Paper short abstract:

The paper offers a transparent and ethical model for Western researchers working with artists in the historically marginalized spaces of the Global South. The examination builds from the authors long term relationship with artist, Chief Ekpenyong Bassey Nsa in Calabar, located in southeast Nigeria.

Paper long abstract:

This paper engages my ongoing work with Nigerian artist, Chief Ekpenyong Bassey Nsa, who I have worked with and commissioned a number of complete masquerade costumes from over the last fourteen years. Most of these ensembles are from the Ekpe secret society, an institution that is found throughout southeast Nigeria and west Cameroon. Three recent commissions from 2022 will be the focus of this examination. My intention with this paper is to provide a transparent analysis of these commissions developed by both he and I in which we agreed upon to embrace in our work together since 2008. From my time with Chief Bassey Nsa, I became attuned to the fact that if one is to make it as a sought after, full-time artist in his home city of Calabar (Nigeria), two interrelated skills foster creativity and thus competitive marketability: a keen sense of business and economic acumen mixed with a talent for developing profitable innovations. Economic are thus essential in his artistry and livelihood. His knowledge and experiences shaped our relationship and taught me much about the ethics in working with living artists. Drawing from my experiences and long-term relationship with Chief Bassey Nsa, this paper expands on the notion of "ethnographic reciprocity" and how I am able to ethically commission masquerades of secret societies for Western museum collections. The paper thus endeavors to offer a transparent and ethical model for Western researchers working with artists in the historically marginalized spaces of the Global South.