical and
social commentaries. Among the most remarkable
feature of the performances is the reinforcement
of a highly ethical life based on the values handedEkoi 233