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intrigued by the close connection be-
tween the physical images or objects and
the chants and songs used by ohen
(priests, both male and female)2 in wor-
ship. In most weekly Olokun cere-
monies, for example, seven songs, like
the one that follows, are sung as a saluta-
tion to the spirit before the officiating
ohen begins divination: Rhie egogo rrel
Chalk Rhie emabarrelNiya gha ga okunmwenl E ni
s'ede ehil E avba egbel Ewoe n' ame (Bring
the bell/ Bring the iron rod/ That I can use
to serve my Olokun/ So that I can live as
Iconography my spirits wish/ We have met ourselves/
Spirits of the water). Images are also
drawn (i.e., sifted through the finger-
in tips) in powdered white chalk (orhue)3or
painted with a chalk-and-water paste for
the same purpose (Figs. 1, 3). Worshipers
may wear ceremonial garments (adaigho)
Olokun Worship embellished with cowries, coins, beads,
and bells (Figs. 9, 10, 18) as they dance
and pray near the visually impressive
arrangement of shrine objects. Beautiful
objects are used, such as the fan (ezuzu)
NORMAROSEN and the musical instruments that are
particular to Olokun worship: the egogo
(bell), emaba (iron rod for beating the
bell),4 ema (drum), ukuse (maraca), and
aza (bell for invocation). These instru-
ments may also be drawn in chalk. Only
through this integration of the verbal
and visual can the deity be invoked.
The Edo people of Nigeria believe that fight the king of the water/ I come to meet As my understanding developed, it
Olokun, god of the sea, is a powerful the king of the water for help). Shrines to became clear that every ritual action per-
and benevolent deity who can bring Olokun (Figs. 2, 9, 12, 18, 19), peopled formed, every object used, and every
children, health, riches, and other bless- with molded figures representing his image drawn or painted in orhue on the
ings to those who worship him. One of wives, children, and chiefs, are meant to floor of the shrine was a tool for convey-
his praise names is Oba n' Ame No Se No replicate his underwater kingdom. Their ing prayer. For example, at the opening
Rre Oke (The King of the Sea Is Greater display of imported cooking pots, Euro- of an afternoon ceremony called Ugie
Than the King of the Land). Olokun has pean dishes, and other prestige items Avan that took place during my initia-
a palace of cowries in his kingdom be- (Fig. 8) refer to the wealth bestowed by tion, the chief priest sifted an intricate
neath the sea, but the oba (king) of the the deity. drawing before the shrines of Olokun
land does not. A popular worship song I was initiated into the priesthood of and Ogun, god of iron. By the end of the
praises his omnipotence: A ighigbe oban' Olokun in Benin City in July 1984.1 Dur- ceremony it was obliterated by the vig-
amel I vba oba n' ame mwen (You do not ing the fourteen-day ceremony, I became orous dancing of devotees. These draw-
ings were not intended as permanent
decoration but as a transitory medium of
communication from priest to deity. The
reverse is also true: they are regarded as
the deity's footprints. Chalk images
within the environment of the shrine5
can therefore be viewed as a language
shared by humans and spirits.
As I documented the chalk iconogra-
phy of various Olokun shrines in and
around Benin City, their ohen interpreted
44
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the designs for me and explained their erinmwin (heaven, or the spirit world; as (divinity of human fertility) was the el-
functions. They are bound neither to a opposed to agbon, earth, or the physical dest child.
specific style or method of illustration, world) and were given charge of various Early in his childhood, before his fa-
nor to a particular combination of de- metaphysical forces. Olokun was the el- ther had created the world and human-
signs. The images themselves may vary, dest son. The others were Sango (divin- ity, Olokun proved to Osanobua that he
as we shall see later in this paper in con- ity of thunder), Ogun (divinity of iron), possessed the wisdom to control the af-
nection with the design called igha-ede. Orunmila (divinity of divination, fairs of the universe. Osanobua had de-
A myth recounts how orhue images decision-making, dreams, and prophetic cided to test Olokun by sending him to
were involved in a test of power between visions), Esu (divinity of conflict aid un- the river to fetch water with a woven
Olokun and Osanobua, the Creator predictability - a trickster), and Ogiuwu reed basket. The clever Olokun im-
God. Osanobua's children lived in (divinity of death). Daughter Obiemwen mediately recognized his father's motive
45
and decided to show him that he could why he had not fetched water, he simply
not be tricked. Before he left on his er- answered with a question about the dis-
rand, he drew many patterns with orhue appearance of his designs. Osanobua
on the ground in front of the house6 and confessed that it was not possible to sep-
then called out to his father to save the arate the designs from the land and that
patterns by removing them if a rainstorm the rain had dissolved them. Olokun
should come. Apparently Osanobua was then told his father that a porous basket
preoccupied and agreed to this request. could not be used for fetching water (see
Upon reaching the river, Olokun, know- Imasogie 1980 for a similar account).
ing that a porous basket would never Impressed by the child's wisdom,
serve as a water container, decided to Osanobua later gave him the power to
bathe instead. On his way back to the bring health, wealth, and children to the 4. OLOKUN CHALKIMAGERYCALLEDEZE AME.
house, he caused a rainstorm that de- world. As a result of this episode, the
stroyed the white kaolin designs. Upon Edo pray that children will surpass their
his return, when Osanobua asked him parents: A bie omo no se omwen e re During prayer an ohen may invoke vari-
Osanobua na bie Olokun (Pray to have a ous spirits that operate with Olokun in
child greater than yourself; that is why his palace beneath the sea, calling out
Osanobua had Olokun). their praise names, such as Oba n' Ame
Olokun worship is affected by the di-
(King of the Water), Eze n' Unghegbe n'
rection of the sun, time of day, and Ebo (Glittering White River [That
calendar day. The god is served either in Reflects Heaven and Earth], or
the morning or in the evening as the sun Adesukhunmwun (Stainless Sky). As a
begins to bend in the west. Worship and direct salutation, while praying they
divination related to Olokun take place
may sift four or more parallel vertical
during daylight hours, except for special lines in orhue on the floor as well as on
sacrifices, night dances held during an- shrine objects such as bases of water ves-
nual festivals (Okpovbie O Ghe Uk- sels and molded figures. As the cere-
pogbe), and the ceremony related to ini- mony continues, Olokun can be invoked
tiation (Na Na Khue Akhue Bo). River
through the voice of a bell and a saluta-
ceremonies for him occur on market days tion song like this one: Okpeegogo edegbel
in Benin City and environs. Okpeemabaedegbel Okpeukuse edegbel Ede
Because messages are customarily
gbel Edegbel Ede Obagbel Ede Osa gbe (The
sent to the deity as the sun rises or sets, bell ringer, the day has dawned/ The
early-morning worship is of paramount drummer in charge of the drum-maraca,
t?1-.*
~'A importance to a member of the Olokun the day has dawned/ The maraca player,
; .
*r%Ia*
jS7-
0,~ I
;Iri~vsi
cult. Generally, the floor in front of the
altar is washed at the beginning of each
the day has dawned/ The day has
dawned/ The day has dawned/ Oba's day
1,,f,,w
, 7-~ day. In the morning, before a ceremony has dawned/ God's day has dawned).
begins, a single design or group of orhue Most orhue iconography can be clas-
images will be sifted or painted there. sified as salutatory designs, serving de-
signs, purification designs, or initiation
designs. Since I have already mentioned
3. TOP: SIFTEDCHALKIGHA-EDEDESIGN. salutatory designs with an emphasis on
OW-.' e ritual functions for Olokun, I offer a con-
OREDO LOCALGOVERNMENTAREA, 1985.
cise explanation of the other categories.
Km''t
. CENTER& BOTTOM:CHALKPAINTINGSFEATURING
WATERIMAGERYAND LADDERS. IGBINOSAFAMILY Serving designs. These are used for in-
vocatory purposes and for offering gifts
,WWje
SHRINE, OVIALOCALGOVERNMENTAREA, 1985.
to the spirit realm, erinmwin. Worship-
ers believe that the heavenly spirits must
be fed so that they can carry out their
work in the physical world. When re-
questing aid, the ohen usually offers the
heart, liver, breast, and left leg or wing of
an animal sacrifice to the shrine.
Purificationdesigns. The ohen uses these
to make the body spiritually clean, so
that his ability to receive clear visions
and messages from the spirit realm is not
hampered: Ihonmwen egbe n' ebo mwen (I
purify myself for my shrine). Without a
purified body an ohen cannot be free to
treat ill clients and select or prepare
medicinal substances.
An ohen leads a disciplined life in
which many taboos must be observed.7
These vary with particular specialties of
worship. When taboos are violated, by
necessity or accident, purification may
be necessary. In addition, routine purifi-
cation is a necessary aspect of anohen's
existence. It is typically carried out be-
46
6. DIVINATIONPLATE(IHA OKPAN) WITHOLOKUN DIVINATIONTOOLS SUCH AS
COWRIESAND COINS. TO THE RIGHTIS A MEDICINEGOURD (UKOKOGHOEBO)
FILLEDWITHSUBSTANCES TO PROTECTTHE BODY. THE MEDICINEBELT(AKPLODE)
FOR WORSHIPOF THE DEITYEZIZAIS EMBELLISHEDWITHSEVEN MIRRORS.
47
9. OLOKUN N' OTEGHELE,OLOKUN N' OBO
IN FRONTOF HER SHRINE.
48
12. OLOKUN PRIESTESS IN FRONTOF HER PERSONAL
SHRINE. THE FIGUREON THE WALLAT LEFTIS OFOE,
THE MESSENGEROF DEATH.THE UNUSUAL
ARRANGEMENTOF HIS LIMBSIS A METAPHOR
FOR THE UNPREDICTABILITYOF DEATH.
+- l
4-/
s
. P
I
evils from the heads of celebrants and to da, akudalGha da, gha da, akudalAyon ma -'.~~ ~ ~~~~~~~~~
.
1
appeal to the spirits until appropriate gbe erha mwenl Ayon ma gbe iye mwenl Gha
sacrificial offerings can be made. The of- da, gha dal Ideghe deghe ghi gbe okhuael
:^. II k., + 1
ficiating priest may call for his ukhurhe Amen n ukpahoghi le okhiokhi (My Olo-
during an Ugie (weekly ceremony) and kun, come and drink this wine for me/ Be '1
recite: Esell ghi lele mwenl Lele mwen omol drinking, be drinking, be drunker/ Be
Eseghi lele mwen Eseghi lele uwal Leleuwa drinking, be drinking, be drinking, be
omo oool Ese ghi lele uwa (Sacrifices won't drunker/ Wine did not kill my mother/
follow me/ Won't follow my child/ Sac- Wine did not kill my father/ Be drinking,
rifices won't follow you all/ Won't follow be drinking; Nothing happens to a bas-
your children/ Sacrifices won't follow ket suspended in air/ Water for washing
you all). While the priest asks the spirits hands is floating in circles). The last two
to protect all those present, he passes the lines are separate incantations that have
ukhurhe in a circular movement over the been added to the song for dramatic ef-
heads of the participants as they bend fect, their unusual images emphasizing
down. Afterwards the ohen walks to the the extreme nature of the situation. Ac-
nearest junction and blows the im- cording to my informant, the song re-
purities off the staff. peatedly refers to the unwavering ability
While dancing the ohen may request of spiritual beings to act in the world of
that a drink be served to the spirits pre- humans. In this particular context, it is
sent. He passes a glass filled with gin emphasized that their powers cannot be
over the heads of those in attendance hampered by drink.
and pours it on the ground at the nearest Igha-ede can be drawn in the shrine or
16. IGHAEDE DESIGNS WITHFORKEDLINES
REPRESENTINGTHREEJUNCTIONS(ADA EHA), CROSSES
crossroads. The following song12 pre- in an area nearby where the ohen sleeps. REPRESENTING201 JUNCTIONS (ADA N' URI), AND
cedes this libation: Okun mwen d'ayonl Before retiring for the night, the priest FEATHER-LIKE SYMBOLS REPRESENTINGTHE LEAF
Daghorome,13 Daghorome dal Gha dal Gha may offer kola nut sections and gin to the ATTHE CENTEROF THE PALM.
50
,, .
51
called "A Ma Na YaGbe Ode Ebe Rua," a Eziza nu gbi ebo sel Eziza gue ebo wegbe
sign that prevents problems from occur- (Eziza makes the medicine to be effec-
ring. This igha-ede,painted with orhue and tive/ Eziza makes the medicine to be
water, typically with the three middle strong). The S marks are idiosyncratic,
fingers of the right hand, was made in decorative images that identify this ohen.
conjunction with Olokun and Eziza, a The design in Figure 20, by the same
deity associated with medicines derived
from leaves, the bark of trees, and roots
ohen who executed the one in Figure 17,
. 4
from the bush. The central image of the
is used with a medicinal bath prepara-
tion that is believed to stop bleeding that 8
Ii
~~~~~~~~~~~
design represents the ever-flowing na- occurs after the first trimester of preg-
ture of water and water currents: A yan nancy, which might lead to miscarriage.
bu eze a i won ame oren fo (You go to the The process of preparing the bath with
river, though one can never finish the this igha-ede was described to me by an
water) (see also Figs. 4, 5). The many ohen of Eziza.14
sets of three curved marks signify crea- Early in the morning, the leaves of the
tures that live in the water. The triple- oguovu tree, which produces a thick
24. IGHA-EDE REFERRINGTO THE DISTRIBUTION
OF GIFTS, MESSAGES AND PRAYERSTHATARE SENT
line crosses represent the power of the white sticky sap, are collected from the TO THE SPIRITWORLD.
night people - deities that operate after bush. The client squeezes them with
sunset, like Esu, Eziza, and Ogun - to orhue and water into a bath pot (uwawa).
protect or tempt humans in the junctions Prior to preparing the bath, the priest ticular to this ohen. The arrows leading
where spirits congregate. The night prays with a mixture of ground orhue and outward from the center toward the four
people can be offered sacrificial gifts: Ebo salt, the traditional preparation for cardinal points indicate that the
no setin gue ason guan (The deity that is prayer, and touches the head and medicine should be spiritually blessed
able to talk to the strong people of the stomach of the client. The medicine is from all directions.
night). placed in the center of the igha-ede in the The priest places a red parrot feather
The arrow symbol (osagbe)is described morning, and the priest prays for it to (ebakhue) on the forehead of the client,
as the arrow that meets its target. Poison, take immediate effect. The uwawa is left who then bathes using the medicinal
in the form of a message using this im- there, with two crossed broom straws preparation, a native sponge, and native
age, can be sent to an enemy. The shaft over its mouth to protect the medicine soap. Afterwards the feather and the
of the arrow is covered by a snake repre- from negative forces, until the sun be- sponge are placed in the sun. It is be-
senting the power of Eziza to move gins to bend in the west. Cowries are lieved that as they dry, the bleeding will
quickly through the bush. It refers to the placed at the center of the design, repre- subside and eventually stop.
swift, effective action of medicine. The senting junctions. The S in the upper The igha-ede in Figure 21 was drawn
following verse is popular in worship: right quadrant is a decorative mark par- prior to a photographic session in front
of the altar of an Olokun shrine. The pro-
cedure was meant to gain the deity's
permission to take pictures and therefore
prevent any problems other than
mechanical failure. The officiating ohen
instructed one of the members, a priest-
ess, to prepare the design with pow-
dered orhue, and she sifted it with great
skill and ease. Cowries and ten-kobo
coins, suggestive of Olokun and his abil-
ity to bring blessings, were placed at the
ends of the design. Then all members of
the shrine prayed, holding pieces of
orhue, and offered four-sectioned kola,
gin, and a white cock as gifts to the
shrine. A priestess placed various leaves
in a white enamel bowl set in the center
20. IGHA-EDEUSED IN CONJUNCTIONWITHA
MEDICINALBATHPREPARATION THATIS BELIEVED 22. IGHA-EDESIFTEDIN RED, BLACK,AND WHITE. of the igha-ede drawing. As the photog-
TO STOP BLEEDINGDURING PREGNANCY THE WHIRLWINDIMAGEREFERSTO THE DEITYEZIZA. rapher began to squeeze the leaves with
water, elders added groundorhue as they
prayed. A small amount of this prepara-
tion was sprinkled on the camera
equipment. Then the photographer was
led out of the shrine to take a protective
bath.
L~ The igha-ede in Figure 22 was drawn in
front of the compound, before the steps
leading to the interior of the shrine, on a
weekly ceremony day for worship and
divination. The shrine's officiating ohen,
who created the large (diameter 61 cm)
design with the aid of several followers
and several children, had been initiated
into the cults of Olokun, Ogun, Eziza,
23. IGHA-EDESIGNIFYINGOLOKUN'SABILITY Orunmila, and Sango. The color combi-
21. IGHA-EDEDRAWNTO FACILITATEA PHOTOGRAPHIC TO TRAVELANYWHERETO SEND MESSAGES TO nation - red (ume, a camwood pig-
SESSION ATAN OLOKUN SHRINE. HIS WORSHIPERS. ment), black (charcoal), and white
52
26. OHEN OSAGIEDE, PRIESTOF EZIZA,
IN HIS SHRINE.
53
Referencescited
Dieterlen, Germaine. 1982. Le titre d'lionneur des Aroiu
I am also grateful to Chief Nosakhare Isekhure (Isekhure of
Benin) for giving me advice on ritual matters; Ohen classified ads
(Dogon-Mali). Paris: Societe des Africanistes. Ebibierhen, Priest Ama Orunwense, for initiating me into the
Dieterlen, Germaine. 1971. "Les ceremonies soixantaires du Olokun priesthood; and to Babalawo Azaigueni, priest, and
Sigui chez les Dogon," Africa 16. traditional doctor Imafidon Azaigueni for initiating me into BOOKS
Dieterlen, Germaine. 1959. "Tendances de l'ethnologie fran- the Ifa priesthood. Thanks go to Miss Esther E. Emokpae for
cais (II)," Caliiers Interinationalxde Sociologie 27. her excellent typing and endless patience, and to Karen Rare, important, and out-of-print books on Af-
Dieterlen, Germaine. 1957. "Les resultats des missions Kimmons for her organizational skills in preparing the final rican, Primitive, and Ancient art purchased
Griaule au Soudan francaise (1931-56)," Archizves de draft. A very special acknowledgment must be given to my
and sold. Catalogues available on request.
Sociologiedes Religions 3:137-42. research adviser, Mr. Ikponmwosa Osemwegie, who for
Dieterlen, Germaine. 1956. "Parente et mariage chez les numerous hours combed through this material and who di- Please write for further information. Michael
Dogon (Soudan francais)," Africa 26:107-48. rected the course of my field work.
Graves-Johnston, Bookseller, P.O. Box 532,
Griaule, Marcel. 1952. "Le savoir des Dogon," Journal de la Finally, without the participation and cooperation of the
Societe des Africaniistes22:27-42. following people, this work would not have been possible:
London SW9 ODR, England. 01-274-2069.
Griaule, Marcel. 1948. Dieu d'eal: EntretiCesavec Ogotelimeli. Madam Aigbovia, Igiohen (Chief Priest), Oredo Local Gov-
Paris: Editions du Chene. (English ed., Conversationiswith ernment Area (Fig. 22); Madam Igbinesa Eresoyen, Igiohen,
Ogotemmiiieli:An Introduction to DogoinReligious Ideas. Lon- Benin City (Fig. 16); Madam Ighomo Ogbebo, Igiohen, PRECOLONIAL WEAPONS FOR SALE
don: Oxford University Press for the International African Oredo Local Government Area (Figs. 24, 25); Chief Priest Collection of Zairian weapons - first quality.
Institute.) Anthony E. Ogiemwanye, Igiohen, Oredo Local Govern-
Griaule, Marcel. 1938. Masques dogoni. Paris: Institut ment Area (Figs. 17, 20); the late Chief Ehidiaduwa Contact P.O. Box 1357, La Jolla, CA 92038, or
d'Ethnologie. Onaghino, Igiohen, Benin City; Pa Onaiwu Ugiagbe, Benin (619) 456-2971.
Griaule, Marcel and Germaine Dieterlen. 1965. Le renardpale. City (Figs. 21, 23); Chief Priest Uyekpen, Igiohen, Benin City.
Paris: Institut d'Ethnologie. (English ed., The Pale Fox. 1. The information presented in this paper has been gathered
Chino Valley: Continuum Foundation, 1986.) solely from field research. My ongoing investigation into the
Mauss, Marcel. 1968. Oezures. 3 vols. Paris: Les Editions de traditional uses of pattern and decoration in Olokun ritual, Referencescited
Minuit. which began in Benin and its environs in February 1984, has Agheyisi, R.N. 1986. An Edo-English Dictionary. Benin City:
been funded in part by the University of Benin, Benin City, Ethlope Publishing Corp.
ROSEN: Notes, fromlpage 53 Nigeria, through the University Research and Publications Aigbe, E.I. 1985. Edo-English Dictionary. Lagos: Academy
Oklierremiazba oto e i ghi lo: "If a palm tree does not cooperate Committee. Press.
with the ground it will not bear fruit." Without the deep con- I used Agheyisi (1986), Aigbe (1985), Melzian (1937), and A A Dictionaryof the YorubaLanguage.1979. Ibadan: University of
cern and sensitivity shown this work by my excellent re- Dictionary of the Yoruba Language (1979) as orthographical Ibadan Press.
search assistant, Mr. Pius Guobadia, the path would have sources. Gledhill, D. 1979. West African Trees. London: Longman.
been most difficult. Mr. Ademola Williams, lecturer in textiles 2. Though both men and women can be priests, for the sake Imasogie, Osadolor. 1980. Olokun: The Divinity of Fortune.
at the University of Benin, who advised on the interpretation for convenience I shall use the masculine pronoun when re- Ibadan: Tokopa Enterprises.
of illustrations based on my field notes, was also of great as- ferring generally to ohen. Before an ohen can initiate someone Melzian, Hans. 1937. A Concise Dictionary of the Bini Language
sistance, and Dr. Thomas E. Aigbovia, director of statistics for else into the priesthood, he must have gone through a of Southern Nigeria. London: Kegan Paul, Trench, Trubner
the Ministry of Finance and Economic Planning, Bendel third-month ceremony and a third-year ceremony following & Co.
State, offered valuable information and support. I am very his own initiation.
grateful to my colleagues at the University of Benin (UN- 3. White chalk (kaolin) is sold in molded form according to
ALLEN: Notes, from page 63
IBEN) for their continuous support of this project: Prof. S. size and weight. Pieces are presented as sacrificial gifts to the
1. The Swahili coast or Swahili world is generally reckoned to
Irein Wangboje, dean, Faculty of Creative Arts and deputy shrine or river and are also used in prayer; in prayer to Olo-
vice chancellor; Dr. Joseph Nevadomsky, head of cultural stretch from Mogadishu (2?N) all the way to Tunge Bay, a
kun, it is sometimes ground and mixed with salt.
short distance south of Cape Delgado on the Tanzania-
research, Centre for Social, Cultural and Environmental Re- 4. Emaba, an instrument combining a bell and a drum, is no
search; Dr. Foluso Ogbe, Department of Botany; Principal Mozambique border (about 12?S), and to include the Comoro
longer in use. The miniature rattle used in sacrificial river rites
Health Sister Joan Nwuga; and Mr. Makole Azugbene, fac- is also referred to by this name, as is the stick used to beat a Archipelago. The northern border, however, has shifted
southward in comparatively recent times.
ulty officer for Creative Arts. drum.
2. The official account of Napoleon Bonaparte's discoveries
5. This environment encompasses the interior of the shrine,
in Egypt was published in Paris in many volumes between
the compound (surrounding it on the north, south, east, and
1790 and 1814, simply entitled Description d'Egypte.
west), and junctions in roads closest to the shrine. 3. By "Shirazi," I mean following a certain sort of political
6. It is uncertain whether there is a relationship between the
regime whose links with Shiraz in Persia were tenuous (see
description of designs in this myth and the use of iconogra- Allen 1982).
phy in the shrine.
ACKNOWLEDGMENTS 7. The following are some taboos related to Olokun priests:
4. (Greenlaw 1976:103-30). Strictly speaking, this sort of grille
work and fretted decoration is known in Sudan, Greenlaw
a) Those who display the unusual condition of hair growth tells us, as shish, shareikha, or sharfa.
Page: called agbiyagha(hair from the spirit world) are not permitted
5. See N. Bennett's entry on "Furniture" in Encyclopedia
35, 38, 41 Photos: PhotographicServices, to carry loads on their heads; b) Sexual intercourse is forbid-
Britannica1962.
den in the afternoon; c) After sexual intercourse one must
The MetropolitanMuseum of Art bathe before entering the shrine; d) A menstruatingohen may
6. One version of the Swahili Chronicle of nearby Pate Town
refers to Siyu as miji uwamafundi, "town of craftsmen."
39 Photo: Charles Uht not enter her shrine or don protective charms or cloths that
are worn for worship, and in fact she will usually lock her Referencescited
44, 46, 48 (bottom), 50 Photos: Norma Rosen shrine and abstain from any ritual practices; e) It is forbidden Allen, J. de V. 1982. "The 'Shirazi' Problem in East African
Coastal History," in From Zinj to Zanzibar... In Honour of
46-47, 50-53 Drawings: Norma Rosen to visit a mother and her newborn; f) One must not walk un-
derneath a clothesline; g) One must not view or dress a JamesKirkmanon the Occasionof His 75th Birthday, eds. J. de
45, 48 (top), 49, 51, 53 Photos: Phyllis Galembo V. Allen and T.H. Wilson. Published as Paideuma 28:9-28.
corpse; h) Initiation rites may not be discussed with Allen, J. de V. 1979. "Siyu in the 18th and 19th Centuries,"
47 Photos: Gene Ogami noninitiates; i) Because of divination, it may sometimes be
taboo to eat after sunset; j) One must abstain from partaking TransafricanJournalof History, 8, 1.
54 Photo: Michel Pont Bravmann, Rene. 1983. African Islam. Washington, D.C., and
of food and drink that are offered openly at public gatherings.
55, 59 Photos: Richard Todd 8. Afo is cassified as Nekhere, a small spreading plant with a
London.
Freeman-Grenville, G.S.P. 1966. The East African Coast:Select
57 Photo: Jamesde Vere Allen fragrant lavender flower during the dry season; ikhinmwin is Documentsfrom the First to the LaterNineteenth Century. Ox-
Smooth Neubouldia (Gledhill 1979: 53, fig. 90).
58, 60 (left and top) Photos: J. Morley-Smith 9. The description of the deity called Adabi in Melzian's Bini ford.
60 (bottom)Photo: Tom Allfree Greenlaw, J.-P. 1976. ThleCoral Buildings of Suakin. Stocksfield
dictionary (1937:2) parallels the explanation for igha-ede: and London.
61-62 Drawings: Michelle Anderson "ADABI - A deity which stands on the boundary between
heaven and the world. On their way to heaven, people rest a Kirkman, J.S. 1966. Ungwana on the Tana. The Hague.
62 Photo: Prof. Dr. Dr. E. Dammann, courtesy while - ADABI is also worshiped by Olokun priestesses and Miles, S.B. 1966. The Countries and Tribesof the Persian Gulf.
London. 1st ed. 1919.
of Bwana Fadhil Abdulrahmanof Lamu priests." In certain situations one might perhaps regard
Adabi as the spiritual force that operates igha-ede.
63 (left) Photo: David Ponting 10. As explained by Bini historian Ikponmwosa Osemwegie. NUNLEY: Notes, from page 75
63 (right) Photo: Ann Dill 11. Ese can mean an obstacle; sacrifices open life paths that 1. Christine Gait of the Trinidad and Tobago Tourist Board
64-67 Photos: G. I. Jones become blocked by various problems. opened this new window on Carnival for me.
12. Although this song is used in the shrine, its source can be" 2. The Castros became totally committed to this project,
68 Photo: Norton Studios traced to the palm-wine bar. going to Trinidad to experience Carnival for themselves.
13. Daghorome da is a combination of Ishan and Edo lan- They later talked to Mr. Innis Goden, a producer of a radio
69-71 (top), 72 Photos: RobertColbrener
guages. program that highlights West Indian communities in the Bal-
71 (bottom), 73, 75 Photos: Bill Selley 14. Most of the ohen I interviewed were initiated into the timore and Washington, D.C., areas. Von Martin, from
74 Photo: David Levy, Parsons School of Design priesthoods of other deities as well as Olokun. Many were Washington, also advised them about the design of the instal-
also followers of Orunmila, Ogun, Sango, and Eziza. lation.
80 (top) Photo: Anice Hoachlander Medicines that can be aided by the use of igha-ede were Financial help arrived in the form of a generous grant from
80 (bottom), 81 (left) Photos: FrankoKhoury categorized by informants. The first category is ebo, made the Rockefeller Foundation, which matched an implementa-
from various plant substances that are generally macerated tion grant from the National Endowment for the
81 (right) Photo: A. Mewbourn
by hand, then cooked into ashes in an earthenware vessel. Humanities. We were also offered an additional amount for
82 (left) Photo: Marsha Boston The ash is ground on a stone or in a mortar, mixed with gin to the design of the installation.
82 (right), 83 (top) Photos: Bo Gabrielsson form a thick paste, and marked on the client's body through
razor incisions. The second category, ukhunmwun, comprises
83 (bottom)Photo: Feliciano medicine that can be ingested in liquid form. In some in-
84 (top) Photo: Otto E. Nelson stances roots or barks are mixed with native gin in a bottle. The following articles in this issue were accepted for publica-
The third category, oki, is a bath preparation that is generally tion after being refereed by members of the African Arts re-
84 (bottom)Photo: Roman Szechter made from leaves macerated by hand and squeezed with wa- view panel:
85 (left) Photo: PhotographicServices, ter. "Masks and Mythology among the Dogon," page 34
15. Emokpoluwa, a praise name for the priestess's shrine, "Chalk Iconography in Olokun Worship," page 44
The MetropolitanMuseum of Art was spoken while she was dancing in trance during her Olo- "The Kiti Cha Enzi and Other Swahili Chairs," page 54
85 (right) Photo: Pierre-Alain Ferrazzini kun initiation. "A Visit to Ogume in 1937," page 64
88