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The Arts of Egungun among Yoruba Peoples Author(s): Henry John Drewal Source: African Arts, Vol. 11, No. 3 (Apr., 1978), pp. 18-19+97-98 Published by: UCLA James S. Coleman African Studies Center Stable URL: http://www.jstor.org/stable/3335409 Accessed: 27-10-2016 14:33 UTC

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This content downloaded from 141.213.142.215 on Thu, 27 Oct 2016 14:33:03 UTC All use subject to http://about.jstor.org/terms The Arts of Egungun among Yoruba Peoples

gungun masquerades are elaborate ensembles of masked figure. At the basis of this definition is the belief in the cloth and other media that pay homage to forces affecting presence of some supernatural force. As the the living. The widespread distribution of Egungun throughout historian Rowland Abiodun has suggested, the term egungun, and the variety of its visual forms (even within ina its essence, refers to "powers concealed." The term single community) require the combined efforts of scholars egungun as supernatural power concealed may explain why working among various Yoruba subgroups. The collection of some informants at say that egungun are masquerades essays that follows brings together the material, perspectives, representing orisa (gods), while others state that they are the and perceptions of different researchers examining Egungun "incarnated spirit of an ancestor" (see Poynor). Among Oyo within specific communities. Our common objective is toand Egbado Yoruba, some informants speak of the masquerade provide a more comprehensive and precise classification of as their orisa, but this is probably in the sense of "something masquerade types. Contributors were asked to present worshipped" rather than as a personified force such as Sango typologies for their study areas in addition to considering other or . On the other hand, the distinction between gods and aspects of particular interest to them. ancestors is not always clear. For example, the orisa Sango The results, despite the different methodologies employed, (god of thunder) is also a deified ancestor said to have reigned indicate significant variations throughout Yorubaland and, atas King () at Oyo-Ile. What seems more important, the same time, some intriguing similarities. For example, the however, is that both gods and ancestors are regarded as ara Egungun type called paka (paaraka) in Iganna (Schiltz) has orun, "beings from beyond," whose power and presence can swirling panels of cloth suspended from a horizontal stick, be invoked by the living. These are some of the concepts while in Ila-Orangun (Pemberton), paaka are masqueraders for embodied in the term egungun, supernatural power concealed. lineage ancestors having carved headdresses, skins, mirrors, In contrast, the term Egungun, while within the broad packets of medicine, etc. In Ilaro, there are no paka, and the category of egungun, refers more specifically to the masking term is recalled only as an ancient name for all Egungun. Such tradition generally attributed to the Oyo Yoruba and associated comparisons, when systematically studied, may yield impor- with the honoring of ancestors. One Yoruba scholar explains tant information about the origins and development of this the term as ". .. strictly applicable to masquerades found complex masking tradition. Particularistic studies when among Oyo sub-ethnic groups in Oyo, Ibadan, and Osun viewed together validate generalizations about Yoruba art and provinces. This type is also found in areas which at one time or indicate the extent of artistic homogeneity and diversity among another came under the political suzerainty or cultural influ- various Yoruba peoples. Existing among all Yoruba sub- ence of " (Ojo 1974:46). Another states that the groups, Egungun is thus an appropriate subject for comparative masquerade known as Egungun Oyo is "connected with analysis. ancestral worship" (Olajubu 1977:174). The classification of Egungun types, which might appear to Most writing associates Egungun with the ancestors, but be a fairly straightforward task, is in fact an extremely complex what is the precise nature of this relationship, especially in the problem involving the comprehension of indigenous light of informant testimony linking Egungun with orisa in taxonomies. The contributors recognize the difficulties: the certain areas. While some Oyo Yoruba oral traditions link the problem of distinguishing between personal Egungun names origin of Egungun with the institution of "ancestor worship" and generic terms for types (Schiltz; Houlberg, p. 56; Drewal during the reign of Alaafin Sango (Adedeji 1969), informants & Drewal); the problem of determining "sets" where one often specify that only some masqueraders, but by no means masquerader may be regarded as within several type categories all, are literally "for the ancestors." Only those Egungun simultaneously (Schiltz); the practice of "layering," in which prepared for an ancestor (or ancestors collectively) and called a masquerader wears one costume type over another and Baba (Father) or Iya (Mother) are said to be, strictly speaking, changes these during performance (Drewal & Drewal); and the for the ancestors. They may be of any type. Others (probably variety of criteria used to classify Egungun as well as the range the majority) are for the ancestors in the sense of their being of variations within type categories. Such factors demonstrate part of the Egungun society and thus partaking of the spiritual the complexity attending the analysis of indigenous power of the forebears. Their presence honors ancestors by taxonomies and the classification of masquerade types. These serving as evidence of a descendant's commitment to continu- same difficulties arise in the definition and use of the term ing the traditions of his predecessors and maintaining the Egungun itself. reputation of his lineage. The definition of Egungun involves a number of fundamen- It is in this context that one can understand how Egungun tal linguistic, philosophical, and historical considerations. At masquerades honor ancestors and at the same time serve as the outset, a distinction must be made between the terms important status symbols for the living. A continuous and egungun and Egungun, which have often been used inter- reciprocal relationship unites those from beyond (ara orun) changeably in the literature. In its broadest sense, egungun and those in the world. An individual exists because he/she is (egun, eegun, egigun, eigun) refers to any masquerade or part of a larger corporate entity, especially the idile, or lineage.

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'?i???R?::.....-:::-i;l:i',....'. - ?. I I.. - -, .."... .'.":.: .0 ? ,'?"::ii.,*.%??:.i, - , ?? A .I-..?,'p , -?K, **, ,? ??-..'., - , .,'i-% ??.. , .1- ,'?-". , ??_ -:I *'?..", -:.:&_.:_:.-?" I'. :?:.?.1. I ':..??':_...?" .1.?-.:.?- ? .:'j:?:! ''..?,??!?:?'.?:i::.:_?:: 'N ."...... :.:*i?- ,:.?I!;- ??i???:::??:'.... _ ,.i?4.. .;? - :_ " . . .. _ . -'i?*"X ... .. 'w ".... 2'??E:... ?'?_.' m . '?-"`...... -...... ::*;X?: ...... - ,???& :' ?.';?,.?_??--.: ,. '.-I-I.- ..?' .:n A .??. .1, ,:??:::.' .. :,.,:;,?k,:?.?:::.:::j. - .., : ,-.'.", . ?'? " xM. ? ,..':MM .M.,.?e ' .I..M .':,. .1?".?.'4!.... ,. ?-?'::::'.? ._ .."',_.f.'W 1 ?. ?'?.:?':.;r,-.M .::e ,. ' .?;._"?-. . I. .. I6-? ? .. '?'-- * ..... - ?'. ": . ,. .. .:'... I ...... ,..?: ,. ,?:?..I- . ? ..-I I g! ??x ?i."."i?:?:-'.'i'::i.. .. ,:.: . i-?- . ?', .;;;?-?. ??.. ?:::?.? ... .?? ?? ?. ? . :.?---'-..::j:,:' ' I :'?:?:???,::,i???:::??:?.?.?:?,?.'.?.?,?,.?il.,::,?:??.:;?::?.:?, ??.':??::.','?:j:x, . '?., :: .?: .?.. ,- ?';;;:'.-l:. In 'm .?:... ?:?.?iS "', .'.'... ?- ,??:. ".1 , '' ..::. ?.. '....' -'.?.,,.. ??:_, .." .?? ?'._?,::._:?i:::?.':'. ]:'.:l. .. I w - I.-. .?, -. .!?_,?il ?_ ?..: I.. - ' -?i?z::P.I_ . ...l,:.:- '..":?":. 1 ..:?? ? ...... :. .''."., .... ? ::?:.'_?' x:??.._?i :'.?'. ._-.. .. 1. ... ? .... ?.. , ". -."':N:.?F:_,.: ,.

The idile includes all Orangun persons, (Pemberton) and Ijebu-Remo whether Egungun (Houlberg, p.deceased or living, who trace their origin to 20) appear a tocommon be strongly influenced byprogenitor. Oyo practice imbued Membership in an idile fixes an individual with other elements. in The time area that is probablyand outside space. the Oyo It gives the person a deep sense of belonging, tradition and clearly of the combination purpose-a of many cultural influ- concept of self that is seen in terms of an unbroken chain of existence. One needs ences (both Yoruba and non-Yoruba) is Owo (Poynor), and it is only to witness the emotion, the swelling of pride, evident for this reason the broader generic term egungun has been used when a person's lineage praise poem (oriki orile) is recited, in for that study. The bibliography accompanying this collection of it is at such a moment that one senses self in the presence essaysof all consists of works cited by each contributor together who have gone before. What one achieves in one's life (status, with other selected sources containing useful information on prestige, wealth, etc.) is not seen as a totally personal Egungun. achievement, but rather something that glorifies the corporate These essays on the arts of Egungun present new descriptive entity. A lavish Egungun, then, magnifies the importance and ofanalytic data based upon extensive field research in both its owner and his lineage (idile). The layers of exquisite different parts of Yorubaland. They offer a variety of ap- fabric are like a materialization of the eloquent verses of proaches the to the study of indigenous classifications, suggesting lineage praise poem; they are praise to the idile members thatboth no single system applies to all Yoruba groups, and that living and dead. more than one system may operate in a single area. In Within this general discussion of Egungun, the essays revealing may the complexities of Egungun, this collection demon- be grouped in the following way: the studies of Iganna (Schiltz; strates the need for comparative studies as one way to develop Houlberg, p. 56), Ilaro (Drewal & Drewal) and Egungun and test generalizations about Yoruba art and culture. 0 poetry (Adedeji) are clearly within the Oyo tradition; Ila- Bibliography, page 97

19

This content downloaded from 141.213.142.215 on Thu, 27 Oct 2016 14:33:03 UTC All use subject to http://about.jstor.org/terms EGUNGUN BIBLIOGRAPHY Abraham, R. C. 1958. Dictionary of Modern Yoruba. London: University of London Press, Ltd. Adedeji, J. A. 1969a. "The Alarinjo Theatre: The Study of a Yoruba Theatrical An from its Origin to the Present Times," unpublished Ph.D. dissertation, University of lbadan. Adedeji, J. A. 1969b. "Traditional Yoruba Theatre," African Arts 3, 1:60-63. Adedeji. J. A. 1970. "The Origin of the Yoruba Masque Theatre: The Use of Ifa Divination Corpus as Historical Evidence," Afri- can Notes 6. 1:70-86. Adedeji, J. A. 1972. "The Origin and Form of the Yoruba Masque Theatre," Cahiers d'Etudes Africaines 12, 46:254-276. Adedeji. J. A. 1973. "Trends in the Content and Form of the Opening Glee in Yoruba Drama," Research in African Literature 4, 1:32-47. Ajisafe, A. K. 1924. Laws and Customs of the . London: Routledge. Akintoye, S. A. 1969. "The Northeastern Yoruba Districts and the Benin Kingdom," Journal of the Historical Society of 4, 4:539-553. Ashara, Chief M. B. 1951 . History ofOwo. Owo: Moonlight Press. Babalola, S. A. 1966. The Content and Form of Yoruba Ijala. Oxford: Clarenden Press. J. A. Babaloloa, S. A. 1967. Awon Oriki Orile. London: Collins. Bascom. W. R. 1942. "The Principle of Seniority in the Social Structure of the Yoruba." American Anthropologist 44, 1:37-46. Bascom, W. R. 1944. "The Sociological Role of the Yoruba Cult- Group," Memoirs of the American Anthropological Association 63:5-76. Bascom, W. R. 1969a. Ifa Divination. Bloomington: Indiana Uni- versity Press. Bascom, W. R. 1969b. The Yoruba of Southwestern Nigeria. New York: Holt, Rinehart and Winston. Beier, U. 1956. "The Egungun Cult," Nigeria Magazine 51:380- 392. 1. BATEKE, 18" 2. IBO, 50" 3. AKAN, 16" Beier, U. 1958a. "The Egungun Cult among the Yorubas," Pre- sence Africaines n.s., 18-19:33-36. Beier, U. 1958b. "Gelede Masks," Odu 4:5-23. caveat emptorT Beier, U. 1959. A Year of Sacred Festivals in One Small Yoruba Town. Lagos: Nigeria Magazine. Beier, U. 1964. "The Agbegijo Masqeraders," Nigeria Magazine Watch for these stolen objects! 82:189-199. Ben-Amos. P. 1976. "Men and Animals in Benin Art," Man n.s., 1. Bateke standing male figure, wood, 18"; 2. Ibo 2:243-252. male figure, wood, 50"; 3. Akan figure, wood, 16"; Biobaku, S. O., ed. 1973. Sources of Yoruba History. Oxford: Clarenden Press. 4. Bakongo seated male figure, wood, 12". Stolen Bradbury, R. E. 1973. Benin Studies. London: Oxford University from Mr. & Mrs. Joseph Goldenberg, Los Angeles, Press. on September 24, 1977. Write to 824 E. 29th Street, Cabrera, L. 1954. El Monte: Igbo Finda Ewe . Vitintinfinda, Havana: Ediciones C & R. Los Angeles, California 90011, or telephone Mr. Carroll, K. 1956. "Yoruba Masks," Odu n.s., 3:3-15. Goldenberg at (213) 232-4241 or 472-8702 . Carroll, K. 1967. Yoruba Religious Carving. London: Geoffrey Chapman. 5. Gere mask, 10'2". Stolen from Pace Gallery, New Clapperton, H. 1829. Journal of a Second Expedition into the Inter- ior of Africa. London: John Murray. York City. Write to Bryce Holcombe, Pace Gallery, Cole, H. M. 1970. African Arts of Transformation. Santa Barbara: 32 E. 57th Street, New York, NY 10022, or tele- University of California. phone (212) 421-3292. Cole, H. M. and D. H. Ross. 1977. The Arts ofGhana. Los Angeles: Museum of Cultural History, University of California. 6. Marka mask, wood, metal, I 11" high. Stolen from Cordwell, J. 1952. "Some Aesthetic Aspects of Yoruba and Benin Cultures," unpublished Ph.D. dissertation, Northwestern Uni- Dr. Ralph Maercks, Coconut Grove, Florida, on Feb- versity. ruary 10, 1977. Write to Dr. Maercks at 2298 South de la Burde, R. 1973. "The Ijebu-Ekine Cult," African Arts 7, I: 28-33, 92. Dixie, Coconut Grove, FL 33133, or telephone (305) Delano, 1. 1937. The Soul of Nigeria. London: T. Werner Laurie, 858-1156. Ltd. 4. BAKONGO, 12" Delano, 1. "The Yoruba Funeral Ceremony," Odu 5:25-27. dos Santos, J. E. and D. M. 1969. "Ancestor Worship in Bahia: The Egun-Cult," Journal de la Sociit des Americanistes n.s., 58:79-107. Drewal, H. J. 1974. "Efe: Voiced Power and Pageantry," African Arts 7, 2:26-29, 58-66, 82-83. Drewal, H. J. 1975. "African Masked Theatre," Mime Journal 2:36-53. Drewal, H. J. 1977. Traditional Art of the Nigerian Peoples. Washington, D.C.: Museum of African Art. Drewal, H. J. forthcoming. "Art and the Perception of Women in Yoruba.Culture," Cahiers d'Etudes Africaines. Drewal, H. J. forthcoming. "Pageantry and Power in Yoruba Ritual Costuming," in The Fabric of Cultures: The Anthropology of Clothing and Body Adornment. J. Cordwell,ed. The Hague: Mouton. Drewal, M. T 1977. "Projections from the Top in Yoruba Art," African Arts I1, 1:43-49, 91-92. Durkheim, E. 1933. The Division of Labor in Societ" New York: Macmillan Co. Fadipe, N. A. 1971. The Sociology of Yoruba. lbadan: lbadan University Press. Forde, D. and P M. Kaberry. 1969. West African Kingdoms in the Nineteenth Century. London: Oxford University Press. Gbadamosi, B. and U. Beier. 1959. Yoruba Poetry. lbadan: Ministry of Education. Gilliland, W 1960. "Egungun Eshishe," Man 60:122-123. Gilliland, W. 1961. "The Yoruba Cult of Egungun," unpublished M.A. thesis, The Kennedy School Missions, Hartford, Connec- ticut. Gluckman, M. 1959. Custom and Conflict in Africa. Glencoe: The Free Press. Goody, E. 1970. "Legitimate and Illegitimate Aggression in a West African State," Witchcraft, Confessions and Accusations, M. 5. GERE, 101/2" 6 MARKA. 11"

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This content downloaded from 141.213.142.215 on Thu, 27 Oct 2016 14:33:03 UTC All use subject to http://about.jstor.org/terms Douglas, ed. London: Tavistock Publications. Thompson, R. F. 1975. "Icons of the Mind: Yoruba Herbalism Arts businesses. These performances follow the funeral commemoration Hall, K. R. L. 1965. "Behavior and Ecology of the Wild Patas in Atlantic Perspective," African Arts 8, 3:52-58, 89, 90. format. Hugh Clapperton (1829:53-56) witnessed one at Old Oyo in Monkey, Erythrocebus Patas, in Uganda," Journal of the Zoolog- Tidjani, A. S. 1954. "La Danse des Egoungoun," Tropiques 1826 which, judging by his description, exhibits striking similarity ical Society of London 148:15-87. 368:29. to the ones currently being performed in Egbado. Hams, M. L. 1973. "The Yoruba Egungun Masquerade: A Study of Verger, P. 1957. "Notes sur le Culte des Orisa et Vodun i Bahia, La 11. The form and content of onidan's invocation is very similar to Ritual Symbols," unpublished M.A. thesis, Boston University. Baie de Tous les Saints au Bresil et h l'Ancienne C6te des Esclaves that of the principal masquerader in Efe/Gelede, Oro Efe. See H. J. Harper, P. 1969. "Dance in Nigeria," Ethnomusicology 13, 2:280- en Afrique," Memoires de I'I.F.A.N. 51. Drewal (1974:59-61). 295. Verger, P. 1965. "Grandeur et Decadence du Culte de Iyami 12. The mortar (odo) is an important symbol for both Egungun and Houlberg, M. 1973. " Images of the Yoruba," African Arts 7, Osoronga,'"Journal de la Sociiti desAfricanistes 35, 1:141-243. Sango, the thundergod. Sango's storm is likened to the sound of the 1:20-27, 91-92. Verger, P. 1967. Awon Ewe Osanyin, Yoruba Medicinal Leaves. : pestle pounding in the mortar. In the town represented by this study, Houlberg, M. 1975. "Collecting the Anthropology of African Art," Institute of African Studies, University of Ife. mortars are said to attract lightning if left upright, and scrapings from African Arts 9, 3:15-19, 91. Walsh, Rev. M. 1948. "The Edi Festival at Ife," African Affairs 47, the interior are used to make medicines. Sango initiates sit upon "Igogo Festival." 1963. Nigeria Magazine 77:90-104. 189: 231-238. inverted mortars as their heads are prepared with vital substances to Johnson, S. 1969. The History of the Yorubas. Lagos: The C.S.S. Willett, F 1971. African Art. New York: Praeger. allow them to receive the spirit of their deity during possession Bookshop (1st published 1921). Editor's note: For comparative purposes, the reader is also referred trance. According to McKenzie (1976:15-16) the mortar "sym- Lawal, B. 1977. "The Living Dead: Art and Immortality among the to an article on Egungun masquerades published after the manu- bolizes the containment of the hard thrust of the pestle thrown down Yoruba of Nigeria" Africa 47, 1:50-61. scripts were submitted for this special issue of African Arts: "Some violently upon it." The mortar then alludes to power and resiliency. Lima, J. n.d. "A Festa de Egun," Folk-Lore Baiano, pp. 5-14. Aspects of Oyo-Yoruba Maquerades," by Chief Oludare Olajubu Inverted figurated mortars in Sango shrines support the major sym- Lloyd, P. C. 1954. "The Traditional Political System of the and J. R. O. Ojo, in Africa 47, 3 (1977). bol of the god's power, the thundercelt (edun ara), just as the inverted Yoruba," Southwestern Journal ofAnthropology 10, 4:336-384. mortar containing medicines supports and protects Egungun onidan Lloyd, P. C. 1955. "The Yoruba Lineage," Africa 25:235-251. DREWAL & DREWAL, Notes, from page 39 during his invocation. Lucas, J. O. 1948. The Religion of the Yorubas. Lagos: C.M.S. 1. Research for this essay, conducted in the central Egbado town 13. of A bata ensemble normally consists of four drums, three of Bookshop. Ilaro in 1975 and 1977, is based upon observation of five Egungun which have double membranes and are suspended horizontally from Maclean, U. 1971.Magical Medicine, A Nigerian Case Study. Lon- funeral commemoration performances, a complete film documenta- the drummer's necks. The large head (ojuojo) is played with the right don: Penguin Books. tion (Super 8 sound), and interviews with specialist informants. hand, This while the small head (asasa) is beaten with a leather thong McKenzie, P. R. 1976. "Sango: A Traditional Yoruba Cult-Group," analysis should not be assumed to apply to all of Egbado. We wish (awo). to The lead and largest drum of the ensemble is the iyalu (the Africana Marburgensia 9:3-33. thank the Institute for Intercultural Studies, Cleveland State Univer- mother drum). It, together with the omele abo (female omele), Meyerowitz, E. L. R. 1943. "Wood-Carving in the Yoruba Country sity and the National Endowment for the Humanities for financial approximates the tones of the Yoruba language to speak. The third Today," Africa 14:66-70. support; the Institute of African Studies of both the University of drum,Ife the omele ako (male omele), establishes the rhythm but does Morton-Williams, P. 1956. "The Egungun Society in South- and the University of Ibadan for providing research affiliations; not speak, and the kudi, the smallest and only single-membraned Western Yoruba Kingdoms," Proceedings of the Third Annual Raimi Akaki Taiwo, Omo Kulodo and Egungun member, for drum, re- fills in a rapid baseline beat and is played with two long, thin Conference of the West African Institute of Social and Economic search assistance; and Adesina Taiwo (also an Egungun member), sticks by a junior drummer. Research. pp. 90-103. the Onibata, and the titled elders of the Egungun cult for their14. Aluwasi rhythms open any ritual for gods who are considered in Morton-Williams, P. 1960. "Yoruba Responses to the Fear of cooperation and friendship. this area to be "on bata side," such as Sango, , Osun, Ogun, Death," Africa 30, 1:34-40. 2. The generic types of Egungun that follow should not be confused Eyinle, and Orisa . In other areas, however, this may vary Morton-Williams, P. 1964. "An Outline of the Cosmology and Cult with the personal names given to specific masqueraders by theirsignificantly, and other drums and rhythms dominate. Organization of the Oyo Yoruba," Africa 34, 3:243-261. owners. For example, a masquerader of the generic type known 15. as Gbogbo mariwo e tu wo lori iwo yaa eru owo. Murray, K. C. 1949. Masks and Headdresses of Nigeria. London: onidan may be called by one or more praise names, oriki, such 16.as The same layering of masquerade types occurs in Pobe, Benin, The Zwemmer Gallery. Ajobiewe, "The-One-Who-Dances-Like-a-Leaf," an apt image among for Anago Yoruba: the main performer onidan parades to the Ogunba, O. 1967. "Ritual Drama in Ijebu Ode," unpublished Ph.D. one whose flowing costume flutters as it whirls. The particular arena covered in costly cloth, monkey fur, and appliqued panels dissertation, University of Ibadan. circumstances surrounding an Egungun's creation may determine suspended from a carved wooden platform. Upon arrival, he sheds Ogunniran, L. 1972. Eegun Alare. Lagos: Macmillan Nigeria, Ltd. personal names,as with the birth of some Yoruba children. this One outer costume to reveal a close-fitting garment with a tunic and Ojo, J.R.O. 1974. "Epa and Related Masquerades among the Ekiti alabala type is named Ogunpari, "The-War-Has-Ended," since cowrie-studded it apron and begins to perform "miracles." The cos- Yoruba of Western Nigeria," unpublished M. Phil. thesis, Uni- was completed just as the Nigerian civil war stopped. Another tuming is of the Pobe onidan and the kinds of miracles he performs are versity of London. called Ajofoyinbo, "One-Who-Dances-for-the-Whiteman," quitebe- different from the Egbado examples. Olajubu, O. 1972. Akojopo Iwi Egungun. Ibadan: Longman Nigeria, cause its first performance was for avisiting colonial official. A third17. One titled elder in this cult claims to have an onidan with more Ltd. is known as B'ebo, "Sacrifice," for, when a child was born, the than Ifa thirty "miracles." Olajubu, O. 1977. "Iwi Egungun Chants-An Introduction," oracle instructed the parents to make an Egungun masquerader. Upon18. Ulli Beier (1964: 194-195) was told that the dancing mat, called Forms of Folklore in Africa, ed. B. Lindfors. Austin: University its completion, the Egungun carried a sacrifice to the shrine of Esu Fafato in Osogbo, is an imitation of Agemo, the Ijebu masquerade. of Texas Press, pp. 154-174. ensure the child's well-being. Personal names therefore relate Marilyn in Houlberg, who has witnessed Agemo, confirms that indeed Olney, J. 1973. Tell Me Africa. Princeton: Princeton University some way to the lives of Egungun members and identify masquerad- the idan of Egungun called Alagemo in Egbado is quite similar to the Press. ers with specific owners, whether individuals or groups within Ijebuthe masquerade. She notes, however, that the ones she saw ap- Oyinloye, S. A. 1966. "Egungun Festival in Oro," unpublished cult. They further reflect the fact that masqueraders of the samepeared to have two people inside since the mat was 1.5 to 1.8 meters M.A. thesis, Ahmadu Bello University. generic type are visually distinguishable. long. Personal communication, August 1977. Pemberton, J. 1975. "-Elegba: The Yoruba Trickster God," 3. The wife of the Olo'gbin of Ogbin was raped by a gorilla (ero), 19. This same ritual fashion also persists today in the Yoruba- African Arts 9, 1:20-27. and she gave birth to a hybrid son named Ijimere, who became derived the cults of Bahia, Brazil, known as candomble. Peterson,J. 1969. Province of Freedom: A History of Sierra Leone first Egungun masquerader. Collected by Joel Adedeji at Iwo. For the 1787-1870. Evanston: Northwestern University Press. full myth, see Adedeji (1970:71-73). 20. The mask of the Dahomean as well as Prostitute and Drunkard Picton, J. 1974. "Masks and the Igbirra," African Arts 7, 2:38-41. 4. Itan Ifa collected from Adesina Taiwo, central Egbado town, are carved in classical Awori style, most probably from the Awori Plass,M. 1956. African Tribal Sculpture. Philadelphia: The Univer- October 1975. capital of Otta. Their presence in this Egbado community suggests a sity Museum. 5. Iba Iyaagan ko bi dudu gbogbo omo lo fi bi pupa. number of factors affecting art in Yorubaland: 1) some artists had Poynor, R. 1976. "Edo Influence on the Arts of Owo," African Arts 6. Adedeji (1970:74) refers to the masquerader as "Labala." widespread reputations for excellence and may have received com- 9, 4:40-45. 7. Iba pelebe owo, iba pelebe ese, iba atelese ti ko hu irun ti ofi demissions from distant places; 2) some may have traveled widely (and Prince, R. 1961. "The Yoruba Image of the Witch," The Journal of ojugun. regularly) as itinerant artists (cf. K. C. Murray cited in H. J. Drewal Mental Science 107, 449:795-805. 8. For comparable ideas in Benin, see Ben-Amos (1976:245 and 1977:8); and 3) it is not unusual to find ritual objects from one Schwab, W. B. 1955. "Kinship and Lineage among the Yoruba," note 6). Yoruba subgroup being used in another, thus making the definition of Africa 25:352-374. 9. This patchwork facing is associated with the plant known as koko style areas extremely difficult. Smith, R. 1965. "The Alafin in Exile: A Study of the Igboho Period abalaiye, a variety of caladium whose green to yellow leaves have 21. The Yoruba, referring to the cattleherding of the Hausa, say in Oyo History," Journal of African History 6, 1:57-77. bright red and white patches. Koko abalaiye is said to be found on "Gambari-runama-de,eron gberan de," ("An animal has brought Talbot, P. A. 1926. The Peoples of Southern Nigeria. Vol. 3. every "proper" Egungun shrine and concealed within the mas- an animal") (Abraham 1958:228). London: Oxford University Press. querade cloth. A well-known Egungun song states, "Don't let the 22. Olokiti, the tumblers, were not seen in any of the three funeral Thompson, R. E 1971. Black Gods and Kings: Yoruba Art at UCLA . koko leaf tear, it is koko we use to signify oje [Egungun]." In other commemorations in which they are said to take part and thus are not Los Angeles: University of California Press. words, don't let the Egungun cloth tear and expose the secret. included in our discussion other than to note their place in the Thompson, R. F. 1974. African Art in Motion. Los Angeles: Univer- 10. Other performances may be commissioned for special occasions typology. Cult members indicated that the olokiti are not as common sity of California Press. such as visits from dignitaries, arts festivals, and openings of here as they were in the recent past because their work is dangerous.

NIGHT LAST NIGHT OPENING FIRST DAY SUCCESSIVE WEEKENDS (NUMBER FLEXIBLE) DAY LAST EVENING CLOSING Agan baba parikoko onidan onidan onidan onidan Orejo egun obirin (iyamako) Aranta I b alabala L idan alabala ' L idan L idan ' L idan if title I alabala Ologbojo I I I a attended tobe attended I by Alagemo by with attendants given I by I egunelegba I egun elegba egun elegba others on Eja same day -olokiti Ekun -olokiti - olokiti elebiti Elelegba elebiti eleere Eleyinle leyinlesame L eleere many day on Asewo

Elemu varies considerably in I character, number and order Idahomi DIAGRAM 1: MASQUERADE TYPES Idahomi AND FESTIVAL CHRONOLOGY, ILARO others Iyawo

t funeral commemoration unit -

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