Before diving into historical facts, it is important to acknowledge that, in everyday life, the distinction between Efik and Ibibio fashion is increasingly blurred. Both groups wear caftans and babariga and accessory elements borrowed from other ethnic groups. There is nothing inherently wrong with the Ibibio incorporating elements of Efik attire into their fashion. However, it is equally essential to recognize and respect the origins of such cultural elements.

One of the defining differences between traditional Ibibio and Efik men’s attire is the Okpoñkpoñ neckpiece. While some Ibibio individuals have adopted this accessory, its origins remain firmly rooted in Efik culture. Acknowledging this does not diminish Ibibio identity but rather enriches our understanding and shared history.

In artistic and theatrical representations, it is crucial for performers, designers to research costumes in terms of their historical context, symbolism, and the impression they create. Every costume tells a story, and getting the details right enhances authenticity.

A Brief Historical Perspective

According to historical records, including the works of E. U. Aye, M. D. W. Jeffreys, and Baikie, the Efik people migrated from Uruan between the late 14th and early 15th centuries—approximately 700 years ago. This migration was largely attributed to a civil war, now remembered as Ekong Abasi Anwan, named after a proud Efik woman. At the time, they likely wore ikpaya, a raffia-based attire common among the Ibibio people.

With the arrival of the Portuguese in Calabar around 1472, as documented in E. U. Aye’s The Efik People, the first textile materials—known as “Itu Ita”—were introduced. The Efik, by virtue of their strategic location between the Calabar and Cross Rivers, had early interactions with Europeans, well before many other groups in the hinterlands.

The Okpoñkpoñ, which distinctly characterizes Efik men’s traditional fashion, is a creative adaptation of the European necktie. And the onyonyo for ladies is clearly Victorian fashion.This unique and elegant accessory is an Efik innovation.

Cultural Adoption vs. Cultural Origin

A notable example of cultural distinction can be observed in Akwa Esop Ima Isong Ibibio, one of the foremost Ibibio cultural organizations founded in 1980. Leaders of this organization, including its Ntisongs, rarely incorporate Okpoñkpoñ into their traditional attire, neither does the Oku Ibom Ibibio.

Furthermore, historical photographs of prominent Ibibio figures do not depict them wearing what is now occasionally presented as “Ibibio traditional wedding attire.”

Traditionally, the Ibibio man of old wore a floor-length wrapper (usopo), a long-tailed shirt (siòòd), and a thick shoulder fabric (ekpañ), complemented with a stylish hat and a walking stick. This ensemble didn’t only exude elegance and authenticity, but dignity.

Efik Influence Beyond Borders

Owing to their early contact with European traders, missionaries, and oil palm merchants, the Efik exerted cultural influence across the Cross River hinterlands, as well as in Cameroon, Gabon, and Bonny (in present-day Rivers State, Nigeria). One lasting evidence of this influence is the adoption of the Efik dialect as a primary language of learning and worship in Ibibio communities—a tradition that persists in many Ibibio churches today.

Preserving Cultural Identity

The Ibibio people are dynamic and adaptable, often embracing external influences—sometimes at the expense of their own rich cultural heritage. This write-up by Usò Ibibio, seeks not to warn them off incorporating aspects of Efik culture into their projects, but to help guide Ibibio creatives in making informed artistic decisions that accurately reflect time, place, and identity. Recognizing cultural origins fosters authenticity and appreciation rather than division.

Let history be our guide as we celebrate both Efik and Ibibio heritage with accuracy and respect.