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Agbogho Mmuo, or Maiden Spirits are annual performances held during the dry season in the Nri-Awka area in the northern part of the Igbos' traditional territory in Nigeria. Performed only by men wearing masks, the masquerades imitate the character of adolescent girls, exaggerating the girls' beauty and movements. The performance is always accompanied by musicians who sing and play tributes to both real and spirit maidens.^{[citation needed]}

The literal translation of Agbogho-mmuo is "maiden spirit".^[1] While the masks depicting young females are most common, Chinyere G. Okafor argues that Agbogho-mmuo "is not limited to youthful spirits"; instead, it refers more broadly to masks representing the "female 'essence'".<ref name=":0"

The performances showcase an ideal image of an Igbo maiden. This ideal is made up by the smallness of a young girl's features and the whiteness of her complexion, which is an indication that the mask is a spirit. This whiteness is created using a chalk substance used for ritually marking the body in both West Africa and the African Diaspora. The chalky substance is also used in uli design, created and exhibited on the skin of Igbo women. Most maiden spirit mask are decorated with representations of hair combs, and other objects, modeled after late 19th-century ceremonial hairstyles. These hairstyles include elaborate coiffures and crests which intend to add beauty to the mask.^{[citation needed]}

This art style is featured in the book Purple Hibiscus written by Chimamanda Ngozi Adichie. The book also describes a Masquerade performance.

References

^ Okafor, Chinyere G. (June 2007). "Global encounters: 'Barbie' in Nigerian Agbogho-mmuo mask context". Journal of African Cultural Studies. 19 (1): 37–54. doi:10.1080/13696810701485918 – via EBSCOHost.

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[:0-1] Okafor, Chinyere G. (June 2007). "Global encounters: 'Barbie' in Nigerian Agbogho-mmuo mask context". Journal of African Cultural Studies. 19 (1): 37–54. doi:10.1080/13696810701485918 – via EBSCOHost.

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+{{Short description|Yearly performances held during the dry season in the Nri-Awka area in Igboland}}{{More citations needed|date=February 2024}}[[File:The mmuo of a girl.jpg|thumb|An Agbogho Mmuo and two attendees]]
-{{unreferenced|date=May 2016}}
+'''Agbogho Mmuo''', or '''Maiden [[Igbo mythology|Spirits]]''' are annual performances held during the [[dry season]] in the [[Nri-Igbo|Nri]]-[[Awka]] area in the northern part of the [[Igbo people|Igbo]]s' traditional territory in [[Nigeria]]. Performed only by men wearing [[African traditional masks|masks]], the masquerades imitate the character of [[adolescence|adolescent]] girls, exaggerating the girls' beauty and movements. The performance is always accompanied by [[Igbo music|musicians]] who sing and play tributes to both real and spirit maidens.{{Citation needed|date=August 2022}}
-[[File:The mmuo of a girl.jpg|thumb|An Agbogho Mmuo and her two attendees]]
-'''Agbogho Mmuo''', or '''Maiden [[Igbo mythology|Spirits]]''' are masquerades performed annually during the [[dry season]] in the [[Nri-Igbo|Nri]]-[[Awka]] area in the northern part of the [[Igbo people]]s ethnic territory. These [[African traditional masks|masks]], strictly performed by men, imitate the character of an  [[adolescence|adolescent]] girl, exaggerating the girls' beauty and movements. The performance is always accompanied by [[Igbo music|musicians]] who sing and play tributes to both real and spirit maidens.
+The literal translation of ''Agbogho-mmuo'' is "maiden spirit".<ref name=":0">{{Cite journal |last=Okafor |first=Chinyere G. |date=June 2007 |title=Global encounters: 'Barbie' in Nigerian Agbogho-mmuo mask context |url=https://dx.doi.org/10.1080/13696810701485918 |journal=Journal of African Cultural Studies |volume=19 |issue=1 |pages=37–54 |doi=10.1080/13696810701485918 |via=EBSCOHost}}</ref> While the masks depicting young females are most common, Chinyere G. Okafor argues that ''Agbogho-mmuo'' "is not limited to youthful spirits"; instead, it refers more broadly to masks representing the "female 'essence'".<ref name=":0"
-These masks showcase an ideal image of an Igbo maiden. This ideal is made up by the smallness of a young girl’s features and the whiteness of her complexion, which is an indication that the mask is a spirit. This whiteness is created using a chalk substance used for ritually marking the body in both West Africa and the [[African Diaspora]]. The chalky substance is also used in [[Uli (design)|uli design]], created and exhibited on the skin of Igbo women. Most maiden spirit mask are decorated with representations of hair combs, and other objects, modeled after late 19th century ceremonial hairstyles. These hairstyles include elaborate coiffures and crests which intend to add beauty to the mask.
+The performances showcase an ideal image of an Igbo maiden. This ideal is made up by the smallness of a young girl's features and the whiteness of her complexion, which is an indication that the mask is a spirit. This whiteness is created using a chalk substance used for ritually marking the body in both West Africa and the [[African Diaspora]]. The chalky substance is also used in [[Uli (design)|uli design]], created and exhibited on the skin of Igbo women. Most maiden spirit mask are decorated with representations of hair combs, and other objects, modeled after late 19th-century ceremonial hairstyles. These hairstyles include elaborate coiffures and crests which intend to add beauty to the mask.{{Citation needed|date=August 2022}}
+[[File:Brooklyn Museum 87.215 Maiden Spirit Helmet Mask Agbogho Mmwo (2).jpg|thumb|left|Maiden Spirit helmet mask of Agbogho Mmuo]]
+This art style is featured in the book [[Purple Hibiscus]] written by [[Chimamanda Ngozi Adichie]]. The book also describes a Masquerade performance.
+== References ==
+{{reflist}}
 {{Art-stub}}
 [[Category:Igbo art]]
-[[Category:African art]]
 [[Category:Igbo society]]
-[[Category:Masks in Africa]]
+[[Category:Masquerade ceremonies in Africa]]