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Eegun Ogun War Masquerades in Ibadan in the Era of Modernization

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Eegun Ogun War Masquerades in Ibadan in the Era of Modernization Eegun Ogun War Masquerades in Ibadan in the Era of Modernization Bolaji Campbell all photos by the author hen I arrived at the home of Chief Oje- rior masquerade. There was blood, palm oil, alcoholic beverages, tunde Akinleye Asoleke at about 8:50 and water sprinkled all over the floor (Fig. 2) at the portal of the am on June 19, 2007, on the third day of building where the masked performer was soon to emerge for its the Egungun festival in Ibadan, South- highly anticipated procession around the city. A few feet away, western Nigeria, I was informed that the a similar propitiation of oil, blood, liquor, and water annointed leader of the masquerade group, Olori an elevated mound upon which the masquerader was to stand Alagbaa1 had a very pressing emergency. Forty-five minutes before while simultaneously invoking the spiritual powers of Esu Laalu, WAlapansanpa (Fig. 1) was billed to appear in public, Chief Asoleke the divinity of the crossroads and messenger of the gods, and had just received a call from the Divisional Police Officer in charge Ogun, the deity of war and creativity and patron of hunters, war- of Mapo and its environs that unless the contractual papers of riors, and all users of iron implements. The invocation equally authorization allowing Alapansanpa to parade around the ancient involves a recitation of the praise poetry (oriki) and acknowl- city were signed, the masquerade would not be allowed to come edgement of the long line of departed ancestors of this highly out. Consequently, I rode on the back of an okada (a motorbike venerated warrior lineage in Ibadan. taxi), in company of Chief Asoleke, for about a mile to the ances- Alapansanpa is one of the highly revered and dreaded mas- tral home of Alapansanpa in the Kobomoje-Oranyan quarters querades in the city of Ibadan. During the Yoruba civil wars of the old city. Close to two hundred of the teeming supporters (1793–1893), Alapansanpa and many other senior masquerades, of Alapansanpa, together with a huge contingent of policemen, including Oloolu, Abidielege, Agbo Ogede, Atipako (Fig. 3), and armed to the teeth, were already anxiously awaiting the appear- Obadimeji (Fig. 4), collectively accompanied Ibadan warriors ance of the masquerade, oblivious to the power tussle unfolding at on their military campaigns, particularly against the Ijebus and the commencement of this spectacular event. the Egbas to the south and their bitterest enemies, the Ijesas and It was an intensely edgy, utterly nerve-wracking festive atmo- the Ekitis, as well as the Fulani Jihadists stationed at Ilorin to the sphere pervaded with a lot of anxieties. While many people were north (see Johnson 2006). Indeed, Ibadan was initially settled hanging together in small and large groups on the major street as a military outpost and frontier community from around the leading into the area, others were engaged in heated arguments 1820s by various warlords fleeing the social crisis arising from and discussion about the expected appearance of their favorite the disintegration and dismemberment of Oyo Katunga, the last masquerade. There was a lot of hand shaking and back slapping, of the great Yoruba kingdoms. And it was from this location that together with heavy consumption of alcohol, which was invari- these warlords began to unleash a reign of terror on other Yor- ably accompanied by very loud conversations layered with a curi- uba communities for the express purpose of slave raiding and ous admixture of the pungent smell of marijuana and tobacco the control of the trade routes to the coast (Johnson 2006). smoke in the air. Tucked somewhere beyond the main building, Back to our visit; on reaching the ancestral compound of in between some dilapidated structures, was a very plain, nonde- Ogundeji, the Alagbaa instantly made straight for a crowded script building serving as the haven (igbale) for the famous war- room in the igbale to meet the masked performer, who would 42 | african arts SPRING 2015 VOL. 48, NO. 1 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/AFAR_a_00197 by guest on 02 October 2021 141209-001_42-53_CS6.indd 42 12/12/14 3:20 PM 1 Egungun Ogundeji, a.k.a Alapansanpa, June 19, ing the activities of some recalcitrant supporters of the Egungun 2007, Ibadan, Nigeria. cult. Some of the overzealous supporters of the warrior mas- querades often hijack their public appearances as an opportu- nity to rehash old animosities by unleashing a reign of terror on defenseless and vulnerable members of the public, espe- cially people with divergent or contrary political opinion from soon be transformed into an otherworldly entity. Surrounded by theirs. Others merely seize the opportunity to pick the pockets of several attendants in states approaching semi-consciousness or unsuspecting or careless onlookers at the spectacular events. On in a trancelike position, a man was lying on the floor. After some this day, the council of masked performers, in collaboration with heated exchanges between the attendants and the Alagbaa, the the police, had reached an agreement to imprison, for a period of masked performer finally appended his signature to the contro- six months, any erring member of their group who contravened versial documents, and we immediately left the scene. the laws. Nobody in the entourage of the masquerade could Unlike the other masquerade groups that had previously vis- brandish any weapons, including cudgels, knives, cutlasses, and ited the home of the Alagbaa to sign the contractual papers of guns. Additionally, any member of the public who sought to authorization in readiness for their public appearance and pro- restrict the activities or disrobe a masked performer would simi- cession, members of the Alapansanpa group had not done that. larly be sent to prison. In a remarkable twist of irony, the same This complex interchange mirrors in remarkable manner the apparatus of the state previously derided and ridiculed by the dynamics of power between several contending forces in mod- Egungun cult is now enthusiastically embraced while curtailing ern Yoruba society. In one breath, it appears that a progressive, excessive use of brute force wielded by the leaders of some of the peace-loving, and educated leader of the masquerade group, Egungun groups. The agreement went a long way in restraining whose father was a member of the Nigeria Police, had deliber- the entourage, although ultimately a few errant members were ately created this bureaucratic bottleneck as a means of curtail- arrested and subsequently thrown in jail. The present arrange- VOL. 48, NO. 1 SPRING 2015 african arts | 43 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/AFAR_a_00197 by guest on 02 October 2021 141209-001_42-53_CS6.indd 43 12/12/14 3:20 PM 2 Sprinkle of blood at the portal of the building, June 20, 2007, Ibadan, Nigeria. ment demonstrates ways in which collaboration between agents THE MYSTERY OF AGAN of the State, represented by the police, and the old, typified by By reenacting some of these rituals, particularly during the the Egungun cult, fosters peaceful coexistence and cooperation public procession and performances of Egungun, we are instantly in modern Yoruba society. reminded of the myth of origin at the staging of the first masquer- My goal in this essay is, first, to demonstrate ways in which ade performance, when Agan, the embodiment of the material masquerading is used as a weapon of social control through mili- remains of the deceased ancestor, was mysteriously brought back tary aggression and conventional warfare. In spite of its hallowed from the bush into the human community for remembrance and connection to ancestral veneration, Egungun masquerading was celebrations. Despite some of the changes precipitated in recent an important cultural phenomenon purposefully deployed by times by radical, overzealous strains of Islamic fundamentalists the Oyo-Yoruba for the prosecution of the wars of the nineteenth and the equally passionate brands of fervent Christian Evangelism century. Secondly, I intend to critically examine the costumes of within Yoruba social and religious landscape, there is a continuous the masked performers and argue that those costumes constitute and sustained interest in the annual rituals of Egungun celebra- explicit sources of spiritual powers specifically devised as mili- tions in many Yoruba communities. tary armors for the physical and psychological protection of their Conceptualized as a mysterious cloth used in retrieving the users. In this way, I hope to add to the growing body of literature relics of the famed monkey Ero,2 as contained in Odu Owonrin on a tiny but neglected aspect of Yoruba visual culture, hitherto Isanyin in the Ifa divination corpus as well as in Oriki Igbori,3 unexamined in the annals of Yoruba social and cultural history. Agan is usually symbolized as a piece of cloth, often placed on 44 | african arts SPRING 2015 VOL. 48, NO. 1 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/AFAR_a_00197 by guest on 02 October 2021 141209-001_42-53_CS6.indd 44 12/12/14 3:21 PM the sacred altar of Egungun, or simply as part of the panoply of falling upon trees and there was a tornado as part of the con- materials attached to the mobile sculpture—a tradition which stellation of mysterious climatic events in the environment. continues in several Yoruba communities today. These relics Therefore, the warrior masquerades’ intention of creating an are not just considered sacred but are indeed terrifying. Conse- atmosphere
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