Finch & Co - Catalogue 27 by Online Galleries

Ibeji

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Ibeji

yoru ba f igu r e s: a con t e x t of sc u l p t u r e a n d r i t ua l When we look at these images, we should remember these are children who died, whether singly or as twins together in infancy. We can see them as sculptures of adult men and women as that is what they are, but we must also acknowledge them as tragedies within the life histories of particular mothers, families and households. After all no woman goes through the trauma of childbirth to see her baby die.1 On the other hand, life goes on, and these images are part of the continuation of the Yoruba strategies available to a woman and her household to overcome the tragedy. The child born next after twins was known as the Eshu that follows the twins, Eshu the trickster deity whose appearance cleared the path to a hoped-for normality, in this case securing the continued fertility of the mother. Maintaining that fertility made necessary the on-going care of her twins, whether alive or dead given the capacity of twins to bring about unexpected good or ill fortune according to the nature of that continual care. How much of all this survives as active cult interest I have no idea: most Yoruba people today are Muslim or Christian yet the cult past with its deities and divination, is always there as a fail-safe in times of anxiety. Moreover, the on-going intellectual interest on the part of Yoruba scholars has led to a revival of interest in cult practice, reinforced by the popular survival of these things in the Americas, especially Brazil, Haiti and Cuba, inXuenced by the dominant Yoruba presence in the final period of transatlantic slavery. In this context, it is worth remembering that the process of conversion to Christ ianity has a history of little more than 150 years; and although there were Yoruba Muslims earlier than that (notwithstanding the Muslim conquest of the Oyo empire in the 1830s) the major period of conversion also took place in the past 150 years. How the relationships between international and local-tradition religious identities will develop in future remains to be seen. What has survived well into the present is the tradition of naming in which Islamic and Christian names take their place alongside the naming tradition that identifies the circumstances of a birth. The names of twins are part of this: the first-born twin is Taiwo he tastes the world, and the second-born is Kehinde he follows on after, and it is the latter who is the senior of the pair, having sent his junior out into the world to see if it is a fit place to come into! The child born next is Idowu, as already noted the Eshu that follows the twins. These local-tradition names are given irrespective of the sex of the child. The character of these sculptures as works of Yoruba art is a tradition of visual practice almost all the evidence for which post-dates the conquest of 1. I discuss some field data in this regard in my paper Seeing Double published in George Chemeche, 2003, Ibeji, the Cult of Yoruba Twins, 5 Continents, Milan, pp 50-59.; and for a full description of the Yoruba twins phenomenon see John Pemberton’s ere ibeji in the same volume, pp 30-49. And for more information about the cult and historical contexts of images of twins, I suggest that a good place to begin would be my essay in the Finch 2007 catalogue of Ibeji, a word that denotes a birth two at a time, together with Abiodun 2014.

the empire of Oyo by a Muslim jihad in the 1830s. There must of course be a history of this art that goes well back beyond this period, but we have no real idea what it was. The praise poetry associated with particular cities may well have a great deal to say about the desirable presence of sculpture ornamenting royal palaces, and the fame of named sculptors; but it never tells us what their art looked like! So we can only chart the development of forms in Yoruba sculpture from the mid 19th century for those places for which we have the necessary field data, until the emergence of the neo-traditional mode of modernist practice in the 1960s; and images of twins are a good place to begin as they encapsulate a Yoruba conception of form in a standard format that enables us to see both the generic qualities of this art and its regional and sometimes individual differentiations. First and foremost these Wgures show fully formed adults in silent repose. Emotions are never shown: there is no weeping, and no laughter. Those Wgures which look as if they are smiling are no more than a trick of local form. If children are shown, as in sculptures of mothers and children, they are always miniature adults. The pose is full frontal; and there is a predilection for an understated smoothness, that is not an overly glossy patina, a quality enhanced by polishing the Wgure with camwood paste, a local cosmetic with ritual implications. There is also a predilection for clear-cut form. Where these qualities are lacking, it may tell us that the sculptor was not a well-trained professional, or it comes from a remote region at the fringes of Yoruba form. Rowland Abiodun, in his authoritative book on the relationship between visual and verbal arts in Yoruba, a book that is essential reading for anyone in the field of Yoruba art studies, tells us that twin images are given an affirmative symmetrical pose, diduro, which literally means ‘standing, stopping, waiting’. In this context, diduro carries the intended meaning of ‘not fidgeting but giving one’s undivided attention’ – a powerful plea to a departed twin to stay and remain wholeheartedly with the family to bless it.2 Yoruba sculpture can be seen as describing an intense composure that is both the ideal of wisdom and the means of effecting the desired end within a given context of sculptural use. Abiodun insists that we see Yoruba sculpture as a form of oriki, the praises that energise, prepare, and summon their subject into action … art forms are affective – they cause, they influence, they transform 3 Thus, the carving of the image is part of the ritual sacrifice to prevent future twins in the family from departing too soon … the Yoruba always refer to dead twins as ‘having travelled’ and never as ‘dead’ … the Yoruba aesthetic sense of completeness includes constant symbolic washing, feeding, clothing and dancing.4 Dancing, that is, with the images if so instructed by the diviner. We should not therefore be surprised that Yoruba sculpture considered within a Yoruba cultural context as a form of oriki returns us to the ritual environment. p rof. joh n p ic t on, j u ly 2 o16 2. Yoruba Art and Language, Cambridge University Press, 2014, page 1 3. Abiodun 2014, page 5 4. Abiodun, 2014, page 269

[1] A Male Ibeji Carved with a Five Pointed Coiﬀure Huge Pectorals and a Large Phallus with a Carved Pendant and Two Sets of Four Scariﬁcation Marks on Both Cheeks Wearing red glass and brass beads The right foot missing and some damage to the back Early 20th Century Oshogbo region, possibly Ila

s i z e : 27 cms high – 10½ ins high c f : Gert & Mareidi Stoll, Zwillingsﬁguren Der Yoruba 1980 no. 204

[2] A Large Female Ibeji with Prominent Eyes and Multiple Scariﬁcation Marks to her Face Breasts and Down her Back her Hands held to her Sides cowrie shells around her wrists A carved waist band and wearing a necklace of blue and striped glass beads Early 20th Century Igbomina region, possibly Oke Onigbin

s i z e : 29 cms high – 11½ ins high c f : Gert & Mareidi Stoll, Zwillingsﬁguren Der Yoruba 1980 no. 211

[3] A Fine Male Ibeji Wearing Shorts with Three Scariﬁcation Marks to his Cheeks and Three to his Forehead Early 20th Century Abeokuta Region Household of Adugbologe s i z e : 23 cms high – 9 ins high

[4] A Female Ibeji with a Five Pointed Coiﬀure her Hands Displaying her Umbilicus Her face rubbed from repeated washing with libations Some termite damage Early 20th Century Egba Illorin region

s i z e : 28 cms high – 11 ins high c f : Gert & Mareidi Stoll, Zwillingsﬁguren Der Yoruba 1980 no. 173

[5] A Female Ibeji with an Unusual Coiﬀure and Scariﬁcation to her Cheeks and Forehead with Nails to her Eyes She wears a band of red beads around her waist a necklace of green striped and red glass beads Traces of Tukula Early 20th Century Ibeju Remo region Ikorodun s i z e : 25 cms high – 9¾ ins high

[6] An Elegant Male Ibeji Carved with a Long Slender Body and Arms Wearing tubular beads around the waist and neck and a metal bracelet with cowrie shells The facial features slightly rubbed from anointing with libations Early 20th Century Igbomina region possibly Oke Onogbin

s i z e : 27 cms high – 10½ ins high c f : Gert & Mareidi Stoll, ZwillingsWguren Der Yoruba 1980 no. 219 G. Chemeche, Ibeji 2003 no. 200 and 201

[7] A Finely Carved Male Ibeji with a Five Pointed Coiﬀure his Hands Displaying his Umbilicus Wearing bracelets of intertwined brass and a necklace of blue tubular and red glass beads Fine old patina with traces of Tukula the face rubbed from washing with libations Some termite damage to rear of base Early 20th Century Northern Oyo Egba Illorin area s i z e : 30 cms high – 11¾ ins high c f : Gert & Mareidi Stoll, ZwillingsWguren Der Yoruba 1980 no. 173 (for a pair) G. Chemeche, Ibeji 2003 no. 218

[8] A Fine Female Ibeji with Four Horizontal Scariﬁcation Marks on her Cheeks and Three to her Forehead Wearing a necklace of red, blue and yellow striped glass beads The waist of a lighter patination due to having been once wrapped with cloth One foot missing on a damaged base Early 20th Century Abeokuta region possibly the Master Adugbologe or Makinde s i z e : 27 cms high – 10½ ins high c f : Galerie Schwartz Weiss (Herbst 1981) no. 50 Gert & Mareidi Stoll, Zwillingsﬁguren Der Yoruba 1980 no. 1 G. Chemeche, Ibeji 2003 no. 247

[9] A Small Male Ibeji Wearing a Kilt and Crest Coiﬀure of Fine Powerful and Expressive Form Delicate glass beads around his waist and one ankle His facial features washed and reddened with libations Early 20th Century Abeokuta Egbado region s i z e : 23 cms high– 9ins high

[10] A Superb Female Ibeji with a High Pointed Coiﬀure with Traces of Rekitts Blue Wearing Brass Bracelets Fine old worn patina 19th Century Northern Oyo region Shaki

s i z e : 28 cms high - 11ins high c f : Gert & Mareidi Stoll, Zwillingsﬁguren Der Yoruba 1980 no. 134

[11] A Small Male Ibeji with a Kilt and Crested Coiﬀure with Numerous Scariﬁcation Marks to his Cheeks and Forehead Black coconut slices around his waist and right wrist Early 20th Century Abeokuta region Master Adugbologe s i z e : 20 cms high – 8ins high

[12] A Female Ibeji with a Four Ridged Coiﬀure Coloured with Traces of Rekitts Blue Deep Scariﬁcation Marks to her Cheeks and Forehead Wearing a Lip Plug Holes carved for earrings now missing and once having nails in the eyes A triangle carved to the base for Ayo Son of Adugbologe Early 20th Century Abeokuta region by Ayo

s i z e : 24 cms high – 9½ ins high c f : Gert & Mareidi Stoll, Zwillingsﬁguren Der Yoruba 1980 no. 3 G. Chemeche, Ibeji 2003 no. 245 and 246

[13] A Fine Male Ibeji with an Elaborate Coiﬀure Wearing Two Large Bronze Bracelets on each Wrist A necklace of blue and black glass beads The old rubbed and washed face beautifully patinated Once with metal eyes Early 20th Century Northern Oyo region Shaki

s i z e : 26 cms high – 10¼ ins high c f : Gert & Mareidi Stoll, Zwillingsﬁguren Der Yoruba 1980 no. 134 G. Chemeche, Ibeji 2003 no. 20

[14] A Fine Female Ibeji with a Four Pointed Plaited Coiffure Wearing a waistband of red glass beads and a necklace of blue red and millefiori beads One breast missing she stands with her hands to the front Copious traces of Tukula powder Her worn patinated face displays a beautiful profile Early 20th Century Northern Oyo / Egbe, Illorin State The hairdo similar to some Shaki Ibeji s i z e : 28.5 cms high – 11¼ ins high

[15] An Elegant Male Ibeji Carved with an Elaborate Coiﬀure of Rising Upward Plaits The worn patinated surface showing no visible scariﬁcation marks Once having metal eyes Late 19th – Early 20th Century Northern Oyo region Shaki s i z e : 28 cms high – 11ins high

[16] A Female Ibeji with an Unusual Coiﬀure Coloured with Rekitts Blue her Hands Displaying her Abdomen her Body Covered in Tukula Powder

Wearing a metal bangle on her left arm a necklace of coconut slices and another of black, red and white glass beads on her rubbed patinated face She wears a lip plug and shows a number of scarifying marks 19th Century North Eastern Oyo Empire from Kwara State s i z e : 28 cms high – 11ins high c f : Gert & Mareidi Stoll, Zwillingsﬁguren Der Yoruba 1980 no. 175

[17] A Large Expressive Male Ibeji Wearing a Kilt with Ties to the Front the Strong Head Thrust Forward with a Crested Coiﬀure and Three Scariﬁcation Marks to each Cheek Wearing a waistband of blue and red glass beads and black coconut slivers Early 20th Century Kutu / Egbado region

s i z e : 26 cms high – 10¼ ins high c f : Gert & Mareidi Stoll, Zwillingsﬁguren Der Yoruba 1980 no. 35

[18] A Powerful Male Ibeji the Large Head with Huge Eyes Long Flat Nose and a Crested Coiffure with a Small Plait at the Rear Wearing a carved necklace and having no visible scarification marks With a fine patina Early 20th Century Ibeju Region

s i z e : 27 cms high – 10½ ins high c f : Gert & Mareidi Stoll, Zwillingsﬁguren Der Yoruba 1980 no 49

[19] A Female Ibeji Carved with Five Pointed Coiﬀure Hands Displaying her Abdomen Her facial features worn and rubbed away through decades of use Traces of old Tukula 19th Century North Eastern Oyo region probably Ajabe s i z e : 29 cms high – 11½ ins high

[20] A Fine Male Ibeji with Scariﬁcation Marks Sweeping Down the Side of his Face and Under the Chin and Down from his Umbilicus Traces of Tukula on his body and Rekitts Blue in his hair Late 19th – Early 20th Century Ede Ife region probably by the Son of Abegunde of Ede s i z e : 27 cms high – 10½ ins high c f : G. Chemeche, Ibeji 2003 no. 97 Finch & Co, Ibeji 2007 no.11

[21] A Fine Female Ibeji Wearing High Raised Sandals her Mouth Open Displaying Teeth Four Horizontal Scariﬁcation Marks on her Cheeks and Numerous Others Down her Back Breasts and Arms Wearing blue beads around her waist and wrists black beads to her ankles a hat-like coiffure With traces of Tukula to the body With exceptional patina Late 19th – Early 20th Century Igbomina / Ila Area possibly by the carver Dagikonle of Igbomole s i z e : 27 cms high – 10½ ins high c f : Gert & Mareidi Stoll, Zwillingsﬁguren Der Yoruba 1980 no. 192 G. Chemeche, Ibeji 2003 no. 167–170

[22] An Old Much Used Finely Patinated Male Ibeji Carved with a Five Pointed Coiffure his Hands to his Stomach Encrusted with traces of Tukula faint scarification marks to the face wearing a necklace of red glass beads 19th Century Igbomina Egbe / Illorin region s i z e : 27 cms high – 10½ ins high c f : Gert & Mareidi Stoll, Zwillingsfiguren Der Yoruba 1980 no. 170 and 173 G. Chemeche, Ibeji 2003 no. 207 and 216

[23] A Fine Female Ibeji with Downcast Eyes a Lip Plug and Beautiful Ears Faint Scariﬁcation Marks on her Cheeks and Travelling Down her Left Shoulder to her Breasts Traces of indigo to her hair wearing bracelets and a necklace of coloured glass beads a waistband of coconut slivers and beads and two metal bangles Native repairs across the base and feet Fine old red patina to the body and face Late 19th Century Western Igbomina possibly by Baba Magba s i z e : 25 cms high – 9ins high c f : Gert & Mareidi Stoll, ZwillingsWguren Der Yoruba 1980 no. 206 and 207 G. Chemeche, Ibeji 2003 no.126 and 127 Gallerie Schwartz Weiss, Herbst 1981 no. 46

[24] A Male Ibeji with Scariﬁcation Marks Down the Side of his Face Wearing a Metal Bracelet on his Right Arm Traces of Rekitts Blue in the hair and Tukula rubbed on his body Early 20th Century Oshogbo Region

s i z e : 26 cms high – 10¼ ins high c f : Gert & Mareidi Stoll, ZwillingsWguren Der Yoruba 1980 no. 112 – 116

[25] An Unusual and Impressive Male Ibeji Carved Wearing High Sandals with a Powerful Head and Body No visible scariﬁcation marks Fine highly polished patina Late 19th Century Western Abeokuta region Ibarapa

s i z e : 27 cms high – 10½ ins high

[26] An Interesting and Unusual Male Ibeji with a Protruding Umbilicus and Phallus with an Elaborate Coiﬀure Scariﬁcation to the face and his feet with sandals Nails to the eyes Fine old patina Late 19th Century Western Abeokuta region Ibarapa s i z e : 24 cms high – 9½ ins high

[27] An Unusual and Powerful Female Ibeji with Elaborate Plaited Coiﬀure Large Hands and Forward Leaning Stance Scariﬁcation on the cheeks and some radiating down from the umbilicus With a necklace wristband and right anklet of coloured glass beads 19th Century Gbongan Ikiri region s i z e : 26 cms high – 10¼ ins high c f : G. Chemeche, Ibeji 2003 no. 94

[28] A Heavily Tukula Encrusted Female Ibeji Carved with Four Scariﬁcation Marks on each Cheek Traces of Rekitts Blue in her hair wearing large blue and red glass beads around her neck and waist and bracelets of smaller beads Late 19th – Early 20th Century Ijebu /Egba Borderland s i z e : 26 cms high – 10¼ ins high

[29] A Superb Female Ibeji with Delicate Features and Elegant Arms Wearing Lip Plug and Necklace of Tubular Glass Beads Scariﬁcation to the face and radiating from her umbilicus Of beautiful proportions By a signiﬁcant unknown carver Mid 19th Century Central Oyo region s i z e : 23 cms high – 9ins high

[30] A Superb Male Ibeji Carved with Powerful Pectorals an Elegant Elongated Head and a Prominent Phallus Wearing scariﬁcation on his cheeks and a necklace of large red and blue tubular glass beads Fine old patina Early 20th Century Igbomina by Ogunremi died 1933 or Onadokun died 1930 (?) s i z e : 26 cms high – 10¼ ins high c f : Gert & Mareidi Stoll, Zwillingsﬁguren Der Yoruba 1980 no. 213 G. Chemeche, Ibeji 2003 no. 195, 199, 200

Prof. John Picton Prof. John Picton was employed by the Nigerian Government Department of Antiquities from 1961 to 1970, and then by the British Museum from 1970 to 1979, since then he has been at the School of Oriental and African Studies of the University of London.

Monika Wengraf-Hewitt Monika Wengraf-Hewitt worked with her father, Paul Wengraf at Arcade Gallery, London from 1962 –1978 and after his death until 1989 when the gallery closed. Since that time she has continued to work privately and write articles on African Art as well as teaching about African Art in schools. She lives in London.

Bibliography Abiodun, R; Drewal, J.H; Pemberton, J; eds, Yoruba Art and Aesthetics, Zurich, Rietberg Museum, 1991

Finch and Co; Ibeji, 2007

Abiodun, R; Drewal, J.H; Pemberton, J; eds, The Yoruba Artist, Smithsonian Institution, Washington DC, 1994

Joyas de Niger y del Benue; Madrid, 2003

African Artistry, Arnette Collection, Technique and Aesthetics in Yoruba Sculpture, The High Museum, Atlanta, 1980 Beier, Ulli; The Story of Sacred Wood Carvings from one small Yoruba Town, Printed in Lagos, 1957 Carroll, K; Yoruba Religious Carving, Geoﬀrey Chapman, London, 1967 Chemeche, George; texts by Pemberton III, John and Picton, John; Ibeji The Cult of Yoruba Twins, 5 Continents Editions, 2003

Galerie Schwartz Weiss; Herbst, 1981

Polo, Fausto and David, Jean; Ibeji, Galerie Walu, Zurich, 2001 Stoll, Gert & Mareidi; Zwillingsﬁguren Der Yoruba, 1980 Yoruba Art and Aesthetics; Rietberg Museum, Zurich, 1991

Catalogue entries researched by Monika Wengraf-Hewitt Forward by John Picton Edited by Craig & Jan Finch Design by Phil Cleaver & Kay Kim, et al design o2o 749o 3976 Photography Phillip Connor o7831 151549 Printed and bound in Great Britain by Pureprint