A Famous Queen Mother from Benin

Total Page:16

File Type:pdf, Size:1020Kb

A Famous Queen Mother from Benin FAVORITE OBJECT A Famous Queen Mother from Benin BY HEATHER J. SHARKEY THE QUEEN MOTHER, or “Iyoba,” was a goods to raise money, which is how they were powerful figure in the Edo kingdom of Benin, scattered into museums and private collections. which ruled parts of the West African coast In 1920, the Penn Museum bought for seven centuries. this statue from William Oldman, a British Starting in the 16th century, the kings or antiquities dealer who also sold objects “obas” of this realm appointed craftsmen to from Pacific islands like New Zealand, New make figurative sculptures and reliefs from Caledonia, and New Guinea. About 4,000 cast bronze and carved ivory. Installed in items from the Museum’s Africa and palace shrines, these figures exalted past Oceania sections came from this dealer. obas and their mothers, along with the As one of the great Benin Bronzes, chiefs and warriors who helped them. the statue of the Queen Mother is a The Penn Museum’s iyoba shows world-class work of art. More than the first and most famous queen 300 years after a royal metalsmith mother, Idia, whose son Oba Esigie poured her likeness in bronze, ruled from 1504 to 1550. Idia was and a century since Philadelphia legendary. She raised an army of became her new home, the Iyoba her own and used medicine and Idia has the beauty and strength magic to defeat her son’s enemies. to stop visitors in their tracks Probably cast around 1700, this as they pass. sculpture shows her wearing the conical, curved headdress of royalty, Heather J. Sharkey, Ph.D., is Professor of along with four vertical scars above Middle Eastern and Islamic History at the each eyebrow, which mark her as female. University of Pennsylvania. The Kingdom of Benin fell in 1897, when British forces launched WHAT IS YOUR FAVORITE OBJECT? a “punitive expedition” against it. We encourage you to tell us about your Amid the European “scramble” for favorite Penn Museum object and why Africa, this invasion enabled Britain you like it. Essays should be about 300 to secure a strategic section of the words. Write the editor at jhickman@ coast and forge what we now call upenn.edu for more information or Nigeria. This expedition also en- to submit your essay. abled British forces to seize several left: This statue of the Benin thousand objects from the oba’s Queen Mother named Idia was compound. The Foreign Ofce cast in bronze using the lost wax process, PM object AF5102. You in London later auctioned of the will find her in the Africa Galleries. 82 EXPEDITION Vol. 61 | No. 2.
Recommended publications
  • Benin Kingdom • Year 5
    BENIN KINGDOM REACH OUT YEAR 5 name: class: Knowledge Organiser • Benin Kingdom • Year 5 Vocabulary Oba A king, or chief. Timeline of Events Ogisos The first kings of Benin. Ogisos means 900 CE Lots of villages join together and make a “Rulers of the Sky”. kingdom known as Igodomigodo, ruled by Empire lots of countries or states, all ruled by the Ogiso. one monarch or single state. c. 900- A huge earthen moat was constructed Guild A group of people who all do the 1460 CE around the kingdom, stretching 16.000 km same job, usually a craft. long. Animism A religion widely followed in Benin. 1180 CE The Oba royal family take over from the Voodoo The belief that non-human objects Osigo, and begin to rule the kingdom. (or Vodun) have spirits or souls. They are treated like Gods. Cowrie shells A sea shell which Europeans used as 1440 CE Benin expands its territory under the rule of Oba Ewuare the Great. a kind of money to trade with African leaders. 1470 CE Oba Ewuare renames the kingdom as Civil war A war between people who live in the Edo, with it;s main city known as Ubinu (Benin in Portuguese). same country. Moat A long trench dug around an area to 1485 CE The Portuguese visit Edo and Ubinu. keep invaders out. 1514 CE Oba Esigie sets up trading links with the Colonisation When invaders take over control of a Portuguese, and other European visitors. country by force, and live among the 1700 CE A series of civil wars within Benin lead to people.
    [Show full text]
  • The New Encyclopedia of Benin
    Barbara Plankensteiner. Benin: Kings and Rituals. Gent: Snoeck, 2007. 535 pp. $85.00, cloth, ISBN 978-90-5349-626-8. Reviewed by Kate Ezra Published on H-AfrArts (December, 2008) Commissioned by Jean M. Borgatti (Clark Univeristy) The exhibition "Benin Kings and Rituals: This section of the catalog features 301 ob‐ Court Arts from Nigeria," organized by Barbara jects discussed in 205 entries by 19 authors. The Plankensteiner, is an extraordinary opportunity objects, all illustrated in full color, are drawn to see hundreds of masterworks of Benin art to‐ from twenty-five museums in Europe, the United gether in one place. It will be on view at the Art States, and Nigeria, and also include several Institute of Chicago, its only American venue, works privately owned by Oba Erediauwa and from July 10 to September 21, 2008. The colossal High Priest Osemwegie Ebohen of Benin City. exhibition catalog provides a permanent record Most of the international team of authors who of this remarkable exhibition and will soon be‐ wrote the catalog entries are renowned Benin come the essential reference work on Benin art, scholars; the others are Africanists who serve as culture, and history. The frst half of the book curators of collections that lent objects to the exhi‐ Benin Kings and Rituals: Court Arts from Nigeria, bition. A full half of the entries were written by edited by Barbara Plankensteiner, consists of Barbara Blackmun (forty-nine) , Kathy Curnow twenty-two essays by a world-class roster of schol‐ (twenty-six), Paula Ben-Amos Girshick (fourteen), ars on a broad range of topics and themes related and Joseph Nevadomsky (thirteen).
    [Show full text]
  • Igue Festival and the British Invasion of Benin 1897: the Violation of a People’S Culture and Sovereignty
    Vol. 6(1), pp. 1-5, March, 2014 DOI: 10.5897/AJHC2013.0170 African Journal of History and Culture ISSN 2141-6672 Copyright © 2014 Author(s) retain the copyright of this article http://www.academicjournals.org/AJHC Full Length Research Paper Igue festival and the British invasion of Benin 1897: The violation of a people’s culture and sovereignty Charles .O. Osarumwense Department of History and International Studies, University of Benin, Benin City, Edo State, Nigeria. Accepted 18 December, 2013 The Benin Kingdom was a sovereign state in pre-colonial West Africa. Sovereign in the sense that the Kingdom conducted and coordinated its internal and external affairs with its well structured political, social-cultural and economic institutions. One remarkable aspect of the Benin culture was the Igue festival. The festival was unique in the sense that it was a period when the Oba embarks on spiritual cleansing and prayers to departed ancestors for continued protection and growth of the land. The period of the festival was uncompromising and was spiritually adhered to. It was during this period that the British attempted to visit the Oba. This attempted visit to the land was declined by the Oba. An imposition of the visit by the British Crown resulted in the ambushed and killing of British officers. This incident marked the road map to the British invasion of the Kingdom in 1897. This study presents the sovereign nature of the Benin Kingdom, its social-cultural and economic uniqueness rooted in the belief and respect of deities. The paper further argues that the event of 1897 was a clear cut violation of the sovereignty, culture and territorial rights of the Benin Kingdom under a crooked agreement called the Gallwey Treaty of 1892.
    [Show full text]
  • UK Rejection of Restitution of Artefacts: Confirmation Or Surprise?
    25.05.2019 FEATURE ARTICLE UK Rejection Of Restitution Of Artefacts: Confirmation Or Surprise? By Kwame Opoku, Dr. ‘’Truth must be repeated constantly, because error is being repeatedly preached round about all the few, but by the masses. In the periodicals and encyclopaedias, in schools and universities, everywhe confident and comfortable in the feeling that it has the majority on its side.” Johann Wolfgang von G The United Kingdom Secretary for Culture is reported as having declared: “ Never mind the argume thing, let’s argue about how it gets to be seen ”. (2) Mr. Jeremy Wright whose pronouncements on o caused surprise made this statement in response to The Times with respect to the debate on restitutio The Minister argued that if artefacts were returned to their countries of origin, there would be no on see multiple objects:‘ if you followed the logic of restitution to its logical conclusion ,according to W ‘no single points where people can see multiple things’ Wright also stated that the United Kingdom Crown of Tewodros II, looted laws to enable restitution of cultural artefacts to the various countries. at Maqdala, Ethiopia in 1868, now in Victoria and Albert Museum, London, United Kingdom. ‘His argument seemed to rely on the tired misconception that there would be nothing much left in our museums and “no single points wher things” if restitution was allowed. This kind of thinking flies in the face of the informed conversation about decolonisation, restitution and repatriation that is taking place in at government level in many countries in Europe. ‘(3) What Jeremy Wright is attempting to do is to revive the long discredited universal museum argument that artefacts of different cultures are understood when they are all gathered at one museum such as the British Museum.
    [Show full text]
  • AFRREV IJAH, Vol.1 (3) July, 2012
    AFRREV IJAH, Vol.1 (3) August, 2012 AFRREV IJAH An International Journal of Arts and Humanities Bahir Dar, Ethiopia Vol. 1 (3), August, 2012:246-257 ISSN: 2225-8590 (Print) ISSN 2227-5452 (Online) Gone but Not Forgotten: The Commemorative Arts of Benin Ebeigbe, Sweet Ufumwen, Ph.D. Senior Lecturer/ Head of Department Department of Fine/Applied Art, University of Benin Abstract This essay focuses on how the people of Benin (Nigeria) use their traditional art to formally memorialize major historical events and the life and deeds of notable citizens in their society, especially their Kings (Oba). For this purpose, they evolve diverse enigmatic symbols and artforms in sundry media and styles. In this essay, an effort is made to examine some of these artforms and the symbols used as embellishment on them, in order to determine the context in which they are utilized and how they perform their function. In the process of doing this, the stylistic and iconographic significance of the artforms and symbols are also expounded. 246 Copyright © IAARR 2012: www.afrrevjo.net AFRREV IJAH, Vol.1 (3) August, 2012 Introduction This essay focuses on the commemorative function of the art of the people of Benin (Nigeria). It demonstrates how the Benins use their traditional art to formally memorialize major events that mark their history and the life and deeds of noble citizens in their society, especially their monarchs. For this purpose, they evolve enigmatic symbols and diverse artforms in varied media. In this essay, an effort is made to examine some of these artforms and symbols in order to determine the context in which they are utilized and how they perform their commemorative function.
    [Show full text]
  • Kingdom of Benin Benin Was an Influential City-State in Northwest
    1 Kingdom of Benin Benin was an influential city-state in northwest Africa generally from the 15th to 17th century. It was founded by the Edo or Bini people in the 13thcentury, and by the early 14th century a royal court was in place. It was always ruled by a powerful king who was usually a former war leader. The kings, however, later became a more religious figure. The kingdom has been though to extend throughout what is presently southern Nigeria. One of its most successful kings was Ozoula. During his reign, from about1480 to 1504, Benin established many commercial and diplomatic relations with Portugal. The kingdom participated in a lot of trade with Europe. Some of the goods they traded included palm oil, ivory, pepper, and textiles. Another industry Benin took place in was the slave trade. Mostly POW's (prisoners of war)and women were traded, but in the early years, men of the tribe were also given away. Gradually, the power of the kingdom decreased as the 18th and 19th centuries passed. Eventually, in 1897, the area was annexed to British Nigeria. While tribesmen still led the area, the real control was in the hands of the Europeans. One of the richest arts that originated in Africa are some of the hand cast bronzes that came out of the kingdom of Benin. These became known as the Benin Bronzes. The casting of brass was strictly a royal art and anyone found casting brass without royal permission was faced with execution. Whenever a king or a major figure died, a beautiful commemorative head was cast out of bronze in his honor.
    [Show full text]
  • The Art of Fasting: Benin's Ague Ceremony
    Cleveland State University EngagedScholarship@CSU Department of Art and Design Faculty Publications Department of Art and Design Fall 1997 The Art of Fasting: Benin's Ague Ceremony Kathy Curnow Cleveland State University, [email protected] Follow this and additional works at: https://engagedscholarship.csuohio.edu/clart_facpub Part of the African Languages and Societies Commons How does access to this work benefit ou?y Let us know! Publisher's Statement © 1997 James S. Coleman African Studies Center, UCLA Recommended Citation Curnow, Kathy. "The Art of Fasting: Benin's Ague Ceremony." African Arts 30, (September 1997): 46-53. Art Full Text (H.W. Wilson), EBSCOhost. Web. This Article is brought to you for free and open access by the Department of Art and Design at EngagedScholarship@CSU. It has been accepted for inclusion in Department of Art and Design Faculty Publications by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. The Art of Fasting: Benin's Ague Ceremony KATHYCURNOW ~A ~gainst all advice, Acting Brit- hostile spirits (Melzian 1959:99) (Fig. 1). ish Consul-General James The fourth ceremony, a second Ague peri- R. Phillips insisted on visit- od known as Ague-Oghene, followed, ing Benin City in early Jan- ending the. agricultural year. By the 1930s uary 1897. The Oba had Ague-Ohene's activities were already ob- asked him to delay because scure (Melzian 1959), and the two Agues of Ague, a ritual requiring his complete are often confused and conflated today. isolation from visitors. Although the sub- Ague was a sober time.
    [Show full text]
  • THE MILITARY SYSTEM of BENIN KINGDOM, C.1440 - 1897
    THE MILITARY SYSTEM OF BENIN KINGDOM, c.1440 - 1897 THESIS in the Department of Philosophy and History submitted in partial fulfilment of the requirements for the award of the Degree of Doctor of Philosophy of the University of Hamburg, Germany By OSARHIEME BENSON OSADOLOR, M. A. from Benin City, Nigeria Hamburg, 23 July, 2001 DISSERTATION COMMITTEE FIRST EXAMINER Professor Dr. Leonhard Harding Doctoral father (Professor für Geschichte Afrikas) Historisches Seminar, Universität Hamburg SECOND EXAMINER Professor Dr. Norbert Finzsch (Professor für Aussereuropäische Geschichte) Historisches Seminar, Universität Hamburg CHAIR Professor Dr. Arno Herzig Prodekan Fachbereich Philosophie und Geschichtswissenchaft Universität Hamburg DATE OF EXAMINATION (DISPUTATION) 23 July, 2001 ii DECLARATION I, Osarhieme Benson Osadolor, do hereby declare that I have written this doctoral thesis without assistance or help from any person(s), and that I did not consult any other sources and aid except the materials which have been acknowledged in the footnotes and bibliography. The passages from such books or maps used are identified in all my references. Hamburg, 20 December 2000 (signed) Osarhieme Benson Osadolor iii ABSTRACT The reforms introduced by Oba Ewuare the Great of Benin (c.1440-73) transformed the character of the kingdom of Benin. The reforms, calculated to eliminate rivalries between the Oba and the chiefs, established an effective political monopoly over the exertion of military power. They laid the foundation for the development of a military system which launched Benin on the path of its imperial expansion in the era of the warrior kings (c.1440-1600). The Oba emerged in supreme control, but power conflicts continued, leading to continuous administrative innovation and military reform during the period under study.
    [Show full text]
  • Oba Akenzua II's Restitution Requests
    KUNST&KONTEXT 1/2017 FORGERY - COPY - FALSIFICATION - AGING 23 Oba Akenzua II’s restitution requests very complex case from the year 1935. It involves two throne stools from the kingdom of Benin that were taken out of the country as part of the war booty when it was overrun by a British punitive expedi- tion in 1897 (fig. 3). The two bronze stools (fig. 1, 2) are of similar sizes and constructed in almost the same way: the base and the seat are slightly rounded and held together by stylized snakes. Some motifs can be found on both stools, e.g. a frog and a grimacing face. But one of them (fig. 1) is more ornately decorated than the other. The snakes’ bodies in the central area have scales and the symbols are de- picted as reliefs or engravings on the lower and upper sides of the seats and the pedestals. In his 1981 study on the two objects, Irwin Tunis describes their material, origin and iconography in detail. Otto Werner (1970) also analysed the alloy used in the two throne stools (as well as 152 other bronze objects from Benin) in an article. Oba Akenzua II and Lord Plymouth Fig. 1: Throne stool attributed to the Oba Eresoy (approx. 1735-1750), Inv.-No. III C 20295 (height 40 cm, Ø 40.5 cm) The first documents in the archive (dated April 1935) refer Restitution requests are currently being discussed in the to a meeting in February 1935, when Lord Plymouth, then meetings and publications of the ethnological museums. Under Secretary of State for the Colonies, came to the While these discussions lead in some cases to coopera- kingdom of Benin during an official visit to the British tion projects, implementing many of the ideas remains colony of Southern Nigeria.
    [Show full text]
  • International Journal of Arts and Humanities (IJAH) Bahir Dar- Ethiopia Vol
    176 IJAH, VOL. 6(1), S/N 20, JANUARY, 2017 International Journal of Arts and Humanities (IJAH) Bahir Dar- Ethiopia Vol. 6(1), S/No 20, January, 2017: 176-187 ISSN: 2225-8590 (Print) ISSN 2227-5452 (Online) DOI: http://dx.doi.org/10.4314/ijah.v6i1.15 The Origin and Development of the Guild of Bronze Casters of Benin Kingdom up to 1914 Odiahi, Ese Vivian Department of International Studies and Diplomacy Faculty of Arts and Education Benson Idahosa University, P. M. B. 1100, Benin City Edo State, Nigeria E-mail: [email protected] G.S.M.: +2348155437520 ----------------------------------------------------------------------------- Abstract The Benin Kingdom is one of the forest kingdoms located in West Africa which became famous for its arts, especially its art of bronze casting. The art of bronze casting flourished under the guild system established by Oba Oguola in 1280AD. The guild of bronze casters was the most important guild that existed in the kingdom partly because of its function of preserving the history of the kingdom in bronze for posterity sake. A role it continued to play until the late 19th century when Benin kingdom was invaded. The outcome of the invasion was the fizzling out of the guild system. The guild system was however reinstated in 1914, but only the guild of bronze casters was able to re- organise themselves well and remain however not without some changes and developments. This paper investigated the guild of bronze casters of Benin kingdom, an area that has not been given proper attention. It discussed the guild from its inception in the thirteenth century to the changes and developments that took in the guild up to the twentieth century.
    [Show full text]
  • Benin) ART of the BENIN
    IMAGES OF POWER: AFRICAN ART (Art of the Benin) ART of the BENIN Online Links: Benin Art - Wikipedia Benin Chronology- Metropolitan Museum of Art Benin Kingdom Gallery - MFA Boston Benin Plaque - British Museum Art and Oracle - Metropolitan Museum of Art Publication Left: Print depicting Benin City Around 1600, a Dutch visitor to the court of Benin described the magnificent palace complex, with its high-turreted buildings, as one of immense size and striking beauty. In the long, square galleries, wooden pillars were covered from top to bottom with brass plaques. Cast in relief from a wax model, the plaques were mounted on the palace pillars by nails punched through the corners. The plaques depicted the Oba and various members of his retinue, including warrior chiefs, titleholders, priests, court officials, attendants, and foreign merchants. Shown singly or in small groups, the figures are portrayed in meticulous detail, their role and status indicated by costume, ornament, and hairstyle. On plaques with multiple figures, the scale of the figures denotes their position within Benin court hierarchy. The largest one is most important, with others decreasing in size according to their relative significance. On this plaque, a regally dressed Oba (king) seated sidesaddle on a horse is accompanied by prominent officials and other attendants. To emphasize his power and authority, the Oba is positioned in the center, is the largest figure, and wears his full coral bead regalia, including a high collar of stacked necklaces and crown of beads. All coral was owned by the Oba and, because it comes from the sea, is associated with Olokun, god of the sea.
    [Show full text]
  • Irene Agunloye's Idia the Warrior Queen Of
    International Journal of Innovative Language, Literature & Art Studies 7(1):11-17, Jan-Mar. 2019 © SEAHI PUBLICATIONS, 2019 www.seahipaj.org ISSN: 2467-8511 Retelling History, Restaging Drama: Use of Songs And Music In Historical Plays; Irene Agunloye’s Idia The Warrior Queen Of Benin And Femi Osofisan’s Women Of Owu As A Study Musa Makhu AMODU PhD Department of Music University Of Jos, Jos, Nigeria Email: [email protected], Phone no. 08031311605 ABSTRACT The emergence of nation states and the process and path to development has often formed part of the critical cultural mass index anchoring its progress or lack of it. Invariably, the chosen path to development and the unfolding interplay of natural and human assisted events fosters an enduring legacy that are historical in nature. The merit of history albeit in its dramaturgy helps in reawakening and systematizing the socio-cultural status of nation states not only for creating awareness, but also as a basis for validating political and economic strength. Music, the documentation of history in sound in evolving societies is a critical agent in this regards. Within the context of the two plays in view, it reflects the true nature and candor of the African in its natural environment. As a functional component of the African environment, events, of major or minor essence finds meaning and signification in musical expression. Herein lie the kennel and substance of interrogating the ancient African past, drama within the musical epigrams as contained in the historical text. Thus, music in the two texts, plays multifaceted roles not only as agent of transition, for creating textual balance, as cultural progeny, and more usefully as a stabilizing mechanism for realizing the dramatic vision of the playwright.
    [Show full text]