John Thabiti Willis

John Thabiti Willis

Carleton College

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Gallery

African feminist historian, Nwando Achebe, cites an Igbo proverb that conveys that idea that an observer cannot stand in one spot and adequately observe a masquerade performance. Like the masquerade during its performances, the observer must be constantly in motion as to formulate a more complete understanding of the event. The images in this gallery offer snaps shots (from my research) that aim to offer multiple perspectives.

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    Oya masquerade

    This is a view of the back of the Oya performer as it holds a sword in its right hand while parading throughout the performance space.
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    Ege masquerade

    This statue of the Ege masquerade, regarded as the leader of Egungun in Otta, Ogun State, Nigeria is located at the center of the town square.
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    Alabala masquerade performers

    These Alabala performers are often the most frequent in number that appear during the festival period in Otta, Ogun State, Nigeria.
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    Gelede masquerade with plaited hair

    This masquerader adorns that metal anklets, a wooden headdress, and panels of cloth typically worn by mothers as a baby sash in Otta, Ogun State, Nigeria.
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    Oya Arogunmola masquerade

    This Oya masquerade adorns a type of mens attire known as an agbada, which distinguishes this performer as an alagbada (or owner of agbada).
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    Oya Arogunmola masquerade

    The Oya masquerade is typically distinguished by a performer that wields a sword or cutlass.
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    Alabala masquerade

    This image of a type of Yoruba Egungun ancestral masquerade performer known as Alabala illustrates the kinetic energy that so often characterizes the movement of performers.
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    Oya Arogunmola masquerade

    Local news agencies and wealthy patrons hire film crews to document some of the most prominent masquerade performances and Oya Arogunmola is arguably the most prominent masquerade in Otta.