Akohẹn, or ivory horns, are played by members of the Ikpakoen (guild of ivory hornblowers), while Oko, or flutes, are played by members of the Ikpeziken (guild of royal flute players). Among the Emwin Arhe (royal treasures), Oko and Akohẹn are usually depicted being played by brass-cast figures representing members of these guilds, and also appear on Ama-Ẹrọnmwọn (bronze relief plaques), Aken'ni Elao (carved altar tusks), and Urhotọ (altar tableau).

Today in Benin City, when a public procession leaves the palace, a court official may sound side-blown horns made from ivory. Historically, these instruments were also used during warfare, where they were played alongside Ema (drums) and Ẹroro (bells), producing a “cacophony of sound” whose “[t]he psychological effect of the barrage of noise magnified the size of Benin’s forces”.

Some Oko/Akohẹn were also cast in brass by members of the Igun-Ẹrọnmwọn. However, these brass examples are understood not to have been functional instruments and could not have been blown like their ivory counterparts.

Ebe Amẹ refers to a wide variety of plants, particularly the leaves of the water fern or river leaf, found in riverine areas of southern Nigeria. Artists from the Igun-Ẹrọnmwọn used these as a decorative motif in the background of most Ama-Ẹrọnmwọn (bronze relief plaques). The petals of the Ebe Amẹ, like the points of the ἀghàdàgháda (crossroads), represent the four cardinal directions: north, east, south, and west. The number four plays a foundational role in the Edo calendar, which is structured around four market days.

Akọn Ẹkpẹn are necklaces or neck ornaments made of strung leopard’s teeth. They are worn by figures to signify their high rank and military prowess, as well as by their leaders, the Ezọmọ or Iyasẹ. They are often worn alongside quadrangular Ẹroro (bells) and Ohian Ẹkpẹn (leopard tunics).

The Akọn Ẹkpẹn is clearly and profoundly related to the symbolism of the Ẹkpẹn (leopard) and its association with the Ọba (king), who is metaphorically referred to as ‘ẹkpẹn ne owa’, the ‘leopard of the home’. On the other hand, the Ẹkpẹn is often referred to as the ‘king of the bush’, embodying ferocity, aggression, strength, and leadership—qualities attributed to the Ọba. This intricate link between the leopard, the monarch, and his military leaders reinforces the complex hierarchy and spiritual authority central to Benin’s courtly art.

Many different kinds of Ẹrhu (headwear) are worn by the various figures depicted in the imagery of Benin royal artefacts. Through comparisons with ceremonial regalia still worn by chiefs and members of the royal court, including the Ọba himself, some Ẹrhu have been used to identify the different figures depicted. For example, the conical hat worn by high-ranking town chiefs as part of the pangolin regalia, still worn at ceremonies, is also visible on figures on some Ama-Ẹrọnmwọn (bronze relief plaques). Other examples include the distinctive bell-shaped helmet associated with the Iyasẹ. Figures who wear a shallow-brimmed hat and a cross have been identified as Ewua or Ohensa priests.

Different kinds of helmets and headwear were worn by warriors, reflecting the many different ranks and roles in the army at any given time, as well as developing trends that were in turn represented on Emwin Arhe created at different points in time. Warrior figures wearing helmets covered in cowrie shells were carved on the Aken'ni Elao (carved tusks) (Blackmun 1984, p. 330), yet on the brass Ama, warriors are sometimes depicted wearing helmets made from crocodile hide or horsehair with a front plate (Osadolor in Plankensteiner 2007, cat. no. 238, p. 457). Helmets made from horsehair with a front plate are one of the more common types represented on the Ama-Ẹrọnmwọn, and the demand for black horse tails was noted by both Portuguese and British traders during the late 17th and 18th centuries (Osadolor in Plankensteiner 2007, cat. no. 238, p. 457). Other warriors depicted on Ama-Ẹrọnmwọn wear helmets with a rounded top, chinstrap, and sometimes also a feather tucked into the left side. These types of headwear are known as Ẹrhu Iyokuo.

Attire worn for battle also differed from that worn for ceremonial occasions, such as the pointed headwear worn in combination with an ornate leopard-head tunic by war chiefs. Depictions of figures wearing this attire on brass Ama-Ẹrọnmwọn (bronze relief plaques) have been interpreted as representing the war chiefs’ participation in the war-ritual Isiokuo festival (Osadolor in Plankensteiner 2007, cat. no. 238, p. 457).

Another distinctive form of headwear is that worn by figures identified as leopard hunters on the brass Ama-Ẹrọnmwọn (relief plaques). These large helmets cover almost all of the leopard hunters’ faces except for their noses, eyes, and upper lips, and are made of an unusual material that remains unidentifiable (Plankensteiner 2007, cat. nos. 68–69, p. 322).

European figures are also portrayed with distinctive hats, such as Portuguese three-cornered hats. These depictions reflect the artists’ keen observation and highlight the impact of European trade and military assistance (Ezra 1992).

Ẹbẹn are a type of ceremonial sword of significant importance in the Benin Kingdom. During ceremonies, titled chiefs would hold them or toss them during dances, thereby paying homage to the Ọba at these public events, particularly when a chief receives a certain status. It is forbidden for Ẹbẹn to touch the ground, so the chief must take extra precautions to avoid dropping the Ẹbẹn during the dance. Therefore, the Okae-Odionmwan (head of executioners) dances with the Umozo (warfare or executioner’s sword) behind the dancing chief.

There are two central ceremonial swords used in the royal court of the Benin Kingdom, one of which is the Ẹbẹn, along with the Ada (ceremonial swords). They are distinguished by their blades: the Ẹbẹn blade reflects the shape of a leaf or an oar. Sometimes, it is decorated with openwork designs and/or brass inlays, most commonly shaped as small Ẹbẹn and Ẹkpẹn (leopards). The handle of the Ẹbẹn also has an unusual ring-shaped form, which further differentiates it from the Ada.

Ikoro (armcuffs) are made from different materials using different techniques, including brass sheet, cast bronze, and ivory. They were crafted by different guilds depending on the material used: artists of the Igun-Ẹrọnmwọn cast them in brass or hammered and incised them from brass sheet, whereas artists of the Igbesamwan carved ivory Ikoro. Ikoro were made in different qualities, from rather simple examples with abstract geometric decoration to finely carved ivory examples with brass or copper inlays. Ikoro are worn in pairs on both forearms by chiefs and the Ọba during ceremonies and festivals. Figures depicted on the Emwin Arhe (royal treasures) are often shown wearing such pairs.

Hornblower and flute-player figures recur frequently in the visual language of Emwin Arhe (royal treasures), particularly on Ama-Ẹrọnmwọn (bronze relief plaques) and Aken’ni Elao (carved tusks). Horns and flutes made from ivory and brass have long been used in the Benin Kingdom, with ivory instruments continuing to be used today.

Akohẹn are the largest type of horn and were used exclusively by the Ọba’s retainers before sacrifices in the palace. The Ikpakohẹn is a specialist hornblower responsible for playing the ivory Akohẹn, a role introduced during the reign of Ọba Eresonyẹn. According to Ọba Akẹnzua II, a group of six hornblowers from Use played these horns during Ugie (in Bradbury 1957, B.S. 85). Another type of horn, the Oko, was used by Ebo “to call witches and wizards to come to the crossroads”.

Ọba Akẹnzua II (in Bradbury 1957, B.S. 85) also described the Eziken, a thin, side-blown fife or flute made from calabash or ivory. These instruments were played by members of the Ikpeziken, the guild of royal flute players, who performed as part of musical ensembles during ceremonies such as Ugie.

Igan (feathers) are commonly depicted tucked into the headdresses and hats of chiefs represented on Emwin Arre (royal treasures). These feathers are from the Oɛɣohɔ (vulturine fish eagle) and symbolise respected old age and proper chieftaincy.