atrican arts popular ars ara ars of the Al urnal encs_ages cialogue departments first word Rachel Hoffman dialogue books Flock Engravings of Southern Africa Thomas A. Dowson Reviewed by Merrick Posnansky Zale 1928/38; Photographic Docurents ton the Aris of the Yaka, Pende, Tshokwe and Kuba Hans Himmeiheder Bott: Ein Maskenschnitzer der Guro, Elienbeinkueste Ebernard and Baroara Fischer, Hans and Ulrike Himmethaoer Reviewed by Moni Adams The Art of the Weya Women lise Noy Reviewed by Natalie Nagle Life in Stone: Zimbabwean Sculpture: Birth of a Contemporary Art Form Olivier Sultan Reviewed by Carol Magee-Curis, in memoriam Philp Ashby Alison of Picton Father Kevin Carrol, SMA ‘John Picton Albert Maesen Hermione Waterfield Frank McEwen Davie Brokensha recent exhibitions Asafo! African Flags of the Fante, 1850-1957 ‘San Diego Museum of Art Reviewed by Herbert M. Cole current events. new publications notes contributors classified ads advertiser index 10 oa 2 28 28 98 98 Ea 100 100 103 104 108 k JULY 1984 + Volume XXvi_+ Number 3 MEMORIAL TO WILLIAM FAGG A TRIBUTE TO WILLIAM FAGG John Picton, Guest Editor WILLIAM FAGG REMEMBERED Hermione Waterfield, Roy Sieber, Henry John Drawal Deborah Stokes Hammer anc Jeffrey S. Hammer ADDITIONAL NOTES ON THE AFRO-PORTUGUESE IVORIES Ezio Bassani SCULPTORS OF OPIN John Picton COMPOSITION AND STYLE An Examination of the Benin “Bronze” Heads Frank Willett. Ben Torsney, and Mark Ritchie UNDERSTANDING YORUBA ART AND AESTHETICS The Concept of Ase Rowland Abiodun THOUGHTS ON NOK Angela Fagg THE WILLIAM B. FAGG ARCHIVE (photo essay) Deborah Stokes Hammer Cover: Head, Type 6 in Philip Dark’e classi: fication of copper-alloy works from Nigeria, ‘The head was probably made in Udo, about 20 miles (32km) west ot Benin City. 21.8em (8.6"). Royal Scottish Museum, Edinburgh (see page 60) 26 a4 46 60 68 84 THE JAMES S. COLEMAN AFRICAN STUDIES CENTER « UNIVERSITY OF CALIFORNIA - LOS ANGELES.Understanding Yoruba Art and Aesthetics The Concept of Ase ‘My late uncl ef Justes Dafa Akeredolu, who worked for the Nigerian Museum of Antiquities, Lagos, knew Bill quite well, and it eas through him I came to know about coyinbo (a term used forall Europeans) wh had come all the sway from England to study Yoruba art. It ons not toil much ater, after deciding on st howe {important Bill's contribution was tothe ¥. Henry Drevel, John Pemberton I ‘career in art history tha I realize field of African art hist and I have dedicated our forthcoming edited volume, The Yoruba Artist: New ‘Theoretical Perspectives on African As, fo Bills memory in recognition of his contribution to African art studies. ROWLAND ABIODUN fost writers on African art rev fer to William Fagg. His me- ticulously researched field notes, lucidly written articles, and beautifully illustrated books not only made it easier for a Western audi ence to appreciate the unfamiliar ao thetic idiom of African art, but also did much to enhance the status of African- art scholarship on the international art scene. Scholars owe Fagg a debt of grat- itude for his careful documentation of artists’ names, their works, and in some instances their biographies. It was Fagg. 1. Sango shrine. ljebu-Oue, 1982. 2, An Egungun masquerade performs with ‘drummer. Lagos, 1882 who documented the artistry of Olowe of Ise-Ekiti, Bamgboye of Odo-Owa Areogun of Osi-liorin, Agbonbiole o Efon-Alaaye, and Adigbologe of Abeo: kuta, to name only a few among the Yoruba. Thus, he played a leading role in debunking the myth of the anonymi- ty of African carvers that was once prevalent among collectors as well as many students of African and Western art history. Fagg foresaw some of the problems confronting the scholar of African art in the context of Western art historic studies. For example, in his 1973 artic “in Search of Meaning in African Art,” he warns african ants «july 192Clockwise irom top let: 6, Arugba (female bow'-bearer) for an altar to Sango, owned by Sangodandure Kilomonise. Aiyetoro, Egbado, 1978. 7. Shrine to orisa Obatala, leo, 1968, 8. Esu sculpture carved by Taiwo (d. 1835) of Gre's compound. The blue and red colors of the cap, the medicinal necklace, and the stringed cowries all allude visually io the ase Of Eau. lla-Orangun, 1977. psychology, philosophy, and anthropol- ‘ogy. The methodological challenges of this situation, however, create an oppor- tunity to seek new and contextually rele vant theoretical alternatives based on African conceptual systems and oratures, (see Hallen 1973) This discussion, which aims to gener ate greater scholarly interest in the di- ‘mension of “soul"—what Fagg has called “energy or life force” —questions the ade- quacy of essentially formalist, seli-refer- Western modernist approaches art. My inquiry focuses on the concept of ase, an enigmatic and affective phenomenon in Yoruba art and culture, the creative power in the verbal and visual arts, We will consider the com- pelling aesthetic presence which results from the combination of artistic compo- nents purposely selected and designed to evoke ase in a thing or subject. I will draw mainly on my fieldwork in Yoruba- land, as well as my knowledge as a per- son of Yoruba descent ‘The concept of ase has intrigued many scholars of Yoruba culture both in Africa and the African diaspora. Still keeping more or less its original Yoruba meaning. among Africans and people of African descent, ae remains foundational for rel gio-aesthetic discourse in Brazil, th Caribbean islands, and the United States. Tewill not be possible in this short essay 1 Me iE. & il cI ae ed = c= to delve into all its multifarious and im- portant manifestations; suffice it to say that the phenomenon and use of ase have extended far beyond Yorubaland and that i fast becoming a Pan-Africanist term. The Fon of ancient Dahomey, for ex- ample, developed two different but related concepts from ase: se, referring to divine and metaphysical aspects of ase; and ace (pronounced ache), representing the social and political dimensions. Similarly ase is used in Brazil to define the enuuiomblés (houses of worship) oth: erwise called ile-axe (ile-ase) Research confirms that in Cuba “the sacred world of the santeria is motivated by ace” (Murphy 1988:130)4 In Afto-American culture, the ase con- cept is more implicit than explicit, Palpably felt in churches, "the spirit,” “the holy ghost,” or simply “power” em- bodies an essentially ase-type phenom: enon. Quite often a church minister or person who manifests this spirit or power is highly regarded in the commu- nity and seen as one with leadership potential. In more secular contexts, in lit- ‘rary and oral traditions such as “signify- ing,” “playing the dozen,” "reading, “toasts,” “louc-talking,” “dissin’,” “snap- ping” and “rap,”= there are reverbera- tions of the structure and affective aspects of ase in varying degrees. From this general observation re- garding the appropriate and varied u ‘of ase to describe sacred places, modes of worship, and frequently artifacts in Africa and the New World, we must acknowledge that it is the most impor- tant religio-aesthetic phenomenon to survive transatlantic slavery almost intact. A careful examination of the con- cept of ase in Yoruba thought, including all its verbal and visual referents, is nec3. Stall for Shango (oshe Shango). Yoruba 100, $9om (15). The Universit im of Art, The Stanley Collection. quite form tent African art a form” is the defining aesthetic ey have no real in und ing African art, or the culture from which it came. This association reached fullest expression in the exhibition at jew York's Museum of M Primitivism’ in Twentieth Art” in 1984, 5 insightful observations nature of A challeng: thetics in African art to frame suc ies in terms of African concep! wrote Tribal cultures hich the fourth is dominant and in the vehicle, or the expression, of ergy oF life force. Thus it is ener- and not m: nature In the terms life force” pointed to a dimension of African aesthetic sensibilities which scholars betore him had failed te In my own research, whi little over two decades, I have had c sion to address some of the aesthetic chodological issues raised by fy approach is proverb: © prover! yond what is thing, Relating it to the study of 4 art, we must try to understand an work in its cultural depth, as # n of the Lo ought or belief ystems, lest we unwittingly African” in African art. Let me illustrate what | mean by e amining how audiences in Africa areTop: 9, "House of Or (ler). Yoruba, Ni fia. Lidded openwvork structure with leather, fiber, cowries: 37cm (14.5"). Fowler Museum fof Cultural History, UCLA, X70.11698, 6. Gilt (of Dr. Lawrence D. Longo. kept an ile ort. Yoruba, Nige cowries, canvas, 13cm (3"), Fowler Museum of Cultural History, UCLA, X67.2114, Gift of George 6. Frelinghuysen. essary if we are to understand is trans- ailantc manifestations Tn Yorubalaind, depending on the con- text the word ese variously transated and understood as “power,” “authori “command” "scepter the “tl for inall living and onliving things; or "a Comingeospass of an itorance’ alo propvisse Yo devotes of the rs (dit), however the concep ofa fe more pra Heal and ianmediate Ase inhabits and Oris ther altars (jbo) and all their objects, tenis, and offerings, including their arcxnd them Thus eliious are fret are Frequently kept othe altars of the various aren when ro! deing used In publie ceremonies: Thre thoy contrbate fo and share in the power of the sacred space, the architectural space wheve Priests and devotees may be recharged {oth as before undertaking a majo ask For example, its not uncommon for Sango priests to wield their ese when Gancing during ritual performances to invoke Sango’s ase. The following description by John Pemberton Ill cap: furesonesch manent The female figure with the twin celts or thunderax of Shango, eda ava, balanced upon her head IFig, 3] is an extraordinary image when seen in the hands of a devotee pos- sessed by the orisha. Dancing to the piercing, crackling sounds and staccato rhythms of the lta drum, the possessed devotee, the elegus shasigo, will wave the oshe with violent and threatening gestures and then, in an instant, draw it to him- or herself in a motion of quiet composure. The thunderbolts, like lightning, clearly convey the sud- den, overwhelming, and seeming: ly capricious power of Shango. (Pemberton in Fagg & Pemberton 1982:74) Ase also pertains to the identification, activation, and use of the energy be: lieved to reside in all animals, plants hills, rivers, human beings, and (Fig. 4), Potent medicinal preparatic (oogun) may be taken orally or absorbed into the bloodstream through small cuts, in designated places such as the lips. An efficacious use of ase also depends on verbalized, visualized, and performed characteristics of those things or beings whose powers are being harnessed”reated yecame lay orn nvoked ization or performan neither Epe ("curs lent use of ase”) no} it can act to fulfill its m s ften likened to potent and tive tradi inal prepa ynich respond like the ignited fire”) henever a prompt and desired result 0803, itis no id, i as in a command) describes the efficacy not only of use but also of art. | have discussed this else whe to an import quali ness, und ability ‘whet and “responds” (thats, je ora), and thus whether it fulfills the artistic inten- sn vith Broadly, iuti is a f in the existence ower of primordial names for all and non-living thi to worship the Yoruba look for tho to respond tc ship only deities who can Fig. 5)! a work of art to be said wer to respond,” the artist must into his subject. He must 2 (essential understands the oriki (citation his artistic subject. This is the understanding or aesthetic con h the artist perceives the individualized form, cold rhythm, outline, and harmony of a sub- ject. Such perception is acquired through familiarity with traditio songs, relev examples of the artifact, altar, or perfor- mance to be created. With oju-ii, an Crown. Yorubs, Nigeria, Bea (G0"). Fowler Musoum of Cultural His tory, UCLA. x85-1081. From the Barbara Jean ;eoby Collection,412. Detall of Epa mask carved by Fasiku Alaaye of erin in 1972773. kerin, 1973. 13, Oba Ajalorun of lebute, holding his opa- as, eburfe, 1982 artist may use the right colors, designs, and combination of motifs for, say, a sngo sculpture or Obatala shrine (Figs. ‘or the costume for an ancestral mas- uerade, so as to imbue it with its p identity and the ase of the specifi Without this ase, many an attractive arti- fact would fail to make an appreciable religio-aesthetic impact. One cannot confer ase on oneself, It is for this reason that the Yoruba say, “A kii fiara eni joye” (“One does not install one- self as a chief or ruler over a community ‘or group of people”). It is, therefore, not uncommon to hear a question such as "Tani o fur o ni ase?” (“What/who is your sanctioning authority?"). Even an orsa’s ase can be queried, There are episodes in myth where powerful and charismatic figures like Sango and Ogun ignore tra- ditional procedures to Become an oba (ruler, the highest position of socio- cal authority). The results are calamitous, Like a scepter, ase must be received from source outside, and higher, than one- self, which in part explains the custom of consulting Ifa before approval can be given to install an ola or an olor (commu nity leader), ‘An important part of the installation ceremony of an oba is the voicing of h given and secret names in order to imbue them with the newly conferred manifest in the crown. On such occa- sions, the air and space between the one who vocalizes ase and the recipient are believed to be so powerfully charged that it is unsafe for anyone to obstruct, them. The verbal complex of ase consists of potent, sacred orature characterized by a heavy use of esoteric metaphors in distinctive language pattems and poetic structures. Always performed and more incantatory than everyday conversation- al Yoruba, ofo, ogede, ayajo, epe, esa, and adu-ifa,” all of which are featured in ase use archaic words and terms in direct and authoritative sentences. ‘As mentioned earlier, the recipient of the ase must be correctly identified. Liter- ally the sender “shoots,” “beams,” or “aims” his ase (that is, la ase) at a targeted person or thing. This verbalization of ase forms part of a larger artistic device de- signed to provoke one's essential nature and personal destiny (ori-inu) in order to influence or change its state of being with instantaneous certainty. The procedures for the recitation of ase vary depending on its type and pur pose. Ih some, the utterance of ase must be accompanied by the chewing of cer- tain herbs, roots, or peppers. Atware (all gator pepper) is most commonly used Another kind of ase cals for the licking of salt, honey, or specially prepared med fines stuffed in an animal horn while an incantation is in progress.12 Sometimes the sender must maintain a prescribed posture, such as standing on one leg, kneeling, or in the case of women, hold- ing or lifting up the breasts and/or re maining naked during the recitation. Other conditions may include facing east cor west, or toward a hill, river, or a desi nated altar/shrine at a specified hour of the day or night. The following incantation by Chief M.A. Fabunmi, Gdole Atobase of alrican arts « july 199414, Ia priests leave tho palace after divining for the Obs in preparation for the King's Festival. They are led by the priest who pe formed the divination rte. He carries an Ifa diviner's staff called variously opa orere, ‘sun babalawo, and opa oscora as he leads the priests to the house of the Chiet Priest, the Oloriawo tla. The bells that hang below the surmounting bird are covered witn palm ‘ronds.lls-Orangun, 1982. an example of a type of ase known as ohun-afose (“voicing ase and making it come to pass”): the empowered word ‘comes to pass For as infallible divination belongs to Ifa So does prophetic utterance (afose) belong to Orunmila Itis thease of the egunmo vegetable that prevails in the family of vegetables While the Pantaguenon monkey's, ase is law in the animal world Similarly erekese (a kind of cotton) is unsurpassed in its whiteness among all the cotton species AS it desires, eleghede (a type of gorilla) produces musical sounds on any tree on which it nubs its palm’ Coming to pass and Decoming fulfilled are qualities native to ilakose (a small tropical land snail) atrican arts «july 1994 ‘The ogbo leaf always complies with the order given it Igha (rope for climbing palm trees) unfailingly obeys the orders of its user ‘The covenant reached between the rodent and the earth is an everlasting one Orisa, the Creator-in-chief, grants every desire that the chameleon presents to him While the cripple and the hunchback never reverse their orisa-given destinies Sango never turns down the plea of orogbo (Sango's favorite nut) Nor does Orisa ever say no to the request made with obi (Orisa's preferred kola) Obatala never rejects white beads his favorite color in beads) Small crawling ground insects never challenge the authority of ayetale (another insect species that lives in the earth) Anooba (the ruler of a city) never tums down propositions that would bring peace and harmony to his domain Qjucoro (water lettuce) never antagonizes water Nor does osituta (water lily) ever argue with the stream Itis the nature of eertot (brown ant] to hang on unquestioningly to whatever shrub itis given tira the sharp Ogun swore) sways severs cleanly and competoly Okina never als To thesound made by the mouth when spitting) once spat out, thesame saliva never returns foone's mouth A body of water owing osmnetream never turns back Speedily ina len! busns like poison iy) The day acy leat heads for the ground never setae to Spend the niga onthe tree top teistoaly alien to ‘Adigbonrank’s nature to postpone the dato o ts death foreven one day Fulfilment isthe one unchanging acteristic of Aidan fut teison he very day that 9 chile quests forthe set oy leat thathe finds Likewise it onthe day that one consumes excessive aconol thatone exhibits the symptoms of drunkenness Ieigthe day we prepare yarn heaps for planting thatthe seodlings arefntered into the sol The placenta at elidbcth is alivays buried on the very day appears15, Ojomo of lebu-Owo wearing his orutan- ran war dress. 1975 It takes only a day f to dest A snake's poison also takes no ‘more than one day to do damage to the human body Urine passed on dirt gro totally absorbed by th the day It is without delay that the monkey descends a tree covered by thick col black (soldier) ants Promptly children jump of ‘wrapped around by (cow-iteh plant) Swiftness and lack of ceremony attend the death of maggots Speedily may my request come to pass, specdily (Fabunmi 19 bush \s of trees 33 This ohwn-afose reveals an extensive knowledge of flora and fauna as well as a delightful insight into animal an human behavior. Since the main goal of ase is comprehensive control, one way of understanding this incantation is to regard it as an invocation of the totality of the ase of other phenomena in order to reinforce the as? of ohn ("voice” or “the performed ward”). Such invoca- tions are the citation poetry, ortki, which Karin Barber also appropriately calls "appellations, attributions and epithets 1991:339) for people, places, things, and orisa. She notes that oriki "evoke a sub- ject’s qualities, go to the heart of it and elicit its inner They are heavy’ words, fused together into for- mulations that Rave an exceptional den- sity and sensuous weight” (Barber 991:12-13), Oriki of famous Yoruba artists are very informative, revealing of their background, status, and work, For example, in the oriki for Olowe of Ise- Ekiti given to John Pemberton Ill in 1988, Olowe is praised as “the one who carves the hard wood of the iroko tree as though it were as soft as a calabash.” Als tioned in the orik is Olowe's status in Outstanding leader in war Elemoso [Messenger of the ki One with am Handsome among his friends Outstanding among his peers The awesome one who moves like That flows at its 0 wherever it wills That flows under the rock own tribut the fish as it flows. jiodun, Drewal & Pemberton 1991:39) hty swor Functioning essentially as a kind of oriki, visual art forms also carry con- densed, highly charged and direct visual messages—ase—which are as powerful and efficacious as their verbal equi ents. The visual artist uses his or hero in ¢ oj-ona (“design consciousness”), important aesthetic attributes, to select, combine, and repre sent specific colors, patterns, motifs, and aspects of the subject matter in order to communicate its ase with the maximum visual impact (Fig. 8) (Orature recognizes the all-important place of ase in religious and political life. One ancient myth’ contains an account of how, at the request of Oloran (Creator in-chief), Ogbon (Wisdom) presented ati ase (“the kola mut of authority”) to all 401 orisa who were having a dispute over who would be the leader among th Whoever succeeded in splitting would be declared the leader and hence forth control the destinies of the remain ‘eceeded. Thus, Ori became the rule with the highest authority and the preor nent ase among all theo” With his ase, Ori was able to deal w’ all opposition from his fellow orisa. In the Ifa text, the use of two verbs, pr and provides useful clues to the meaning and operation of ase, especially in its creative aspect. In the phrase pe or separate the Kola nut of authority into its constituent lobes,” the same verb (io split”) can also mean “to create oF fabricate” as in pita, “to tel or es story.” Similarly, the verb da as use the text has two meanings: “to fel, power, defeat” and "to erent, install” Svould appear thatthe intention here is © sresent two different but related aspects OF Ons ae the superior force or author fy which enabled lhim to make or break snything, and the ability to contro! thepersonal destinies of every creature, Including those of men and the orisa. This Js confirmed in the following Ifa verse: Orisanla was the fst cvinity to defy Ons authonty Or floored Orsata nd put him in Alamo where destinies ae molded ‘There at Ajlaso, Orsania Became the fing expert of rolded destinies Ned On overcame ia ‘Ana put him in charge of snterpretng the mysteries of the siteen sacred Palin nts of divination Amal was eal subdued, And Or placed fam inthe East Whence he shines the mosning light on earth Or: defeated al the ors, And assigned them thei diferent functions where they are revered olay Oris thus the major and most perva- sive symbol of ase in both human and spiritual realms. Furthermore, since ori Lterally means “head.” the utmost respect and honer given to this orisa are given to human and animal heads, Because they control the rest of the body. ‘These have also extended to virtually all political and spiritual heads and leaders, who are all believed to possess an ase similar to that of Ori, the leader of the 401 orisa in heaven, On all occasions, sacred or secular, the indispensability of Ori is stressed, He is referred to as oko (husband, master’), implying his invincibility and power to control or influence the out- come of any situation. Ase is located at the apex of a conically shaped shrine object known as hori (Fig. 10), which symbolically represents or!, the authori- ty, power, oF force needed fo accomplish all things. Likewise, every creature and personified force uses its ori to solve problems and surmount obstacles as is evident in the following incantation’ ‘The Dog's ori helps it to cut through the bush ‘Thunder uses ori to split the iroko tree Every deer grows a pair of horns through ari With its ori, fish swims without mishap in water In like manner, lobster uses the head to find its path in the stream (Owawa rat’s ori helps it to go through caves Ori precedes man It also guides him, (Ori plans good things for its In the visual arts, notably in sculpture, ori-ode (“physical head”) is the focus of “african arte « july 1904. much ritualistic, artistic, and aesthetic activity, Not infrequently the head is given a place of visual command by pro- pottionally subordinating all other parts Of the body to it. The enlarged head is further emphasized by detailed artistic treatment with elaborate coitfures, crowns, or other headgear. The face and especially the eyes, both known by the same word, ojt, are rarely surpassed in aesthetic appeal by other parts of the body (Fig. 12) Because ase is believed to emanate from oju, children and young people are forbidden to look straight into their par ents’ or elders’ faces, Itis even more dan- gerous to stare at the face of an obs, Which is usually veiled (Fig. 13). Thus the respect received by the oli is like that ac corded the orisa in the sacred space of the altar, ojuibv, where the ase of risa may be palpably felt and communicated. The importance of oj in art and ritual is clearly expressed in the axiom "Oj ni oro 0 wa” (*Oro, the essence of communi- cation, takes place in the eyes/ face”) With a properly executed ojti either in a figural sculpture or in a well-designed. ojivito for the altar of an orisa, concentra tion heightens, communication takes place, and supplication becomes more efficacious. Conversely, the absence of ori and oju in any sacred and secular ac tivity, whether artistic or not, would be tantamount to anarchy in the human and spiritual realms of existence. There would be no ase The following oriki links the at tributes of the spiritual head with the physical one and acknowledges their Indispensability: Ori, cause and creator Orr-Apere, who makes bean cakes but never sells them at Fjigbomekun market (Ori) the Great Companion who never deserts one Ori, the master of all It is Ori we should praise ‘The rest of the body comes to naught When Oriis missing from the body What remains is useless What remains is incapable of carrying any load It is the ori which bears the load Ori, Tpray you Do not desert me You, the Lord of all things.15 Because the ori-ade (“outer, or physi cal, head”) is the locus of ase and also of personal destiny (ori-inu, “inner, of spit: tual, head”), Yoruba people do not nor mally haggle over the cost of the services of a hairdresser or barber. For similar 16. Aale, an aseimpregnated sculptural con- struct. 1962, reasons, hairdressers or plaiters are seen as performing a duty. Although hairdres- sing is aesthetic and concerned with the beautification of the or-afe, it extends to the spiritual realm, influencing positively the performance of or-inu The regard for the inner spiritual head is similar to that accorcled an oba, an olort (leader) of the highest status in the human realm. Thus, an eb is greet ed as follows: One-whose-authority-cannot-be- challenged Who is endowed w ‘And ranks only with the orisa ‘The-personification-of-death-itself Ultimate Father-Mother."” A beaded conical crown (aie), the tra ditional symbol and vestment of an obe's se, echoes in form and function the ile-ori (house of ori) (Fig. 9), 2 lavishly decorat- ed cowrie container which houses iduri, the symbol for orfimu (Fig. 10). The veil which hangs from the rim of an oba’s crown hides the wearer’s humanity while revealing his divine status (Figs. 11, 13).® In this position, an oba’s gaze and utterance, both charged with ase require the veil as a barrier lest an acci- dental release of this vital force hurt any- ‘one who is physically close to the oba ‘when he is angered. The veil also ritually protects the wearer against malicious ase from without. In Tlesa leading priestesses of Owari, who was the third or fourth ruler of Ijesaland, are also known to wear crown-like structures which veil their faces for similar reasons2! ‘A bird-like representation or actual egret tailfeathers call attention to the location of ase at the apex of the Yoruba conical crown. They allude to the ob’sparamountey in his domain, as “the egret is considered the leader among birds” (okin babe eye). It is also not un- ‘common to find red tailfeathers of the tropical African parrot on the crown of an oba and on the coiffures of high-rank- ing and influential orisa priestesses in Owo. This hints at their unmistakable presence and power: “Olu-odide kii wa frigho ki ghogho eye ma mo” (No bird ever fails to recognize the presence of the adult parrot in the forest”). The Yoruba believe that the feathers possess ase which can alter the nature of persons and objects. For this reason the red tal feathers are strictly forbidden in black- smiths’ workshops lest they alter the chemical properties of metals. ‘Another common symbol of ase often carried by an obs or his representative is, opsease (the royal scepter) (Fig. 13). Com= manding almost an equal degree of respect as the physical presence of an ‘ba, opa-ase gives its authorized bearer the power to say or do anything without being challenged. Most Yoruba palaces have a shrine specifically built for the copn-ase or okute (its counterpart in some parts of eastern Yorubaland). There the Scepters of past rulers are kept, and dur- ing the installation ceremony of a new ruler it is visited in order to effect a ritu- al transfer of ase ‘Also in this category of staffs possess- ing enormous ase is the Ifa diviner's iron staff called opa rere, pa osooro, oF osu bnabalaco (Fig. 14). 18s carried vertically in the right hand by the babalawo (Ifa priest) and may be stuck in the ground at important gatherings. When not in use, osu babalzwo stands in one corner of a room in the priest's house (see also Deewal & Drewal 1983b), Usually 85-142 centimeters tall, the staff is surmounted by one or two birds standing on a flat disc which rests on the inverted bottom part of hollow metallic cones or bells. Approximately two sets of four slim bells, also metal, are welded to the staff along its height at two different levels. (Osun babalawo is important ritually in the implementation of Orunmila’s orders in Ha divination. The birc(s) on top of the staff represents eyekan®? ("the single or lone bird”). Unlike those that surround the Osanyin staff, believed to represent various aggressive spiritual forces with ‘which man must cope, eyekan represents ‘a higher and superior power—the ase par ‘excellence in Ife divination. The story of eyekan from Ej-Ogbe in Ifa texts relates how, as eye-oto "bird of the grassland,” “wild pigeon”), it was hermaphroditic, lived wild in the forest, and was childless for a long time. After eye-oto consulted If and performed ritual sacrifices, it was able to reproduce and had two offspring, From that time, eyeoko became eye-ile {pronounced eye), meaning “bird of the home, domesticated pigeon.” The bird(s) on top of the asi babalawo, ‘thenceforth ritually called eveka, came to symbolize the authority of Ifa and its ase to carry out all of Orunmila’s orders and. predictions. The following Ifa text shows how this staff was used to bring prosper- ity to a client who asked for lia’s guid- ance and complied with If's injunctions: He Bata Awusi) completed the ritual sacrifice, Which was divined for him. He was advised to hold osu staff in his hand When proceeding to Oko which he had planned. He was told that when he arrived at Oko, He would find a woman dyer in front of the Oloko's palace. He should pretend as if he would stab her with the osu staf When he arrived at the premises ‘of the Oloko, He asked for the location of Oloko's palace He met a woman dyer in front of the palace He suddenly rushed at her, Pretended as if he would stab her with the osun staff With a clever dodge, the ‘woman dyer escaped him. He struck the esum staff into the earth, As the ost staff struck the earth, ‘The earth sank immediately When he (Baba Awusi) looked inside the earth, He found a great quantity of precious beads. (Abimbola 1969:127-28" In other instances, the staff has been instrumental in effecting physical heal- ingas the following Ifa verse states: ‘The cultivator of a new farmland ‘usually stands high on heaps, twas divined for Oranmila who was going to receive the healing staff from heaven and proceed to the earth, On his way he met a cripple, ‘And he asked him, “what made ‘you so crooked”? He touched him with his healing staff, And immediately the cripple was ‘made straight. (Lijadu 1972.71 There are, of course, many ordinary items which may not be as visually im- pposing as the Ifa priest's staff but which are still considered important ase objects. ‘These include household bowls, mortars, pots, knives, guns, bags, bracelets, beads, fans, stools, items of clothing, as well as flora and fauna associated with specific deities, but all may not always be fea- tured on the orisa altar. Many of these ‘end up being used as aaie, which are ase- impregnated sculptural constructs usual- ly placed on articles for sale but left unat- tended (Fig, 16). They may also be hung con oF tied around frist trees and placed at the entrances of farms and private Gwellings to prevent theft. Anyone who violates this prohibition will, it is be- bieved, suger some calamity. ‘Also worth mentioning is the ase that can be carzied or worn on one's person. For example, during the wars in pre- colonial times, ase was freely used by the military. War uniforms, hunters’ vests, and jackets were heavily adorned with amulets and charms for defensive and offensive purposes, In Owo distin- guished warriors wore ceremonial war Gresses called orufanran (Fig. 15)2° Onto the jacket of this impressive costume were attached ivory carvings of bells (ome) and animals such as the leopard, crocodile, monkey, and ram. When worn, the orufanrari jacket resembled a mobile altar and functioned more or less like one. Sacrifices were offered to it Its ‘ase was employed to instill fear in the enemy while enhancing the wearer's protection defense. All the animals rep- resented on the ivory carvings have ver~ bal referents in aioure, incantations which were the ase used to attract good fortune in wartime. To summarize, ase is that divine essence in which physical materials, metaphysi- cal concepts, and art blend to form the energy or life force activating and directing socio-political, religious, and artistic processes and experiences. Ase fundamentally informs the Yoruba aes- thetic, It is affective, triggering an emo- tional response in the audience ever when this may not be fully and immedi ately comprehended. Outwardly ex- pressed through verbal, visual, and performing arts, ase imbues sound, Space, and matter with energy to re- structure existence, to transform and control the physical world. Bill Fagg described this “conception” of energy or life force as being “more readily intelligible to those versed in modem physics than to other Europeans, and indeed...it would appear,...10 be closer to the objective scientific truth than is the static conception of matter by which we live” (1973168). He proceeded, in his moments of intellectual playful- ness, to develop this idea into what he called “a system of exponential curves.” In spite of the obvious limitations of the use of this “system,” the field owes Bill Fagg a debt of gratitude for calling atien- tion to the crucial role of “energy” or “fe force” in the study of African art. Clee ahead of his generation of scholars, "© anticipated culturally based studies in aesthetics and art criticism which look to the meaning as well as the form of African art, and which make full use of the philosophies of African peoples. Notes, page 102 atican arte « july 1994ar Aste Wy Abi, HL. Drea | Peimberm -Nashigoe, c-Src nator ta) Ratoni hm An ane Sree Niger” Proce o's aerent oa BES ie Ue icon’ ni Pres \SILLETT TORSWEY, AND RITCHIE: Nat, rom eT 1. The work wns evenly cra ut by Cradoo 985) nd Cnc and Pron 58 ‘Piette net to Be ALN Las ofthe Deparimet of ‘nove Ararat he Hoth Soneum for bepl come tes on Mark Richie's pape ‘be maser nen en pulsed work of Dr. Oo Uwurer ¢70y 0 the clit nthe Museum Sar Vanes ‘nae Serin ol Cadac O36, 3980) ef mater the Boat Slureum and Shenbery De. sepeg Wal ot ‘aerial tn the Volersundioe Smungen de Saat ‘nmin 1968 ant Mane er Vberkune,Veae (80a Profesor Taare 985) of mate the ‘Stvoua! Masco Senin iy. Wilt erate to Dee Craddock and Hook othe British Museum Research Lborson for underage ans the hn ‘pls he eons om secnets the Fels Mone, ‘Gigs he Rol Marcum Scone, Esntargh ne Ar {Gulley anu Mascon, Aeleingrove, Gasgors and the ‘Nisont Maseum, Laas Hes lle the authors of 1D Welne pate out Young for preparing he pital [aplsantrtng the ope ig 2 Ehlers tomes ng {appear on te plagues wich Fagg eines Mle BEDE SL Tone Tat the Ouro wacaan ay there [aernfer the oun ne mont ET eonia be note. however the Joseph Nevademshy onder th lobe an er aod tha the mae ag ‘SSernaton, emperor sen matey” CSC SESE at ode rate the frend nade SIENS Soo tart inthe Benin Motu othe ‘Gace Mater hed the Beh lone sed Si Sepresenng pose Gunen then Eon the mer Oon Akence, ot seas pre conan, ner a EugesPresunay the encon nan pen y Chet in ghrp naar when he [rbd soe evsenc or th sneton or hee ae npy he oh nero Secon feted hl 7:92 ad wo 3 Ritchie wed computer program BMDP F2M fetes cid Bere Ps 38. Ti evn. Lndon Thame Tao radon R195, “Oona Pees nthe Sry ica Hier oord eat Sty oN ride Pal 7.195 Msi Copp ly Paden eS Nea Anon Bom ate Pet aoe ioc, Fol. an Ft. 1985 “Mati Copper ‘ng Pade and West An roae Ase Po "heme 2 Dit Php 7. “Benn Bronce Hed: Sls and honelgy in Aen mrs Eas rn died Fic a a6 yp yo, Ekpo. 197. Ta Thoarnd Yrs Rigen Ar. Lagos Sip Anti, og un 88 rs nege Lodon Lind Hees [BS tt "Anan sate goa lny td Manin: Aan os 2 9 ‘Nera spn 16. “Tn eon Hosen a Ala Hat Aina adn eas Sw: Thrtn, 90, Parte Specographie Anes of Nignan rote” Arron aE ss estan Hast ie st NereAcraton ‘Ana of Clay Core om igen Cage” Son ‘egy lage 6 net E Sate nd 18 Te EAR ath Sen vod dp. 30 "Sn Linch, Ft 19% Be Alsimer oe Be Be Th Caps Masum far Vrhonde Btn Reperid Toucan Boe New York ‘we Oe, Ane ier rose wd ‘Meigen it A nd aot (sere, Ov. 1978, “Mataugiche Untersuchungen de Senora des acon ar Vober Bei Te it ‘Were Ove. 07, “Aravey ieee Bonen und ‘singe "arg tcncen 1. worm Oxo 19a Spat Metre ‘Unccnctmpen on nin San ede Bok ‘worm Ova 1b, Uber de fvammensctrang vom alagewichen avs Ghana und Anderen Wesson Werner Of 970 "Metaorguche Untesachonge der 102 ein Bronson des Moses ir Vheiunde Bsn. Tel Basaran 871-1 ere One and Frank Wet. 1978. The Composition of ‘Ses fom le and Benin” Aran 21038. ‘ia an 18) Th Ameo Rigen Capper Als Rewcaec a opt Ce te on PASS wilt ni 18% “The Bin eum Cason” Aon anes 3 Se ts oe Aor Beep {Ee Secon Haan fr Taco Des 38912153, pees 125i Seiad 1866 “Bronze und Brome der ‘Bonrdunalung in Manes ser in Bre {26 Sat Nsom ane Droden 2520546, pp ietSand tale ‘spe pt he ah ete Uneuge wighntlan eek SURE eee Sita ae hee ria es, Coan a es na Aes inyemi, Casope Ovelaran Jon Pemberton Il. Andrea B. ‘Gc News Siler Gobi Verona te hate Aur Ss Su Sch a a ae tal SUE Re thea a Director ofthe British Museum, the William Fagg Charitable SEES econ MANE Mtn ote sacl a {ht acon Help not completely dete whens comes SEs SATS eke ee Tine inarenisSeprier ae Soe ei hoe ST, atone Seite Ba Bie cee SAES RES eh. Mp cen iin nee EE {Bohr nutes tot Cait sata gies SRSREeN So ake veers ROE ULM Sth ete ita Siem mene Cartes etna SSS des Seca Spurge sna Seovpaatvatesenes ection Sete ee SE ct ha hs Sen Vag ae a Sipser Siete wee ae HELO Tat eee Rie Reng MALE Ne Re FES Sp TAS HAB Cece SSE ati ape ah Sipe coerce recat ‘acknowledge their autonomy Bul, more importantly, 10 tis rice» mage fom he Yoru One We Fe kt ee ge cl Panne nde Systotetrpeatininamaac tee SEES core (eects eas Bertone cre eas Sac ESR stannosd dst decent See nnaiten tee ie, Face et Feral estes Spake a Bes oe shee Oe amen Eo an wet De eine Oo ta ete te Ia Rp Wt loth ln no oc seseats tee Meare np moti oi ae Run Teheran Mh heroes Gentian npn Devt Gotten ‘eins it Se BOG Oraay Onset tetas Aon’ Wi ‘etm Oat fe ison Ot Sater Saumnnger bese em pe aa ‘pet am, MAM on ge nev mca tonite at STIL Montane phi gece Oven Bi Gurme mane ore ee san sbaricetchtane mole Won enki ih Stet Pn hc Se shang ok ent Noss com usta ian cnet RG ucae stektinebelager eae SEIT ange tated nest Sean pe Sn hd SEE SSS nk nate bp Sib po cies tt a as eta chop i eam rpc! TED Gre ln on el ane xt Ben ut eet on ee Serra eran Laue Souter Se? ie katate Oe ee esi Orne To oe erat or San pd Dee ESI oe oe Bete ier een 3 foros Seaton rat owns, Rangiora ie ENG oat Ren fone (OO ean of ihe Sapien nos npg ae Utes Sorter bape fan pts ee SUG ANaintoiree dectonse ross Souter B Baten poten anal, Ove mi gather Settod a stb epes teat eck Sota my alte in pest oe sno oS oot onal crane a me eee att RY ed str ha eterna es en) Spt ts 6 Sr Sk Se he "a tee test on Yh Seen ree LSshase pet Se fake get oe e 9 iol Tr Ref o mses Aen Srl tp i 5 i Seria fo Megane Bn pps SePoce ucsin opie fone Owe, see Rodan) Rene tet Aimbola, Wand. 1976.1 Aw Epon of faery na edo Oxlrd Unser Pens, Niger Csgo Calin. ‘Abo Rowand 199 “Future of Aan At Stale, An ‘Neen Ferpecive Ines Sra Ta Ste he Bursa Neshngton DC Smiheontn ivsen “Ablodum Rowlana: 198 “The Kingdom of Oro 18 “Yen: Nine evo Airc and Tw by Hee John Brewal aa Tohn Pemberton th Rowan! ‘Abodun Sev York Centr tear Astana Abrams Abid, Rowland. ise "Woman in Yoru Relgoss Tinages” Aun gue nd ober 398 ttn Rowland "ori nd isa tapos nd tno A fowl fet Val Emp 325-78. aban Ran "On Bry te Worship Fad Cone so Grae Toned by the Depo ‘Alrcan Lnguoges ana Litrtaes Unive eB SieNpen alfican ars july 1984ost n Oral Tadionn in Yo Ge ran edit bans bibl. ele: Unvemy a te std tn ay Eval i epee Titty Yor dite Nit Zar Suse rans Een iso of Maden Yar. Lando ‘piven of London Pres Akon Akins. 1983 “Understanding Interpretative ‘Stuology inthe Light of sof Orne uel pe Rio 19, LN Ct ad Kings, Cheng: Unie hivotCheago Fras Ante: Moe KBr Tae Aft de. Pisdlpi Tempe Uanerit Ps ote Karin TMT Cou Spa Utd Tomarowe Washing "or De Sitheoni nian Pros cer Us. Yoder Cs Londen: Sboegraptic Cae Jonge ads 195 na Coan the Combe of “ins Sad Salvador tes iat Dra, Henry oh ard Margaret Thorson Deal 187 Time nd Spe in Yoruba are" Nor and raf Vora Egy 3 31 Jolt nd Margret TRompeon real 183, "See at mt Fema Pues ong Yon oming ‘ndana Uiersty Pes Diemal Honey John and Margaret Thompsen Drs "oats “An fs Bers Shien bulma Aten es Ta 3s, 98-56 Dieta, Margaret Tompson. 1977 “Projections rm te “eptovesia At an ye 09 Dundes, Alam 105, Mr he Lng Br Noe Yorkin Uandon: Gatind Publishing yo, Eupo ond Frank Wilt 1980 Tronuze of Ancien Niger New Yor kop Random House robusm Chnel Sta 99 ys hr ne If, baa: ogg, Milam B 180, Yon Boiork, New York Pace a In Sesto of Mu Nik ‘RSTn nya and Say, eed op bony Png Shaan Ours Univers Pen agg Wihany Band Iokn Cemberton 1.1982. Yoru ‘Sigil Wad Ar As Nene Ale A Koop cate ey Loui 8h Te Seman Moe Thay Ane acm Ur Crit, New York Oxon ies te site eh ea gere tne Lt i me ati Sr mt Rubin, Wiliam (od) 1984, “Prams 2008 Century At. Se hates ee a te Sane soar i ea eta ve fan a a eis Tome as Sra FAG Rees fom ge 83 Bhgong,¥ 1 3988, ‘Nok Ctr Ngai Vales ig ‘ay | evn Pre Reunion der Mate Anson agg E3977 Not Terman Londo Ehogrics Brenan ma Lge 2a Fogg 8 8 ms "Reert Workin Nese Apex: New Light "Site ok Cultures od Steg Fg 8: E898). Mining fr nt.” Ngee Magne ‘Fedependens boo Fagg 2B tse “Toe Nok Cult” Not Ar Ree Deh fot, | 198 Aspe of he NOE Care Zot Abo LWATERFIELD: Mason om p99 This iblography of pobiations by Albert Macsen wa ‘Saped by Hague van Caluwe sd Lous Scie a Cong Be 1983 “Une Figurine de eran en Gets Ba Kongs 31.50 Jost Un Coutens Snntton pana” B-Kot0" 2h african arts «july 1998 contributors articles ROWLAND ABIODUN is Professor of Fine Arts and Chair of Black Sudes, Amherst Collage, and a Consuking Editor of African Ars. He is co-author of Yoruba: Nine Centuries of African Art and Thought (1389) and Yoruba Art and Aesthetics (1991), and joint editor of The Yoruba Anist: New Theoretical Perspectives on Alican Art (1984). EZIO BASSANI is Director of the Centro Stuai di Storia delle Ari Afticane of the: Universita Internazionale dellArte, Florence. He is also a Member of the Scientific Commitee of Critica o'Arte, ANGELA FAGG worked as an archaeologist in the Federal Department of Antiquities, Nigeria, 1968-1976. JOHN PICTON is Senior Lecturer in African Artin the Department of Art and ‘archaeology, School of Oriental and Alfican Studies, Universiy of London; and Consulting Editor of African Arts. From 1961 to 1970 he was employed by the Depadment of Antiquities ofthe Federal Government of Nigeria: and from 1970 to 1979 he worked in the Deperiment of Ethnography, British Museum: MARK RITCHIE's a graduate in staisties ofthe Universi of Giasgow. BEN TORSNEY is Lecturer in Statistics atthe Univesity of Glasgow. FRANK WILLETT is Emeritus Professor of the Unversity of Glasgow and Honorary Senior Rasearch Fellow in the Hunterian Museum of which he was Director from 1876 t0 1990. departments MONNI ADAMS is a research associate at the Peabody Museum, Harvard University, and teaches African and Native American ant at Harvard University. DAVID BROKENSHA is Professor Emeritus, Anthropology and Environmental Studies, University of California, Santa Barbara. HERBERT M. COLE is Professor of Art History at the University of California, ‘Santa Barbara, and a Consulting Editor of African Arts. DEBORAH STOKES HAMMER co-compiled the William 8, Fagg Archive and field ‘notes (with Dr, Jeffrey S. Hammer and Willa Fagg) and is illustrating a forthcor ing chitéren’s book, RACHEL HOFFMAN is a doctoral candidate in arthistory at UCLA. CAROL MAGEE-CURTIS is a graduate student in art history at the University of Califoria, Santa Barbara, NATALIE NAGLE is a graduate student in art history at the University of Caitfomia, Santa Barbara, MERRICK POSNANSKY is Professor of History and Anthropology, UCLA. HERMIONE WATERFIELD is & Drector of Christie's and Consultant to the Tribal ‘Art Department a a ST 103