Colon Figure and Mask – Cultural Expression or Appropriation?

Dear African Art Lovers,

I recently acquired two fascinating pieces: an Ibibio mask with a twisted face featuring a pattern resembling the Chanel logo on its forehead, and a Bakongo Colon figure representing a white colonial administrator.

At first glance, one might think the Ibibio mask with the Chanel-like motif is a blend of tradition and contemporary influence—or even an example of cultural appropriation in reverse! But in reality, this is an authentic piece, a rare “Idiok Ekpo” sickness mask linked to ancestral spirits. These masks are known for their refined yet exaggerated features, often used in ceremonies by the Ekpo secret society.

The “Chanel” Illusion – A Coincidence or Cultural Fusion?

When I first saw the mask, I was struck by the fortuitous resemblance between its forehead markings and the famous Chanel logo. It’s fascinating how our minds make these visual associations! However, this is not a modern intervention—just a case of our contemporary eyes interpreting a traditional African symbol in an unexpected way.

Ibibio masks often feature symbolic patterns, including stylized scarifications or esoteric signs linked to their spirituality. The two interlocking Cs with a vertical bar in the middle could represent an initiation mark, a sign of belonging, or simply a decorative motif—entirely unrelated to fashion. But because our modern world is saturated with brand logos, we instinctively connect the two.

This kind of visual coincidence happens often with African art, which is rich in geometric patterns that sometimes evoke modern symbols. 😊

One detail proving the ritual use of this mask is the small holes that were once used to insert feathers, a common feature in Ibibio ceremonial pieces. Ibibio masks are quite rare, and the Ibibio people themselves were only formally documented in the 1930s by J.I. Jones. You can find more about his research and early photographs of the Ibibio here.

A related Ibibio sickness mask was published in the exhibition catalog: “To Cure and Protect: Sickness and Health in African Art”, by Frank Herreman, Museum for African Art, New York (1999), p. 22, #12.

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Bakongo Colon Figure – Satire, Observation, or Tribute?

Another intriguing piece in my collection is a Bakongo Colon figure from the Democratic Republic of Congo, formerly in the Pierre Loos collection (Brussels).

Bakongo Colon Figure

• Origin: Bakongo people, D.R. Congo
• Material: Wood
• Period: Early 20th century
• Height: 37.5 cm

Colon figures are fascinating artifacts, representing Europeans in an African sculptural style. These figurines emerged during the colonial era and continued after independence, blending satire, artistic adaptation, and social commentary.

This particular figure depicts a white colonial administrator, dressed in a suit, hat, and leaning on a cane, with one foot crossed over the other, resting on the toes. This pose is not just a stylistic choice—it carries symbolic meaning. The crossed foot could represent dominance, while the toe-resting stance might suggest instability or vulnerability—a subtle nod to the precarious position of colonial authority.

For the Bakongo, these figures were a way to express, critique, or reinterpret colonial presence while preserving their own artistic identity. It’s fascinating to see how African artists captured the essence of European figures while subtly infusing them with their own cultural perspective.

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Authenticity and Provenance

Both the Ibibio mask and the Bakongo Colon figure are guaranteed authentic, with strong provenance.

If you're interested in seeing more images or details, simply hit the reply button or give me a call—I’d be happy to discuss these pieces further.

You’re also welcome to visit my shop in Antwerp, Belgium, where you can explore my full collection. Please call in advance to confirm your visit.

David Norden

Looking forward to hearing your thoughts!

 

Ibibio mask,
South-east Nigeria
Wood, black and white pigments
Early 20th century
H: 25 cm

 

A related Ibibio sickness mask was published in Expo cat.: “To Cure and Protect: Sickness and Health in African Art“, by Frank Herreman, New York: Museum for African Art, 1999:22, #12

 

David Norden

📍 Sint Katelijnevest 27, B2000 Antwerp, Belgium
📞 +32 3 227.35.40
📩 Email me

P.S.: Looking for my clients for old Songye figures and Bena Lulua material.

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