The wall-hanging wood relief, Leopard Cloth, dates from the 1990s, considered the prime period for the production of wooden sculptures by El Anatsui. The vertical panels, with subtle gradations of tone between the adjoining wooden sections, is divided into three main horizontal strata: a geometrically chequered swatch on top; a circular patterned composition created using a hole-saw drill bit below; and an intervening area where the surface layer has been blackened with a blow-torch. This central band, referencing traditional pyrographic techniques, reveals the presence of complex, difficult to decipher markings, symbolic scripts (possibly Nsibidi) together with what appear to be human figures. In similar works of this period (c.f. Unfolding the Scroll of History,1994) the burnt off areas suggest not only the ravages of time but also the devastating impacts of colonial encounters with indigenous cultures. Leopard Cloth was first displayed at October Gallery, London, in 1995. Broadly speaking, these wooden works from the 80s and 90s, drawing freely upon ideas of history, memory and the erosion of cultural identity, were often inspired by textiles from a variety of traditions, as indicated by titles such as, the Ancient Cloth series, Remnants of Grandma’s Cloth and Kente Akwete Synthesis, which married Ghanaian Kente designs with elements of Akwete textiles from Igboland.
The ‘Leopard’ of the title refers to the Ekpé (Egbo) or Leopard Society of the Efik people of the Cross River State of south-eastern Nigeria, an ethnic group known for their distinctive culture, energetic music and vibrant masquerades, as well as their long history as traders. The powerful Ekpé (Leopard) societies that developed in these parts of Nigeria were composed of all-male fraternities bound together by potent oaths that prevented members from ever leaving or betraying the group, and from revealing the identities of other members. Ekpé members perform rituals at various times, during which they chant and dance to the rhythmic beating of special drums, which demonstrate their adherence to the strict traditions of their Ekpé ancestors. Wearing chequered costumes and distinctive ‘Leopard’ masks to conceal their identities, the masqueraders reaffirm their inherited authority to control many aspects of community life, including trade, festivities, funeral ceremonies and the meting out of any punishments to community members sanctioned by the Ekpé Society.
Originally from Ghana, Anatsui first arrived at the University of Nsukka, Nigeria, in 1975. He became interested in the sculptural traditions of local ethnic groups, their textiles, written languages and symbol systems. This growing interest in the variety of Nigerian cultures by which he was surrounded was in part influenced by the emphasis placed by Uche Okeke—who headed the Fine Arts Department at the University—on the media, forms and symbols particular to Igbo culture. The ‘geometric’ upper stratum of Leopard Cloth suggests the influence of the Ukara indigo-on-white dyed fabrics of the Cross River region, also used to create costumes for Ekpé Society members. These distinct costumes often have a spotted pattern, signifying the Leopard, an animal considered to have mysterious, even magical, powers by Ekpé initiates. The chequered patterns traced out on these dyed costumes would also include symbols in the Nsibidi script, an esoteric form of coded communication. While the patterns were recognisable to the community, the secret meaning of the hidden messages could only be understood by those belonging to the Ekpé Society.
These ‘mystery’ rites were transported by initiated slaves from Nigeria to Cuba, where they again took root, and played an important part in Cuba’s Liberation struggles. Based on the same philosophy, religious beliefs and social structures as the Nigerian Ekpé but responsive to the different colonial environment, they were known locally as Abakuá. These secret societies flourished in 18th and 19th century Cuba and survive into the present. The contemporaneous image below shows a masked Abakuá initiate wearing the chequered Leopard Cloth costume while brandishing a baton (symbol of chastisement) in his left hand and herbal sprigs (symbol of magical healing) in his right.