This means that the antelope is a representation of particular species, something that explains some significant differences in style, which are observed in most collections(Chicago, 1997).
Therefore Kponyungo masks seem to be quite sophisticated than most of the austere kinds of the Gbon and following the 1950s, they were coated with sumptuous polychrome beautifications. Whereas the Gbon has got only the figure of a chameleon on its crest, the Kponyungo masks usually have a myriad of figures, which varies to some extent from one mask to the other one. A bird (long crested helmet shrike, hornbill or fish eagle) biting a chameleon that is attached to form of cup, is a common grouping. The cup is a refers to a container for mysterious leaves and herbs. Another component can be figure of a female, which is an addition to the muzzle of the mask. Intermittently, mysterious bundle of feathers and porcupine quills is put into the holes on the muzzle and head. however it is not a constant characteristic as it usually is with the artisan helmet masks. Thus, the most important characteristics are the antelope horns and the warthog tusks.
The costume is made up of jump suit, straight –cut legs, drawstring neck with sleeves(feet and hands permitted to indicate contrast to the conventional (Gbon raffia costume)decorated in sienna brown or deep red dyes with figurative and geometric patterns. Each and every suit has got a distinctive design. There are other attributes for this piece of art. The masker usually carries a big, double-membrane, drum that is cylindrical beaten with a supple bludgeonlike stick. Later on, the Kponyungo is then usually accompanied by an age-mate, who comes playing the very sacred of the Kufulo Poro community drums, a cylindrical, long narrow one which is played using a bent stick.
When it comes to