an african efic hand embossed brass charger, depicting the water deity mami wata circa 1910. historically, Mami Wata is conceived as an exotic female entity from Europe or elsewhere, often a with a particular interest in objects foreign to West Africans at the time ,such as the comb and hand mirror embossed on the charger. Substantial evidence suggests that the concept of Mami Wata has its origins in the first encounters of Africans and Europeans in the fifteenth century. Her first representations were probably derived from European images of mermaids and marine sculptures.
Mami Wata is believed to be a water spirit of extraordinary power, who is generally described as a beautiful light-skinned woman with very long, light-coloured hair. She is usually conceptualized as a white woman. Sometimes the description stipulates that her lower half resembles a fish, mermaid style. Her hair is thought to be her proudest attribute. People believe that she lives in a mansion under the water, from which she some times ventures on to the shore to comb out her long hair with a golden comb. This comb is thought to be her most valued possession.
large plain brass charger dishes and platters known as neptunes were imported from britain to nigeria and were then decorated locally in old calabar. regarded as important prestige items by the local chiefs they were displayed with great ceremony. items of efik decorated brass were also presented by the king and chiefs to important dignitaries and distinguished visitors to the area. these chargers are interesting transcultural aesthetic expressions resulting from a history of european contact .
art is an underemphasized contributor to efik mythology. efik beliefs in ndem and ekpe were transmitted via engravings on brass plates (akpangkpang). prior to the depiction of myths, events and stories on brass plates, efik women expressed their art by decorating houses with geometric designs of various kinds. women were regarded as the artisans in old calabar society. women would create beautifully finished products which would then be bought and taken as souvenirs from old calabar by english traders, these products, particularly the calabashes ( gourds )were fragile and very often goods would break on their journey to england. edem ndarake also known as mr. ironbar is regarded as the father of brass art in efik history. the wives of ironbar were active members of the calabash engraving industry. mr ironbar chose to solve the problem of art breakages and wastage by encouraging the women artists to transfer their designs to brass which was a far more durable and luxurious material. mr. ironbar earnt his monika after encouraging the english traders to bargain with iron bars which inturn could be used as tools for decorating brass products such as trays, dishes and basins. brass dishes were often designed with images of efik deities, often the designs depicted animals, flora and fauna and geometric patterns that were symbolic to the deities.
the size of the platters were quite standard, varying between 430mm and 460mm in diameter.
this tray is a fine example of this punched or chased metalwork decoration. the small metal tools with shaped ends were used to give impressions such as dots, lines or semicircles. these were then lightly held against the surface of the metal and tapped with a hammer to give the required detail and texture.
